February 2015 | 2 Tips for Ballet Teachers | Glissades in Petit Allegro

Glissades are common connecting steps for jumps and therefore important for students to master. There are two major types: 1) glissades in petit allegro, which close in fifth position, and 2) glissades in medium or grand allegro, which failli through fifth to end in or continue through fourth position.

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February 2015 | 2 Tips for Modern & Contemporary Teachers | Arms and Legacies

Arms are often students’ last concern. They’re concentrating on legs and core, so their arm movements seem unfinished or like afterthoughts.

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February 2015 | 2 Tips for Hip-Hop Teachers | Basic Top Rock and Imagery

To teach basic top rock, start with the two-step. A two-step can happen on either foot and move in any direction. If you’re using counts, rock the body on 1, then rock and step on 2. Make sure students shift their weight into each step, even when rocking backward, so they’re prepared for a drop or transition to the floor.

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February 2015 | Teacher in the Spotlight | Chauniece Conner Thompson

NOMINATED BY: Joy Sheffield, friend: “Chauniece opened Ballet on Wheels in 2002 to help build a better Memphis community through dance. Chauniece ensures her students are well-prepared for every dance opportunity. She gives her dance staff full discretion in their classrooms and encourages them to come up with innovative ideas to engage students in the classroom and through community-based dance programs. She’s making a positive impact on her students, staff, and community.”

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February 2015 | Teens in Trouble

As a dance teacher, I have come across teens struggling with serious issues. I have also encountered parents reluctant to seek treatment for their child. In dealing with each situation, I used several rules to guide my actions. I also consulted Deborah Lynn, MD, an adult and child psychoanalyst with a private practice in Los Angeles who serves on the Volunteer Clinical Faculty at UCLA. Here are some of the ways I’ve learned to handle these difficult situations.

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February 2015 | Table of Contents

February 2015

Mind Your Body Volume 20 | Issue 2 | Buy a print copy This month we focus on wellness, of both mind and body. Gone are the days of harsh teaching methods that promoted unhealthy mindsets; today there are widespread efforts to make dance training good for body and soul. . . .

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DSL NewsWire: NJ Educator is SHAPE America Dance Teacher of the Year for Region

Arvin Arjona, who first stepped onto the local scene as a special education teacher 11 years ago and thereafter moved on to become the Millburn [NJ] High School dance educator, will be recognized as the Society of Health and Physical Educators of America, or SHAPE America, Eastern District Dance Teacher of the Year next month.

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DSL NewsWire: Nana Shineflug, Influential Teacher, Chicago Moving Company Founder, Dies

Elizabeth “Nana” Shineflug, the founder and artistic director of the Chicago Moving Company, one of the first modern dance troupes in the Midwest, touched the lives of hundreds of students as a teacher and reached audiences around the world as a dancer and choreographer.

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DSL NewsWire: Teacher’s Personal Experience With Luigi’s Power Shared with Playwright

When Langley, Washington, choreographer and dance teacher Daunne Bacon Zinger herniated two of the discs of her spine, doctors told her she would likely never dance again. But Bacon Zinger heeded the words of her idol, jazz dance icon Eugene Louis “Luigi” Faccuito; she never stopped moving.

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DSL NewsWire: Teacher Instrumental in Promoting Kathak Dance in U.S., Chitresh Das, Dies

Dancer, choreographer, composer, teacher, and company founder/manager, Chitresh Das died suddenly January 4, of acute aortic dissection, a tear in the inner wall of the aorta. The San Rafael, California, resident turned 70 on November 9, according to the Examiner.

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January 2015 | Teacher in the Spotlight | Lisa Eisemann

Photo by Maria Graziano

NOMINATED BY: Maria Graziano: “Lisa is not only a role model for dancers, but for our entire community. Her studio has strict rules and her classes are full year round. She runs three dance companies, and the studio is home to children with autism and those with handicaps and learning disabilities. I am a stage crew mom, and I have seen and heard Lisa working with students, demanding their best behavior, and encouraging all of them regardless of ability.”

