Posts Tagged ‘mail’

Words from our readers

I was fascinated by the excellent focus on global dance in your January issue. I enjoyed each article. From 1988 through 2004, as a professor of dance at the University of New Mexico (where I am now a distinguished professor emeritus), I experienced the richness of multicultural dance traditions and produced three world dance productions for regional and national conferences. Our modern and ballet students grew immeasurably from exposure to African, Spanish, Mexican, Native American, and other dance traditions. Thank you for encouraging your readers to broaden their interests in the wonderful diversity of dance forms and styles that might enrich their students.
Bill Evans
The College at Brockport, SUNY
Brockport, NY

In response to Darrah Carr’s recent article on Irish dance [“Fired Up for Irish Dance,” January 2010], I would like to point out that the organization Carr refers to, Coimisiun le Rinci Gaelacha, is only one of many Irish dance organizations, and the one with the most restrictive and punitive rules regarding competition. Cumann Rince Naisiunta, the World Irish Dance Association, and the North American Irish Dance Federation are just a few others on the growing list of Irish dance organizations, all of which certify their own teachers, host their own feiseanna (competitions), and most important, offer open platforms, meaning any dancer is welcome to compete regardless of their school’s affiliation. There are opportunities for all Irish dancers, including those who take lessons from “uncertified” teachers or mainstream dance studios, and that’s the way it should be. Irish dance is our national heritage, and it belongs to all who study it, regardless of where they choose to do so.
Kathy Whitfield
Rince Na Saor Irish Dancing
Dance Biz
Rochester, NY

I love Dance Studio Life and what you have taught me at the DanceLife Teacher conventions. I am a much better teacher and studio owner because of it! For all that you do for those of us who are a part of the dance teacher “family”—especially for what you have done to inspire and help me—thank you!
Louanne Courtright
Louanne Courtright Dance Studio
Fremont, MI

We just received the magazine with our story in it [“Schools With Staying Power: A Charleston Tradition,” March/April 2010]. Tiffany and I could not read it without crying! It is wonderful and really does give the “family feel” to the article, which we so cherish. Ms. Trudy is so proud! Thank you for doing such a wonderful job and for taking the time to recognize my mom’s legacy she is passing on.
Linda Walker
Trudy’s School of Dance
Charleston, SC

Words from our readers

I’m sure whoever wrote “Mary” that horrible note will be mortified to see it published [“On My Mind,” November 2009]. This is sad but typical. Wasting time with sour grapes is no good. Small businesses are closing their doors every day. If your doors are open and you’re paying your bills, celebrate. Nonprofits with their noses in the air are going to have a hard time when the handouts dry up. Instead of alienating neighboring studios, they need to mend burnt bridges.

I’ve given up reaching out to local studios. National dance teaching organizations offer a better support group. Maybe the distance between studios removes the threat.
Shelly Beech
Art of Motion Dance Studio
Bartlesville, OK

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I recently subscribed to your magazine. Thank you so much for the amazing articles and information that you can’t find in any other dance or dance teacher magazine. I love your attention to making things applicable to the classroom and for every age group and how you incorporate wonderful musical selections for all levels, as well as classroom ideas. Bravo!

I commend you for writing about creating bonds for dance teachers. I feel that a lot of dance teachers view each other as competition and do not treat each other respectfully. Two wonderful teachers in my city have become my mentors. Some people are scared about their students leaving them, but I’ve come to realize how amazed I feel when one of my students becomes so talented that she must go to the professional ballet company school. I’m just happy to be part of the journey.
Brettainy Sutherland
Instep School of Dance
Calgary, Alberta, Canada

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I was very pleased to see the article on the Cecchetti method of ballet, which my studio teaches [“Class à la Cecchetti,” January 2010]. My highly qualified ballet teacher continues to study with a Cecchetti master several hours a week. Another dance teacher in our area has made derogatory comments about the method in an effort to encourage our students to study with him. Because he once performed with a professional ballet company, a few parents have been persuaded. I have posted your article on our studio bulletin board to enlighten the masses. Thank you for reminding me of what a quality program we are providing.
Doreen R. Freeman
Doreen’s Dance Center
Colchester, CT

We’d love to hear from you!

Send your comments to arisa@rheegold.com or mail them to Editor, Dance Studio Life, 10 South Washington St., Norton, MA 02766. Letters may be printed in the magazine and posted on dancestudiolife.com.

Words from our readers

More readers respond to “Dance Studio Lingo” by Diane Gudat, DSL, August 2009:

Here are a few we use at our studio:

Prostatot: 3-year-olds costumed in thigh-high fishnets, short-shorts, and crop tops and shake their butts to inappropriate hip-hop songs at competitions

Cha-no-no or cha-ne-ne (nay nay) turns: chaînés done in second position, or without spotting, or moving both arms at the same time
Denise Danzo
Danza Dance Academy
Castle Rock, CO

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Pas de bour prep: pas de bourrée that ends in fourth position pirouette preparation

Pas de bourr-no: a pas de bourrée where the dancers cross back, step open, and then cross front instead of sus-sous (fifth), second, sus-sous (fifth)

Extreme piqué: any piqué move where the dancer is as high in relevé as physically possible and on the straightest leg possible
Toni-Lynn Miles
Middlesex Dance Center
Durham, CT

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Devil-oppé: a painful extension of the leg
Atti-besque: an arabesque than never quite straightens
Pas de canard: step of the duck (a pas de chat done with flat feet)
Barbecued ribs: a protruding ribcage (courtesy of teacher Richard Munro)
Hula hips: an inadvertent circling of the hips in rond de jambe

I really enjoyed the whole list of terms—very amusing!

Name withheld by request

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Thank you for the article on Luigi. It was wonderful to see that Luigi and his professional students live by his motto of “Never stop moving.” It seems that most articles on Luigi reflect his life in the past. It was nice to see his life reflect what is happening now, because he really “never stops moving.”
Alisoun Price
Assistant to the Assistant Artistic Director|
Luigi’s Jazz Dance
New York, NY

We’d love to hear from you!
Send your comments to arisa@rheegold.com or mail them to Editor, Dance Studio Life, 10 South Washington St., Norton, MA 02766. Letters may be printed in the magazine and posted on dancestudiolife.com.

