by Nicole Sasala Lobuzzetta
Now that studios can purchase dance curriculums—some with playlists included—I’ve been asking myself, “Where is the art in teaching modern dance? Is the performance the only artistic aspect? Or could we teach with the intent to foster creative growth, take risks, and push artistic boundaries?”Read More
The Emory University Dance and Movement Studies Program focuses on contemporary modern dance, emphasizing improvisation, choreography, and performance through a somatically based curriculum.Read More
If you can’t hear a beat without tapping your feet, there are no better places to hone technique, learn about history, meet master teachers, and immerse yourself in rhythmic bliss this year than at these national and international tap festivals.Read More
by Tiffany R. Jansen (with additional reporting by Karen White)
Costumes are often the first thing audiences notice about a piece, even before movement begins. Quite often, “costumer” is one of the many hats that studio teachers must wear. We asked several teachers/directors how they approach costuming their contemporary dance competition students and performing companies.Read More
by Patrick Corbin
Tip 1: Staying at the front of the studio during class can limit you as an instructor. Changing your vantage point is a good way to catch issues that otherwise might escape your attention.
Tip 2: The ease and fluidity associated with contemporary duet work can begin with a simple weight-sharing exercise.
by Tamsin Nutter
What are the qualities of a good children’s dance teacher? After a semester of hands-on experience, the college-student interns in University of Montana’s children’s dance class program have clear ideas on the subject.Read More
by Karen White
The educational power of movement serves as the foundation of Locally Grown, a residency program through which Fusionworks Dance Company uses modern dance to take schoolchildren on an academic journey into subjects such as marine life, immigration, haiku, and earthquakes.Read More
by Heather Wisner
If you want to add contemporary dance to your studio’s schedule, your first task might be to ask yourself, “What exactly is contemporary dance?” It may sound like a silly question, but ask five different studio owners and teachers and you’ll get five different answers.Read More
“The Rights Stuff: Who Owns Choreography?” by Karen White: There I was, in another conversation about who owns choreography, the teacher or the studio. Sometimes I think this issue will never go away, doomed to be debated forever by two clans glaring at each other over an immovable fence.
“Cycles of Inspiration” by Thom Watson: There are days when I really love my job. For this issue, for example, I exercised editor-in-chief privilege to assign myself the delightful task of interviewing several of my favorite choreographers and master teachers for a feature story, “Cool & Contemporary.”Read More
by Rhee Gold
Just as I admire school owners for working together to improve dance education, I have always respected UDMA’s ability to unite some of the largest and most respected vendors in the industry. Together these vendors donate thousands of dollars for National Dance Week, offer continuing education seminars for teachers and school owners, and produce the largest American trade show in the field.Read More
by Thom Watson
In wide-ranging conversations about contemporary dance, DSL asked celebrated choreographers Tyce Diorio, Teddy Forance, Mia Michaels, and Derrick Schrader how they define the genre, the pros and cons of making dance in an age when dance videos are ubiquitous online, where they find inspiration for their work, and how they approach choreographing and staging contemporary dance. We also asked for their advice for dance teachers in hometown studios.Read More
What’s up in the dance community
-Educator-Founded Festivals Focus on Community, Artistry
-Martha Swope, Noted Theater and Dance Photog, Dies
-Son’s Dancing Inspires Mom to Open All-Abilities Studio
by Nina Pinzarrone
Tip 1: In the 1950s, composer-lyricists Robert Wright and George Forrest adapted many of these pieces for their musical Kismet; for example, the lilting 4/4 “Gliding Dance of the Maidens” became “Stranger in Paradise.” I like to use this piece for a barre or center fondu, stretch, port de bras, or adagio, or for a lilting women’s dance in character class.
Tip 2: For Scheherazade, Fokine used Rimsky-Korsakov’s Scheherazade, op. 35—an 1888 suite based on stories from The Arabian Nights. This suite contains wonderful material for creative movement and character classes.Read More
In Sweet Briar’s dance program, students explore creative expression while gaining practical experience. For more than 40 years, the program has drawn on traditional and modern dance techniques and newer styles such as aerial, with an emphasis on and intensive training in choreography.Read More
by Karen White
Dance intensives are called that for a reason—generally, a lot of learning is crammed into a limited time. The dancers are expected to rise to the occasion—fast—in an unfamiliar atmosphere where everything from experiencing new movement to finding the bathroom can prove challenging.
Dancers who spend one, two, or three weeks of their summer with the bicoastal School of Creative and Performing Arts (SOCAPA) tackle all that—plus they perform in one or more professional-quality dance videos.Read More
by Ryan P. Casey
What if the trick to getting more people to tap dance was getting them to attend a fitness class?
That’s the premise behind Sole Power, a tap workout program Riverdance alumnus Aaron Tolson conceived in 2013 that fuses basic tap dance with cardio and strengthening exercises.Read More