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January 2015 | Breath, Energy, Soul

Jung Im Lee trained in Korean dance in Seoul from childhood. Photo courtesy Jung Im Lee

One block from the Empire State Building, in a building that houses the Korean Performing Arts Center, Korean dance teacher and performer Rebecca Lee is rehearsing two teenage dancers in the ipchum (translated variously as “standing dance,” “basic dance,” or “improvisational folk dance”), a simple traditional Korean dance.

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January 2015 | Bright Biz Idea | Dance on the Go

Children at 45 childcare centers take weekly classes from the Dance…Dance…Dance…teaching team. Photo by a.jo Fotografi

Dance teacher Marisa Rotter’s weekly schedule reads like a tour of the Minneapolis suburbs. If it’s Monday it’s time to go to Farmington. If it’s Tuesday she’s shuttling between Burnsville, Apple Valley, and Northfield. On Thursday it’s back to Farmington.

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January 2015 | Table of Contents

January 2015

A World of Dance Volume 20 | Issue 1 | Buy a print copy It’s time for our New Year’s tradition—sharing stories about dance from a global perspective. This month we’re taking you to France for ballet, to Korea for traditional and contemporary dance, and to the Middle East to . . .

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January 2015 | Fun and Games

FunGames1

Most teachers of musical theater classes have had students who are hesitant to commit to new acting challenges. Maybe they’re shy or intimidated; maybe they question their ability to do improvisational exercises. It’s not easy to get all of your students invested in something new—but if you want your dancers to take a risk, you’ve got to be willing to put yourself on the line.

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January 2015 | 2 Tips for Ballet Teachers |Diagonals and Pirouettes

Photo by Becky Montalvo

We teach beginning dancers to face the corners of the room squarely when in effacé and croisé. As dancers become more advanced, they will need to adjust to facing along a flatter diagonal.

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January 2015 | 2 Tips for Tap Teachers | Mixed Levels

We may try to keep our classrooms homogeneous in skill level, but we’re still likely to end up welcoming new students into classes for which they don’t have all the prerequisite skills. In tap classes, this is especially challenging. Emphasizing all teaching modalities to reinforce new vocabulary and skills will help all your dancers succeed.

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January 2015 | 2 Tips for Modern & Contemporary Dance Teachers | Risk-Taking and Groundedness

I sometimes sense my students moving hesitantly in class, doubting themselves and shying away from risk-taking. To address this, I tell them to ask themselves these questions in class when they feel unsure: “What is there to lose? What could go wrong? Do I trust myself enough to figure it out if I, say, turn the wrong way?” Their bodies are smarter than they realize: they don’t need to sabotage themselves by worrying about major catastrophes.

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January 2015 | 2 Tips for Hip-Hop Teachers | Grooves and “Indian” Step

An important concept in hip-hop is “keeping the groove.” The groove is the constant pulsing movement of the body, which corresponds to the feel of the music.

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January 2015 | 2 Music Tips for Teachers | The Baroque Period: Part 3

In a baroque suite, optional movements were often inserted between the third (sarabande) and fourth (gigue) movements. The lively minuet, in 3/4 or 3/8 meter, was the most popular. Introduced at court in the reign of Louis XIV, this French dance derived from the branle of Poitou, a rustic dance. With short, delicate steps, turned-out leg positions, broken-wrist affectations, and elegant bows, and the dancers in heeled shoes and powdered wigs, the minuet epitomized the artificial behavior of court life. Each melodic phrase was six counts long to accommodate the pas de menuet step pattern (three steps of two beats each).

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93-Year-Young Dance Teacher Retires After Operating Studio for 63 Years

As a small child, Theresa Landry began dancing for pennies in a French-Canadian club in Central Falls, Rhode Island, where she was raised and still lives. During the 63 years she has operated Theresa Landry’s Dance Studio in Pawtucket, Landry, 93, has taught thousands of children to dance.