Words from our readers

I have just read the vocabulary list by Diane Gudat [“Dance Studio Lingo,” October 2009]—how funny. We label our crazy parents as family members—the crazier they are, the closer members they are. For example, the craziest are labeled a certain teacher’s sister or mother. The lesser of the crazy moms are called aunts and cousins. Thanks for the good laugh!
Cathy Finne
Artistic Director, Studio 1014
Jacksonville, FL

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Thanks for providing an outlet for dance teachers and studio owners. I find your material therapeutic, inspiring, and very useful. Thanks for helping me do my job better and giving me strength to be true to my vision and integrity when at times I can feel the pressure to please the parents. You are making a positive difference!
Danelle Watson
Alexander Academy of Performing Arts
Maui, Hawaii

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This has to be the funniest thing a parent has ever done! It certainly cheered me up this week. Not only have I been dealing with a former employee who opened her own studio and asked her employees to steal my summer camp info, a new ballroom studio in my shopping center that wants its sign to read just like mine, a parent I wanted to get rid of who’s staying (and I think I made a new friend), an employee who filed for unemployment because she had a baby (but was never fired), and the gym that offers free lessons across the street from me that tried to get my hip-hop teacher to leave me and teach there. Oh, the life of a dance studio owner! 

This note is to give you permission to auto-charge anything I am supposed to pay in regard to costumes, competition fees, company fees, damages to property, reimbursement to the snack center, and possible charges for excessive chatting and preening. Due to my total and utter lack of organization, if you don’t charge me I will most assuredly be late and may possibly pay in loose change from my car that could have bits of food and lint stuck to it, so really I’m doing you the favor here. If this doesn’t work, I’ll start putting the change in an old soda can to keep it all together.

Thank goodness for some parents!
Darlene Giordano Cummings
American Dance Academy
Hockessin, DE

Words from our readers

The magazine gives me inspiration, keeps me grounded, and gives me teaching suggestions. I enjoy the techniques section where teaching skills (how to improve turns, body alignment, and the like) are explained. I also like the articles that feature suggestions on how to create music collections and use technology for performances. I am too much of a people pleaser sometimes, so the magazine helps me deal with “letting some students go” or not trying to be all things, how to enforce dress codes without being crazy, and things like that. Thanks.
Cyndy Shreffler
Ballet Shreffler
Troy, OH

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Readers respond to Diane Gudat’s story, “Dance Studio Lingo,” October 2009

Share this one with my friend Diane; we had many great years judging together. “Shower step”: a tap step choreographed in the shower—a great combo but somehow virtually impossible to do when not soaking wet. When I came in with a new combo, my students always knew if I created it in the shower!
Danie Beck
Dance Unlimited
Miami, FL

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Loved this! What you call “Ara-second” we call “Sec-abesque.” We also have “piquévé,” which is doing a piqué by climbing up onto a bent leg first and then straightening it.
Love the “careography,” “peek-a-pants,” and especially the “side moon”—brought a chuckle to my day.
Barb Lotsberg
Barbi Lee Dance
Minnetonka, MN

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I have just read the vocabulary list by Diane Gudat—how funny. We label our crazy parents as family members—the crazier they are, the closer members they are. For example, the craziest are labeled a certain teacher’s sister or mother. The lesser of the crazy moms are called aunts and cousins. Thanks for the good laugh!
Cathy Finne
Artistic Director, Studio 1014
Jacksonville, FL

“Ballet blow-out”—that shoe where the big toe is peeking out from a hole in the bottom of the shoe. “Scenic tour dancer”—one who never spots and takes a “scenic tour” around the room while turning.
Kim Rowley
Academy of Dance
Warner Robins, GA

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I am never disappointed! My partner and I laughed out loud at Diane Gudat’s dictionary and so appreciated the advice regarding recession effects. We are personally experiencing these as well and face many of the same issues. Every day we remind ourselves that we are lucky to have a job (many of our clients do not) and especially one that allows us flexibility of scheduling and time with great kids. It truly is a roller coaster! Thanks as always for a brilliant publication.
Melanie Gibbs
Boca Dance Studio
Boca Raton FL

I cannot tell you how much I needed this [DSL, October 2009]! I question myself and my choreographic choices constantly (using shorter pieces, older and odder songs, conservative costumes, etc.), and the competition article [“Smart Ideas for Small Dances”] was great! I also thoroughly enjoyed Diane Gudat’s terminologies [“Dance Studio Lingo”]. With a day job, a studio to run, teaching 95 percent of the classes in my studio, and a 9-month-old at home, I can barely find time to breathe. But I always enjoy reading your emails and magazine!
Patty Nowak-Briggs
Charlotte Braun Dance Studio
Parma Heights, OH

Words from our readers

We want you to know how thrilled we were after reading the wonderfully written article, “When Frank and Victor Met May” [August 2009]. Everyone who read it loves it, including the entire board of May [O’Donnell’s] foundation in New York City! You did a super job of describing the essence of Shawl-Anderson and its inspirational source—May!
Frank Shawl and Victor Anderson
Shawl-Anderson Dance Center
Berkeley, CA

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I want to thank you for including Dance Expressions in your article “Directors’ Dialogue” [DSL, September 2009]. We are a small company that has been on the competition scene for 18 years. It felt good to be part of such an important discussion among contemporaries that I respect. I love your publication—it always offers fresh ideas and always puts a smile on my face!
Cathy Tubolino
Dance Expressions

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And some words from our Facebook fans:

I love your magazine and look forward to my issue every month. It has given me so many ideas and helpful tips, etc., etc. Thanks for such a great magazine.
Susie Pennington

I love the magazine! The most useful dance magazine in my library!
Susan Hubert-Jeep

Words from our readers

Roslyne and I just received the August 2009 issue of Dance Studio Life. Roslyne is a good friend of Mignon Furman; in fact, she was her sponsor to the board of the International Committee for the Dance Library of Israel, located in Tel Aviv. Roslyne was remembering that she first met Rhee when he was 20. We both agree that your magazine looks great and its success is very evident to the experienced eye. In fact, I am glad not to be competing against you. All good wishes for your continued success.
Bob Stern
Santa Fe, NM

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I just read your “On My Mind” blog in the August [2009] issue of Dance Studio Life. Very well put, brother—sweet and to the point. Talk about hittin’ the nail on the head! I hope people know true wisdom when they read it. Respect always.
Ryan Foley
Toronto, Ontario, Canada

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I’ve just opened my August issue of Dance Studio Life. I’ve only gotten as far as “On My Mind” and already I must stop to comment. The studio I work for has classes for special-needs students, and every time I see them perform, my heart is so overwhelmed by how much they try and how delighted they are to be doing something that “regular” kids do. Those students, along with the toddler classes, always get the biggest round of applause at recitals. It’s so very precious.
April Mosher
Mary Ann Studio of Dance
Springfield & Agawam, MA

Words from our readers

The letter from Frances has moved me to comment [“Ask Rhee Gold,” May/June 2009]. I see both sides of the equation. I work at a dance studio that has a main studio as well as rented space in a church, with portable bars and a curtain dividing the classrooms. While the main studio has more of the “bells and whistles,” the students there may need to adjust when recital time comes and they have no mirrored friends to follow. But at the church space, the students copy the teacher, so facing the audience is less of an issue.

Yes, at the church I might have to clean up after another group. But I’m sure my studio owner appreciates the fact that heat and electricity are included, and come winter, so is the plowing.
April Mosher
Mary Ann Studio of Dance
Springfield, Agawam, and Wilbraham, MA

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Thank you so much for the great article on our studio’s Make-a-Wish experience [“Making Dance Wishes Come True,” May/June 2009]. I was reading the magazine at the doctor’s office and I almost wanted to stand up and share it with everyone. You are the best! It’s the only magazine we get or want. It answers everything. Now all the new features on the website—it is amazing.
Pennie Bleil
Just For Kicks School of Dance
Port Orchard, WA

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I want to commend you on the success of your magazine. I’m sure you hear this quite a bit, but I’m totally hooked on Dance Studio Life. I see no need to subscribe to any other dance magazine because I can get all I need and more from yours. I go back to past issues for ideas and information all the time.

I’m writing to advise: As studio owners, we put trust in others, but we must never let our guard down. I got burned by a teacher and dear friend (so I thought), who informed me that she would no longer be teaching at my studio. Two days later I saw a sign announcing the opening of her school. I will not let her discourage me. I will continue to stay focused on my business and not hers. I want to make other owners aware that they should watch their backs.
Shelly Clark-Moore
Pink Slipper School of Dance
Leesburg, GA

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Our studio is celebrating its 70th season this year and we would like to know how many schools across the country join us. I am sure there are many, and we would love to know who they are and what their stories are. We know that ours is the oldest school in South Carolina. My mom started the school in 1939, and she still goes to the local Elks Club on Friday nights and kicks up her heels a bit at 87.
Linda Oltmann Walker
Trudy’s School of Dance
Charleston, SC

Words from our readers

Just completed reading the April/May issue—wonderful and inspiring is all I can say. As an ethnic/world dance instructor for almost 30 years with a ballet, jazz, and modern background, I am excited and thrilled to finally read about our dance forms with integrity and recognition. Your articles are well researched and well written and deserve kudos. I save every issue in its entirety. They are treasures of information.
Morwenna Assaf
Art/Dance Academy, Oceanside, CA

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 Every day I want to sell or leave the business and the dance teaching world, school-owner business, and teach at my training ground of North Carolina School of the Arts or similar caliber, or go live on a farm and raise Burmese mountain dogs and be a vet technician, and then I read your magazine. (By the way, it is now next to my bible. Yes!) I pray to God to give me strength to continue to bring excellence and integrity to our children and community. Then I read your magazine and hear from others who feel the same way. I always feel better and have a bit of hope when I read your magazine! Thank you!
Terri Lee
Spirit In Motion Ballet Theater
The Pennsylvania School of the Performing Arts
Wrightstown, PA

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Your magazine is so great because you root for all dance instructors from any background, regardless of credentials or training, and encourage individual growth. I have a college degree in dance and performed in dinner theaters, but I always felt a little insecure in comparison to some acquaintances who performed in professional ballet companies. It took me 10 years to realize that my capabilities in teaching ballet are vast and I have no reason to feel insecure. That professional experience may be a plus for some of those instructors, but it does not mean I am less. I think your magazine played a role in my growth and maturity as a teacher. Thank you.
Shananne Lewis
Move and Groove Dance Academy
Akron, OH

Words from our readers

I read your article [“My Life as a Studio Owner’s Daughter,” DSL, January 2009] and I am so moved. I’m a studio owner with one 13-year-old child. His nursery was more the office at the studio than a crib at home, and the guilt was overwhelming, so he too started class earlier than I normally accept students. He was a handful to say the least. He claimed to have already learned all this “baby stuff” and at age 3 even made music suggestions, during class and at the top of his voice, informing everyone that he was sick to death of this horrible music that he’d listened to “all of my life.” He was right!

My heart ached when he realized how mean the backbiting could get. He is trapped between lashing out in my defense and doing what I’ve asked of him: to ignore it. It is quite a burden for such a young person to deal with.

Thank you. You’ve helped me see where he’s coming from.

Name withheld by request
Bartlesville, OK

 

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I was pleased to see that your magazine featured the DVD Magical World of Ballet [“New Products for the Classroom,” DSL, January 2009]. As well as being its production supervisor, I am interviewed on it, and I must say it is a delightful DVD for pre-ballet. This was my first opportunity to see your magazine, and I truly admire the goals and mission of its contents.