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Dance Movement Therapy Pioneer and Advocate, Arlynne S. Stark, Dies

Arlynne S. Stark, a dancer who was a pioneer and early advocate of dance movement therapy and was a co-founder of the American Dance Therapy Association, died of breast cancer November 17 at Collier Hospice Center at Lutheran Hospital in Denver. The Baltimore Sun said she was 71.

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December 2014| Hip-Hop Lineup

All dance studio owners strive to find excellent teachers to fill their faculty rosters. Yet it is not uncommon for owners to crave more variety for students—to provide a roster of instructors similar to those of professional studios in large markets such as Los Angeles or New York City. At Wildwood Dance & Arts, located in America’s heartland near St. Louis, Missouri, owner Leah Cordiano-Siemens has found a solution to the need to broaden her hip-hop offerings: she typically brings in at least one guest teacher each month. In so doing, she exposes developing dancers to current dance steps and choreography and gives them a taste of the world of professional dance.

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December 2014 | Jazz Duet

The Marta sisters, by their own description “joined at the hip,” came to the United States from Colón, Panama, as teenagers in 1965. Both became dancers, and then teachers. Many years later they’re still at work, Elvia Marta in San Francisco and Cecilia Marta in New York City.

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Acclaimed Martha Graham Dancer Mary Hinkson Dies at Age 89

Mary Hinkson, one of Martha Graham’s most important leading dancers, whose performances from the 1950s through the early ’70s were filled with unbridled dramatic power, died on Wednesday at her home in Manhattan, reported the New York Times. She was 89.

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December 2014 | Ask Rhee Gold

AskRheeGoldT

As a kid I went to dance conventions where we took classes from excellent master teachers. I always felt inspired because they would encourage us by offering corrections. I would go home and work on everything I learned. From year to year the teachers remembered us and made a point to talk with us.

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December 2014 | 2 Music Tips for Dance Teachers | The Baroque Period: Part 2

Many baroque composers wrote multi-movement instrumental pieces known as suites, inspired by national folk dances of the period. The movements were generally in the same key (tonality) and were relatively short, yet they differed in tempo, meter, and style. The phrases were symmetrical and balanced harmonically to accommodate dance patterns.

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December 2014 | 2 Tips for Ballet Teachers | Shoulder Sits

For a right shoulder sit, start with the female standing in fifth position in front of the male, whose hands are low on her waist; the female assemblés as a preparation.

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December 2014 | 2 Tips for Modern Teachers | Inviting and Allowing

I like to invite, not tell, my students to participate. “I invite you to form a circle,” for instance, has a very different tone from “Form a circle.” Words like “invite,” “encourage,” or “ask” indicate to students that they have agency, and that they and I are equally engaged in investigating new possibilities.

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December 2014 | 2 Tips for Tap Teachers | Time Steps

Time steps are a pattern, usually reversed every 4 counts, used by vaudevillians to help set tempo for musicians. In Over the Top to Bebop, a filmed discussion of tap with Jazz Dance author Marshall Stearns, Honi Coles talks about time steps being the “ABCs” of tap dance, and he and Cholly Atkins vocalize a ditty about a buggy ride to demonstrate simple to more complex rhythms. (Portions are on YouTube.)

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December 2014 | On My Mind

Photo by Mim Adkins

Running a business requires many skills. It also requires good instincts and a willingness to act on them. Take the case of Maura, a successful school owner. Her weaknesses are a fear of confrontation and a tendency to be too trusting—and too willing to squelch her intuition.

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December 2014 | Table of Contents

Hip-Hop & Jazz Volume 19 | Issue 10 | Buy a print copy It’s time for our favorite funky duo, hip-hop and jazz! Read about master hip-hop teachers, birthday party fun, and dancers ages 50 and up getting their groove on. Then meet the Marta sisters, with jazz styles as . . .

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December 2014 | Teacher in the Spotlight |Nancy Pattison

NOMINATED BY: Cindy Pattison-Rivard, daughter: “My mom, Nancy Pattison, owner and operator of our family-oriented dance school, is celebrating 60 years in dance education. Nancy’s was one of the first studios in the area and continues to offer dance lessons and life lessons, and to inspire dancers of all ages. Many alumni have gone on to pursue dance careers all over the world.”