Kathy Sullivan
Steps on Broadway
Ballet Hispanico School
Barnard College
New York, NY

 

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I’ve gotten so much positive feedback about the helpful information in your article [“Dance Against Disease,” DSL, November 2008], and that of course helps us to spread the gift of dance therapy to children far and wide.

We have just expanded to Mattel Children’s Hospital UCLA Medical Center and are in the process of starting up at L.A. Children’s as well as Mass General in Boston.

We are also expanding our mission in that we hope to find and fund dance companies who have experience with engaging fragile children in dance.

The attention that you gave to The Andrea Rizzo Foundation’s work of providing dance therapy to children with cancer and special needs is invaluable and has played a role in all of this growth.

I will be forever grateful for the effort you put into that incredible piece.

Susan Rizzo Vincent
President, The Andrea Rizzo Foundation
Charlestown, RI

 

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I must thank and applaud you for your quest to rejuvenate, lift, educate, and inspire dance teachers. From the days of writing your Goldrush emails to Dance Studio Life magazine and now the conventions, you have not only met a great need in our dance world, but you’ve also provided dance professionals with a beacon of excellence to follow! Bravo, dear Rhee. Take a bow and know that you are doing all things in a fashion that is exceptional.

Patricia A. Goulding
Executive Director, National Dance Week
Pittsburgh, PA

Words from our readers

Thanks so much for this one [“Wish They’d Stay, Wish They’d Go,” DSL, October 2008]! Although we all think that way, it’s nice to see the words in print to confirm what we are feeling. This year, for the first time in over 30 years, I suggested that a parent find another school after only one week of evaluation. I stated that it was quite clear to me that she felt she knew better than my staff in what level her daughters should be placed. If she was that insistent, hardly knowing me, what would she be like in a year? That was not something I wanted to experience! It’s a hard decision to make but better for all in the long run!

Tracy Davenport
St. Charles, MO

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I just finished reading Tom Ralabate’s articles on jazz [“Defining Jazz Dance,” “All That’s Jazz,” DSL, December 2008]. This was so fantastic. What a great piece of information! (I think Tom is one of the very best.) I think that type of article has been missing; congrats to you for those stories.

Debbi Dee
Debbi Dee Productions, Inc.
Boynton Beach, FL

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Reading the letter from Lee [“Ask Rhee Gold,” DSL, December 2008] was like reading a letter from me! It brought up so much emotion as I am facing burnout myself. I so love the art of dance. Ballet is still beautiful. I get excited watching tap and jazz. The issue is the business of dance. I have a hard time thinking of putting myself first, as I’m sure most women do, but I will most certainly try. If not, I may end up in a loony bin!

Thank you for your articles and all your work for our wonderful profession. I have been to several of your conferences and always leave rejuvenated!

Kim Farmer
Mulford Dance Studio
Mount Ephraim, NJ

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I have been reading your publication for years. It has been an inspiration and an affirmation of all my goals and hard work. You speak for all of us with neighborhood studios, dedicated to personally making a difference to many lives through dance.

I had to sell my studio two years ago due to circumstances beyond my control. I have continued to get your magazine and have been very grateful for it. It’s the only dance magazine I read anymore. It warms my heart. What’s in there reflects what’s at the top, and that’s you. Just as I was my studio, you are your magazine, and it’s wonderful. No other magazine can come up to your standards in its genre.

Margo Slaughter
formerly Springfield School of Dance
Springfield, OR

Words from our readers

Thank you for allowing Diane Gudat to express her phenomenally hysterical ideas in “Terpsichorean Calendar” [DSL, August 2008]. I sat at my computer cracking up, reading it and then rereading it over and over again. I have known Diane for years and she is still able to make me laugh with her quick wit and brilliant, oftentimes wacky humor! I look for her stories each month to add laughter to my life.

Your magazine is such a great contribution to the dance world. We are very fortunate to be able to read about celebrations, challenges, humor, inspiration, and lives of other dance teachers and choreographers throughout the world. Thank you, thank you, thank you for all you do!

Sandi Duncan
Hudson, NH

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I really liked the story with ideas sent in from other teachers [“Collective Wisdom,” DSL, August 2008], especially the ideas that concerned classroom things (like creative movement ideas, dance games, etc). Could you think about publishing a book of everyone’s ideas? It is true that sometimes we have an idea, use it for years, and then stop doing it until another instructor reminds us of the success it can bring. Plus creativity in the classroom with the young ones ages 2 to 8 can be tough at first for some people who have just gotten off the professional dance wagon or the college degree program.

Another request is for an article on dance fitness programs and certifications. I am a certified Zumba instructor and would love to see an article about Zumba, Jazzercise, and Hip-Hop Hustle.

Your magazine is so great. It is the highlight of my month. It makes me grow so much. Thank you for contributing to my success as a teacher and businesswoman.

Shananne Lewis, choreographer
Uniontown, OH

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Thanks so much for this one [“Wish They’d Stay, Wish They’d Go,” DSL, October 2008]! Although we all think that way, it’s nice to see the words in print to confirm what we are feeling. This year, for the first time in over 30 years, I suggested that a parent find another school after only one week of evaluation. I stated that it was quite clear to me that she felt she knew better than my staff in what level her daughters should be placed. If she was that insistent, hardly knowing me, what would she be like in a year? That was not something I wanted to experience! It’s a hard decision to make but better for all in the long run!

Tracy Davenport
St. Charles, MO

Words from our readers

I just arrived home to find the latest Dance Studio Life on my doorstep and immediately flipped to find the article on Andréa [“Dance Against Disease, November 2008]. I am overwhelmed and speechless, and yes, crying over this beautiful gift to The Foundation, Andréa’s memory, and ultimately all of the children who will be helped because of this wonderful exposure. The layout is phenomenal! I want to send this to all who will be touched by this incredible gift. Many, many thanks to everyone there for all the time, effort, and talent that you put into this beautiful piece.

Susan Rizzo Vincent
The Andréa Rizzo Foundation
Charlestown, RI 

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Just a short note congratulating you on your publication, Dance Studio Life, and the many excellent articles in your October 2008 issue. Most notable to me because of their importance to all members of the dance community are the following informative selections: “On My Mind” by Rhee Gold, “Beyond Expectations” by Lisa Traiger, “Conquering the Class Divide” by Debbie Werbrouck, “Wish They’d Stay, Wish They’d Go” by Melissa Hoffman, “Hip to the Movement” by Michael Wade Simpson, “Teaching for Healthy Bodies” by Darrah Carr.

My wife, Carol Harsell, and I started Kinderdance 29 years ago. We are always on the lookout for exceptional reading material and your publication, in our opinion, is among the best in our business. Keep up the good work!

Bernard Friedman
Executive Vice President, Kinderdance
Melbourne, FL

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I have told more dance teachers about your magazine because it is the very best one out there. We are a small town with a studio of about 400 that my daughter started at age 15, 17 years ago. You touch on every problem and concern we have, [including] the burnout part. My daughter is so busy teaching that I am usually the one who gets to read the articles. I dog-ear or put sticky notes on so many pages for her that I am sure it is overwhelming. Every month, she would love or could benefit from reading almost every article. I cannot tell you enough what a great job you are doing. I am a mini advertising person for your magazine in Washington. Thank you so much!

Pennie Bleil
Just for Kicks School of Dance
Port Orchard, WA 

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Thank you so much for the brilliant and funny article written by Diane Gudat [“Fantasy Comebacks,” DSL, September 2008]. I have, without a doubt, been asked every one of those questions and depended on the “nice” filtering system before giving a friendly, sensible reply. So glad I’m not alone!

Kelly Torza
Ballet Soleil
Haydenville, MA

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Thank you for allowing Diane Gudat to express her phenomenally hysterical ideas in “Terpsichorean Calendar” [DSL, August 2008]. I sat at my computer cracking up, reading it and then rereading it over and over again. I have known Diane for years and she is still able to make me laugh with her quick wit and brilliant, oftentimes wacky humor! I look for her stories each month to add laughter to my life.

Your magazine is such a great contribution to the dance world. We are very fortunate to be able to read about celebrations, challenges, humor, inspiration, and lives of other dance teachers and choreographers throughout the world. Thank you, thank you, thank you for all you do!

Sandi Duncan
Hudson, NH

Words from our readers

I just had to write and let you know how I laughed at Diane Gudat’s “Fantasy Comebacks” [DSL, September 2008]. Oh my gosh, I have had some of the same questions! That was the best laugh I have had in a long time. Thank you for your magazine; it is very inspiring.
Fran Norris
Miss Fran’s Dance & Tumbling Studio
Ponca City, OK

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I was on the treadmill listening to my iPod and reading the September 2008 issue of Dance Studio Life (by the way, love this magazine!) and I came across the article titled “Fantasy Comebacks.” I haven’t laughed that hard in a long time. It was a hysterical but a realistic article. Many times I’ve had to be professional instead of saying exactly what I was thinking. I really enjoyed this article and made copies of it for my friends who own studios in other towns. Thank you so much for a great laugh!
Lisa Brown
Sunset Academy of Dance
San Francisco, CA

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I was reading the letter from a teacher who had two of her teachers leave and open a studio close by [DSL, “Ask Rhee Gold,” September 2008]. My advice to all dance studio owners is to get a contract (and yes, it would be worth the expense of getting an attorney to do it) stating that the teachers employed cannot teach within a 10- mile radius for a period of two years following the end of the contract without written permission of the studio owner. How awful for someone to do that—but it happens, and studio owners must be very careful.
Louise Taitz
On Your Toes Academy of Dance
Buffalo Grove, IL

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I love, love, love your publication! It has helped me more times than I can count—and as I am entering my ninth year of studio ownership, that is saying a lot!
Jill Robinson
Adams Dance Academy
Pittsgrove, NJ

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I thoroughly enjoy your magazine and every article is real-world! So helpful to a studio owner. Keep the great issues coming because we look forward to new ideas every month.
Elizabeth Huebner
Classical Dance Center
Newport Beach and Tustin, CA

Words from our readers

I just had to say thank you, thank you, thank you for including “Fantasy Comebacks” in your September issue. It put a big smile on my face at the end of a long week during an even longer registration season! It’s good to know I’m not the only one with less than perfect patience for my studio parents.
Meghan Slade
General Manager
Dance Steps Studio, Inc.
Saline, MI

Please tell Diane [Gudat] that I was laughing until I cried reading her “Fantasy Comebacks” article. Every teacher should include a copy of this article in their newsletters or at least hand them out to the president of the Parent Association.
Christopher F. Davis
Producing Director
Dancers Responding to AIDS
New York, NY

I just wanted to say thank you for putting in that “Fantasy Comebacks” article in your magazine. It was hilarious. How true all of those questions that parents ask are. I wish your magazine would put “Fantasy Comebacks” in more often. It just made my day!
Jessica Mink
Dancin’ for Fun
Gulf Breeze, FL

I want to thank you for your work on Dance Studio Life, as it provides motivation, insight, and education for me and thousands of dance educators and managers each month.
Stacey Rogers
Assistant Professor of Dance
Ann Lacy School of American Dance & Arts Management
Oklahoma City University
Oklahoma City, OK

I just wanted to take a moment to thank you for including me in the September [2008] issue of Dance Studio Life. I was honored to be mentioned in the “FYI: What’s up in the dance community” segment. It is publications like Dance Studio Life that allow educators like myself the opportunity to share our work with others in the field.
Debra Danese
Director, Kdance Productions
West Chester, PA

Words from our readers

I just received the August Dance Studio Life. Congratulations on always seeking to broaden the field. Your editorial on parents (“On My Mind,”) was amusing—and horrifying at the same time. Yes, ignorance is rife in the public conception of dance education.