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Mother’s Stroke Leaves Harlem Dance Teacher Struggling to Save Her Academy

East Harlem dance teacher Robin Williams is fighting to save her Uptown Dance Academy, deep in debt and struggling after Williams’ mother—who acted as the school’s backbone, handling extensive administrative duties—suffered a stroke that left her partially blind and confined to an assisted living facility.

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Luigi’s Impact on Broadway’s Brightest Stars Outlined in New Film

Luigi was a sought-after teacher by some of the brightest stars on Broadway—Liza Minnelli, Ben Vereen, Estelle Parsons, Kelly Bishop, Ron Dennis, Jane Summerhays, Robert Morse, Gretchen Wyler, and others—and many of them have shared their memories of the great jazz dance and New York City master teacher for the film Broadway: Beyond the Golden Age.

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Modern Dancer and U of Illinois Educator, Beverly Blossom, Dies

Beverly Blossom, a leading modern dancer in New York City in the 1950s and 1960s who went on to be a master teacher at the University of Illinois and a celebrated choreographer and performer of pieces that were sly, sardonic, heart-breaking, and funny, has died in Chicago.

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November 2014 | Table of Contents

5, 6, 7, 8! Kids! Volume 19 | Issue 9 | Buy a print copy Our kids-centric issue will help you get everybody dancing. We’ve got stories on parent participation classes, approaches for reaching students with special needs, boosting community interest through free coffee hours, and dance teachers’ favorite music . . .

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November 2014 | Ask Rhee Gold

Ask Rhee header graphic

It seems to me that most dancers on television are wearing booty shorts and bra tops, and I can’t figure out why. So many of them would look much better in a stylish leotard, and some of them really do need a pair of tights. My students have always had a dress code with no two-piece anything, and they must wear tights for all classes. Those who take ballet attend with their hair in a bun and that’s it. No exceptions.

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November 2014 | 2 Music Tips for Teachers | The Baroque Period

During the baroque period (1600–1750), new forms such as concertos, sonatas, oratorios, operas, and dance suites highlighted the virtuosity of individual performers. The basic string orchestra was augmented by trumpets, oboes, flutes, timpani, and the keyboard instruments, namely the harpsichord or the organ. Advances in instrumental construction allowed for precise tuning so that for the first time all possible tonalities (keys) were available to composers.

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November 2014 |2 Tips for Ballet Teachers | Souped-Up Sauts de Basque

One of the biggest problems when learning a saut de basque is that students tend to do a rond de jambe with the working leg instead of brushing it through à la seconde and maintaining it on the same axis as the torso throughout the jump. It is difficult to hold the passé position in the air while spotting and turning; the extra torque from the rond de jambe makes it even harder.

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November 2014 | 2 Tips for Hip-Hop Teachers | Stance and Style

Before doing any hip-hop moves with students, work on their stance, which embodies hip-hop’s attitude and style. Compared to jazz and ballet, the body is looser and more relaxed, with rounded shoulders, soft knees, and feet in parallel. I tell kids to place a finger on the belly button, then contract like a deflating balloon. (Making deflating sound effects helps!) Emphasize imagining their strength and energy being pushed into the ground—I use the image of feeling your feet sink into wet sand.

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November 2014 | 2 Tips for Modern Teachers | Fun, Challenges, Success

Every technique class should include opportunities for students to have fun. I encourage you to begin class by asking, “Who has a joke?” You might keep a supply of your own (lighthearted, non-political, non-religious, mostly silly) jokes on hand in case students can’t think of one. You’ll find that after a while many students will come prepared and eager to share.

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November 2014 | 2 Tips for Tap Teachers | Spanks and Drawbacks

The back brush is often called a spank; beginning students learn this as the second sound of a shuffle. The spank that starts from a flat foot on the floor and is used in time steps, drawbacks, and crossover steps (to name a few) is much more challenging and can be introduced once students have strong basic skills and are dancing in eighth-note triplets (because the spank often happens on the count “a”).

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