I particularly liked your article on the NEA’s study on artists in the workforce (“FYI,”). I think this is important information for teachers and parents to absorb. The material is dry reading but essential to our understanding of dance in the private sector.

Gregg Russell’s article (“Psyching Out the Guys,”) is an extension of [Rhee Gold’s] own important interest in boys in dance. The article was practical and engaging.

Thank you for “stretching” into improvisation and partnering (“Winging It,” “Art of the Pas de Deux,”).

Debbie Werbrouck’s articles (“Front Runners and Guardian Angels,” “Dance at Any Age,”) are great, a significant contribution. I hope all studio owners read them.
Patricia Cohen
Steinhardt School of Culture, Education, and Human Development
New York University
New York, NY

I have to respond to “Frustrated in Kansas,” who asked whether she should give technique training to students from another school (see “Ask Rhee Gold,” DSL, August 2008). A similar situation happened to me, and I regret taking on the other school’s students.

I was shocked at these students’ lack of training, and I soon realized that I was training them for the other school. I decided to stop taking any more students from there but kept training the few I had been teaching. I did this for six years, to the point where they were taking several classes a week with me and only going to the other studio to work on their competition pieces.

I never felt quite right about this, but I thought that when the students left for college I could finally separate my studio from the other one. Not so—one student who became pretty good under my instruction became the other school’s ballet teacher. I feel like this student and the studio owner used me. “Frustrated” hit the mark when she said, “I feel like this student is getting everything from my school and using it to the other school’s benefit.” I think she should tell the student to choose a loyalty, and not allow students to train with her and then use that training to dance across town. She is only helping her competition improve while giving away what helps her stand out in the community.
Name and address withheld by request

Words from our readers

As a dance teacher for over 50 years and as an educator with a degree in education, I have always been aware that there are many effective and exciting approaches to teaching. I particularly love to see the excitement in the eyes of the very youngest dancers in my preschool classes, including the Mommy & Me classes, when I introduce a new fun-filled dance or activity to teach a step or concept. So I feel distressed when I hear a teacher say that Mommy & Me classes do not work [“Not Mommy and Me,” DSL, January/February 2008]. Perhaps they should say they haven’t found an approach that works for them, or perhaps they just don’t like to teach very young children, because Mommy & Me classes can be so beneficial to a dance studio. I love teaching them. It’s an awesome privilege and responsibility to be the first teacher to introduce these young children to dance.
Eugenia Smith
Eugenia’s Dance Studio, West Seneca, NY

Thank you for the wonderful tribute to Gus Giordano in the May/June issue of Dance Studio Life. I grew up in the Chicago suburbs and graduated from Northwestern University, and Gus’ classes played an important role in my jazz dance experience. His teachings have become the foundation for my jazz style. He will be missed, but as you said, not forgotten. Thank you for a great magazine.
Paula Donahoe
Dare To Dance, Manteo, NC

Rhee’s article [“On My Mind,” DSL, May/June 2008] about Gus was so beautiful—absolutely perfect! I was also at that class in Boston. It was probably one of the first classes that I ever took from him. And I remember idolizing Rhee’s mother and Helen with their “Jeannie” ponytails. Rhee, Gus would have been quite moved by your article and by all of your successes!
Laura Klein-Weiner
California Dance Theatre, Agoura Hills, CA

We’d love to hear from you!
Email your comments to Cheryl Ossola at Cheryl@rheegold.com or mail them to:

Editor
Dance Studio Life
10 S. Washington St.
Norton, MA 02766

Words from our readers 

While reading Diane [Gudat]’s article [“What Are Parents Thinking?!” Dance Studio Life, December 2007], I was either crying from laughing so hard or cheering! Thanks for the chuckles, and yes, it does make me feel better to know that others are suffering from being subjected to the same parental madness! My office staff wants to change the schedule to read: “Advanced Ballet 1, Advanced Ballet 2, Advanced Ballet 3,” etc. That way [the students] can all be advanced!

Also, thanks so much for the article on Tap the Map [FYI, November 2007]. Anthony Russo is my son. My dad saw the Tap the Map logo and immediately thought that someone had stolen Anthony’s idea. So he started reading the article and of course found Anthony’s name. It was a proud moment for grandpa!
Tracy Davenport
Performing Arts Centre, Inc., St. Charles, MO

I have loved your magazine since its inception. I really enjoy your variety of articles, especially those regarding studio management and the problems that studio owners come upon. I want to thank you for dedicating your December [2007] issue to tap dance. Dianne Walker’s [interview] was wonderful.

I’m writing to note some errors. Mike Wittmers’ article, “Rhythm Boot Camp” was very good, but there is a step that cannot be done. You cannot “shuffle (l) hop (r) toe (r) hop (r).”

“Tapping Into Your Potential” has a statement made by Joseph Fritz, the deputy dance director at New York’s Metropolitan Opera: “All tapping is done on the ball of the foot. You never have your heel down except when you stomp.” This is wrong, and when I read this to my students, they laughed!

Thank you for allowing me to clear up these statements.
Sherry Hines
Dance With Sherry, San Rafael, CA

Joshua Bartlett, who wrote “Tapping Into Your Potential,” responds: I was trained by Bob Audy, a highly regarded tap teacher in New York. He always stressed keeping the weight on the balls of the feet (unlike in ballet, where the weight is distributed evenly over the feet to enable proper turnout from the hips). Tapping on the balls of the feet allows for greater freedom of movement when turnout is not required.Editor’s note: In “Rhythm Boot Camp,” page 50, the correct sequence is:

 

 R       R       L     R      L       R      L    R     L

Heel-push step step shuffle hop toe hop step.

I’m writing to thank you for your comment to “Nancy” [in “Ask Rhee Gold”] in the January/February 2008 issue. When Nancy said we all complain about the recreational dancers because they will never be as good as the competition dancers, I thought, “How does she know? Does she have a crystal ball?”

I opened my studio 15 years ago. I have had girls start at age 12 and turn into wonderful ballerinas; I’ve had adults continue tapping into their 70s and thoroughly impress me. When I took evening ballet in New York City with “recreational adults,” they would say that they looked forward to coming to ballet and being transported away from their worries. The teachers in Manhattan never treated them any differently than the professional dancers alongside them. I believe it is important to train all children equally.

I enjoy reading the magazine. It is well balanced, and it’s also nice to feel it is run by someone with a heart, a business head, and an appreciation for all the different teachers, studios, and companies who train the young and old alike.
Jill Keating
Pointe Chautauqua Dance!, Mayville, NY

I have been the artistic director of [my school] for 27 years. I look forward to your magazine, and it would be like not having Nutcracker in December if I did not get it. Keep up the good work and continue pouring all that knowledge into all of us.       
Elizabeth Parsons
Elizabeth Parsons School of Dance, Orlando, FL 

When I was in Indianapolis for Dance Revolution, two ladies approached me saying they wanted to pick my brain about our program. They said, “We read your article ‘For the Greater Good’ [Goldrush, December 2006], and we said, ‘Here’s someone who gets what we are trying to do!’ ” We shared a nice time of mutual encouragement, and that wouldn’t have happened without you. So thank you for providing a platform for teachers and studio owners to build relationships to encourage and inspire!
Misty Lown
Misty’s Dance Unlimited, Onalaska, WI

Words from our readers

Your magazine has surpassed all magazines. It is wonderful, a collector’s item. I tear out articles in other magazines, but yours stays intact and I save the whole thing for future reference. I would also like to thank you for the articles on older teachers and selling, etc. [Studio Owners in Transition, Dance Studio Life, October 2007]. They have become invaluable in my decision to downsize. Thank you so much for the inspiration. After 30-odd years of running a studio I am focusing again on what I really want to do, and that is teach dance.
Morwenna Assaf
Art/Dance Academy, Oceanside, CA

I was very upset to see the article in Thinking Out Loud, “Lift a Rock, Watch the Sky,” by Ann Murphy [Dance Studio Life, October 2007]. This article highlighted a very negative and erroneous statement about the Catholic Church. Negative and attacking comments about any church have no business in a dance publication.

The sentence “The Catholic Church of my childhood frowned on dance” is simply not true! Dance in most Catholic churches is not used during the Mass, [which] is a time to calm our mind and body and give thanks and praise to the Lord. Dance and performances take our attention off the Lord and onto the performers. We as Catholics have always been free to dance to our heart’s content outside of Mass.

I fully understand the Church’s limitation on anything that causes us to lose our focus on God during our time of prayer. God bless you and please respect the faith of others in the future.
Ginnie Meyer
Hoffman Estates, IL

Editor’s note: In Thinking Out Loud, writers express their opinions and personal experiences. We do not censor their viewpoints, which do not reflect the opinions of anyone affiliated with Dance Studio Life.

I was so happy to read your article “Teaching With Love” [Dance Studio Life, November 2007]. I always felt that I was the odd teacher out since I never have followed the “old school” way of teaching. I feel that every child has a unique way of processing information and varying degrees of ability to reproduce what they are shown. Negativity only brings down their self-esteem and kills the love they have for what they are doing. No dancer should be left out or behind! This has been tested this year as I was seriously injured in a car accident in October and the teacher who has been teaching my students is of the “old school.” I have been grateful for her help because otherwise I would have had to shut down [my school]. The children have had a hard time adjusting to the changes and many have dropped out, saying they will return when I do.

Thanks again for your article; it was much needed at this time in my life!
Amanda LeVasseur
Dance Alley SE, Winter Haven, FL

Your magazine is a perfect literary medium for dance studio teachers and owners. I find valuable information in it every month. With that being said, I had to email you in regard to your editorial column this month [On My Mind, Dance Studio Life, December 2007]. December is the most hectic and stressful month for me. But reading your letter inspired me to give myself permission to let something go and I found the stress floating away. I told my students that pre-choreographing their dances would have to be put on hold. They were all so kind and supportive. So thanks for a great magazine and especially for that letter.
Nancy Chippendale
Nancy Chippendale’s Dance Studios, North Andover, MA

Just wanted to tell you how wonderful I think the December [2007] issue is. All the stories on tap! Finally—someone noticed tap dancing.
Debbi Dee
Boca Raton, FL

A standing ovation for “What Are Parents Thinking?!” in this month’s [December 2007] Dance Studio Life. Forget leaving the issue open to that page in the lobby—I am wallpapering with that thing!
Suzanne Citere
Realdance, Lighthouse Point, FL

I wanted to tell you how much I enjoy Dance Studio Life. The articles are so varied and yet so relative to what we do every day. Bravo! Please keep Diane Gudat writing! Tuesday afternoon got off to a laughing start when I read her article [“What Are Parents Thinking?!”] to the staff before class. We love her!
Sharon DiCrosta
The Dancer’s Studio, North Haven, CT

While reading Diane [Gudat]’s article [“What Are Parents Thinking?!”], I was either crying from laughing so hard or cheering! Thanks for the chuckles, and yes, it does make me feel better to know that others are suffering from being subjected to the same parental madness! My office staff wants to change the schedule to read: “Advanced Ballet 1, Advanced Ballet 2, Advanced Ballet 3,” etc. That way [the students] can all be advanced!

Also, thanks so much for the article on Tap the Map [FYI, November 2007]. Anthony Russo is my son. My dad was paging through Dance Studio Life and saw the Tap the Map logo. He immediately thought that someone had stolen Anthony’s idea! So he started reading the article and of course found Anthony’s name. It was a proud moment for grandpa!
Tracy Davenport
Performing Arts Centre, Inc., St. Charles, MO

Words from our readers

Great article by Nancy Wozny [“Two Worlds, One Dance Planet,” Dance Studio Life, October 2007]. I don’t think I would have my job if we did not have forward thinkers like [Houston Ballet artistic director] Stanton Welch. I came from a studio background and now run one of the largest schools in the U.S. The lines are definitely blurred as we evolve and mesh the best of both worlds, commercial and not-for-profit, as well as university life. As a leader in the field and one who has seen thousands of dancers as I recruit, I am amazed at how versatile students are now, and that is due to teachers in both studio schools and professional schools acknowledging the value of one another.

I am also proud to say that I feel I am from the generation that has recognized the change, accepted both genres, and is now responsible for teaching the next generation how to plan for a career that has many options. Dance is growing and the jobs are limited. Students, as well as leaders in the field, must think about that. Students/dancers must be open to all the options available.

Perhaps you could do an article about the value of a dance degree. Parents think (and I admit that I have thought this in the past) that there is nowhere to go with a dance degree. I met with Robert Cohen (he danced with Martha Graham) this summer and he changed my thinking. He said that a dance degree is a liberal arts degree, a way to get to know oneself, and it is no different than another liberal arts degree. I changed my thinking from that moment on.

Keep up the great work, Nancy. The dance world applauds you and we love you for it.
Shelly Power
Associate Director, Houston Ballet’s Ben Stevenson Academy
Houston, TX

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I finally got the chance to read the September issue of Dance Studio Life. It just keeps on getting better! Loved so much of the information and articles—“Ancient Dancers,” “Bringing in the Boys,” “Zeroing In on the Zeitgeist,” just to mention a few. Especially loved “1,000 Words.” Congratulations!
Mike Robertson
Costume Gallery

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I want to thank you for giving the dance teacher world such a worthwhile and meaningful publication to educate us on all aspects of our job. Most of all I appreciate the tasteful front covers of Dance Studio Life. Last month, when I received two other dance-related magazines, I was appalled at the covers. Quite frankly, I didn’t even want to leave them lying out for anyone to see because I thought they were indecent. Today, as we are all battling over inappropriate costuming and dances at competitions, it seems a shame that now we have to see it on covers of magazines designed for the dance world. I appreciate the fact that I don’t have to worry about that with your magazine. Keep up the great work!
Beverly Smithey
Stage I Dance Academy, Greenwood, IN

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The magazine is looking great; very impressive this month [Dance Studio Life, October 2007]. Excellent job with the layout on the “Ballroom Blitz” story!

The faculty at University at Buffalo have made complimentary comments about the new look and even my partner, Thomas (a college academic VP), sees a difference in its value for dance educators. Congratulations.
Tom Ralabate
Associate Professor of Dance, University at Buffalo
Buffalo, NY

Words from our readers

Thanks so much for a fabulous magazine. I look forward to receiving it each month. I find so many useful and informative articles, and I pass it on to my staff each month so they can also enjoy and take advantage of all the great information in each issue!

I want to thank you particularly for the article [“Middle School Girls Gone Wild,” July 2007] about the indecency in some dance performances. I was glad to see that someone else shares my disgust at the current trends in dance. It seems to be what audiences crave; the scantily clad students, some as young as 5 and 6, are rewarded for their efforts with thunderous applause! This season we lost our entire senior class of students to a studio that promotes that style of dance. I’ve been a studio owner for 11 years and have always been conscious of the fact that our young students are naïve and innocent. We strive to allow them to remain children as long as possible. My mantra has always been that I know they are going to be exposed to lewd and inappropriate lyrics, as well as choreography, in music, on TV, the Internet, and even at school. However, it doesn’t have to be within my walls.

I’ve thought about the possibility of forming a group of instructors and studio owners to promote decency in dance. I believe that dance is a beautiful, pure art and I refuse to teach a style of dance that is not suitable for family entertainment. I don’t think I’m alone in my beliefs. If there are others out there who feel the same way I do, I would love to hear about it. Maybe, if enough of us joined together, we can bring back the pure art of dance.
Kim Yarborough, Director
Step Ahead Dance Studio, Garner, NC

I wanted to tell you how much I enjoyed the article in your August issue [“Big-Time Marketing,” which includes Boston Ballet School]. It was really terrific and I hope it gave some of the smaller schools some good ideas. We actually received a couple of phone calls from some companies asking for some follow-up materials and our permission to borrow the format.
Elizabeth Benjes, Managing Director
Boston Ballet School, Boston, MA

Thank you, Dance Studio Life magazine and Sharon DiCrosta! We were so pleased to finally see an article about the reality of competition [Thinking Out Loud, “Turn Back the Clock on Competitions,” September 2007]. For years we have been frustrated that the majority of other competitions have changed their award levels and the standards of competition with their position that “everyone should feel good.” Yes, we want all the dancers to feel good, but we also want them to be proud of their achievements. At least when they come to a Headliners competition they know they earned the award they received. It’s nice to know that there are teachers that still appreciate honesty and awards realistic to the scores received and that are proud to have their students work to reach a goal. Congratulations to you!
Irma Ziegler and Shari Tomasiello, Nationals Directors
Headliners Competition, Randolph, NJ

This is a first—responding to a letter in a magazine—however, I was saddened by the events Kali presented concerning her mother [“Ask Rhee Gold,” Dance Studio Life, September 2007].

Kali, your mother definitely should not give up. I am a former studio owner with 25 years of ballet teaching experience. A discourteous student is dealt with very quickly in ballet. Why permit teenagers to destroy your confidence? Their judgment is based on—what? You are a capable teacher; they are immature teens. Keep the studio image you want and lose these ingrates. Assure them their safety is a primary consideration and they lack the ability to safely do hip-hop. Do recommend knee insurance and send them on their way. I hope [your mother] has had second thoughts and realizes she must continue to pursue her life’s work. She is needed.
Rita Colby
Ballet Basics & DansArts, New York City

I received many lovely comments from a wide range of people on the article you did on me and my studio in your Dance Studio Life “Teacher in the Spotlight,” [September 2007]. I appreciate it very much. When I read the magazine I think of Rhee’s mother. She was a fantastic teacher.
MaryAnn DeNucci Langone
The MaryAnn Studio of Dance, Springfield, MA