By Stephanie Wolf.

As the dance community continues to debate over how to bring dance to a larger audience, some individuals are making strong efforts to etch the art form’s way into mainstream culture. With hit television shows like ABC’s Dancing with the Stars and FOX’s So You Think You Can Dance, the average Jane and Joe are becoming interested and gaining awareness of the blood, sweat, and tears that dancers pour into the profession. Starting this summer, Ovation TV – the nation’s only “multi-platform network” devoted entirely to arts culture – is taking this cause to the next level. In collaboration with television juggarnauts, Simon and Nigel Lythgoe, Ovation is gearing up to premiere a brand new kind of dance on television experience called A Chance to Dance.

Excited to be an integral part of arts advocacy in America, Ovation’s Senior Vice President of Programming Kris Slava claims that A Chance to Dance will further prove “how art makes for compelling TV with mass audience appeal.” Slava is also “jazzed” to work with two of television’s most recognizable reality TV personalities, siting Simon and Nigel’s combined commitment to the arts and “a track record for making addictive TV.”

Michael Nunn and William Trevitt

The feeling is mutual. “Simon and I are thrilled to be working with Ovation, a network that truly speaks to our artistic passions,” says Nigel Lythgoe. He and his son Simon have a close relationship and have been working together for over 20 years. They have already experienced huge television and ratings success with shows like American Idol and So You Think You Can Dance. Now, they plan to use their respective production companies, Nigel Lythgoe Productions (NLP) and Legacy Productions, to continue to “tap into an insatiable craving for dance on television.”

However, A Chance to Dance is different from any other dance series currently on television, offering a documentary feel versus the reality show competition formula Americans have grown accustomed to. It follows former Royal Ballet dancers Michael Nunn and William Trevitt of BalletBoyz as they audition hopeful dancers, narrow down the talent, and launch an all-male American dance company. “The show is based on exactly what [Nunn and Trevitt] do for a living,” explains Simon.

Simon met Nunn and Trevitt a few years ago through a mutual friend, while visiting North London. He had the pleasure of observing a BalletBoyz rehearsal and says, “I knew instantly they were something very special.” And special they are…they have experienced great success around the world, but have yet to tap into American talent. The idea for the series came from Nunn and Trevitt, but incorporating the Lythgoes and their years of television expertise will surely help make the show a huge success.

Dancers audition for the company.

Every episode will be unique, showcasing the very real “trials and tribulations of forming a dance company under extreme conditions.” Viewers will witness the two work with “a limited amount of time and resources” to nurture young, talented dancers and produce a final performance.

The series starts with Nunn and Trevitt scouring the country for dancers. Dancers will go through a rigorous audition process, without the typical glamour of a series produced in a television show. If the dancers show promise in the open auditions throughout the country then they will move on to New York City, where they will be put to the test with an “intensive dance boot camp.” From this crop of dancers, Nunn and Trevitt will select twelve to perform in a finale gala, a charity event for the arts. Out of these twelve individuals, only eight will tour with the BalletBoyz. The final eight will make up the American company, which will be based out of Manhattan and perform a variety of dance styles all over the country.

Simon speaks passionately about furthering the arts in America because, ultimately, all parties involved hope to see more results from the show than merely high ratings. “Sadly in these tough times, the first thing that gets cut is arts funding. I’m hoping this show will highlight how talented American dancers are and ensure the next generation has the same opportunities for success.” Through series like A Chance to Dance, as well as organizations such as the Actor’s Fund and Dizzy Feet Foundation, Simon hopes to help the arts continue to thrive. But he also emphasizes the potential of a united front within the dance community. “Combining strategies, staying ahead of the curve, using every means possible to promote companies through new media…and old media — it’s the only way dancing will flourish. The public needs to be informed about the arts in order to watch and appreciate dance.”

A Chance to Dance will premiere on August 17, 2012 on Ovation TV. For more information, visit Ovation at ovationtv.com.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

By Emily Yewell Volin.

Muntu Dance Theatre, based in Chicago, is currently celebrating its 40^th anniversary season.  Founded in 1972, the company is the largest African dance company in the US and holds central its focus to present authentic and progressive interpretations of contemporary and ancient African and African-American dance, music, and folklore. The Muntu company is acclaimed for its gripping ability to transform a space with infectious performance energy.  It’s also revered for honoring the Bantu word for which it is named – ‘muntu’ translates to mean ‘the essence of humanity.’

Dance Informa spoke with Artistic Director Amaniyea Payne and President Joan Gray who share that “the response (to Muntu) is the same no matter where” they are performing.  Ms. Payne describes it as a “collective energy…Muntu brings an energy that interconnects with the audience. People leave (our performances) with creative, spiritual and artistic rewards.”  Gray adds “the company is not happy unless people are trying to jump up on stage.  We don’t like it if people are sitting and quietly clapping.  When you come to a Muntu concert you will see people from the cradle to the grave…we like it when the audience does the ‘amen’ of what we’re doing!  We see our cultural connections to each other as world citizens and the art making we do as being that connection. We want to share it.”

Photo by Marc Monaghan

Muntu is best known for its historical works and, according to Payne, frequently collaborates with elders, scholars and practitioners who specialize in the study of a particular dance in order to honor both the research and creative responsibility associated with this type of work. Payne says, “We project the most authentic aspects of (the work) to complement the creative.” Gray adds, “It’s very important for us to present positive and accurate interpretations of the culture.  We are very interested in how African culture has influenced dance and music of people in countries around the world where Africans are now settling.  For example, we spent several weeks in Brazil researching cultural connections between Brazilian culture and African culture. The resulting choreography reflected the convergence of these cultural styles – what we call the race memory.”

Muntu frequently shares concert billings with other dance companies; often in the crowd pleasing position of opening or closing the show.  However, during this anniversary season Muntu will perform its first ever collaboration with dancers from another company.  Muntu and DanceWorks Chicago were awarded a grant from Audience Architects to broaden audiences by going to venues where they had not previously presented themselves. So, on the weekend of May 11-13 DWC and Muntu will perform at the North Shore Center for the Performing Arts in Skokie, IL.  Payne beams as she discusses the project. “DanceWorks Chicago opened up its studio for our dancers to engage in the genre of ballet and I will be going to teach at the Ruth Page Dance Center to engage the DWC dancers, and that community, in an African Dance experience.”  The grant provided the two companies the opportunity to bring in a dynamic choreographer, Monique Haley, a former Company member of River North Dance Chicago.  “She has been able to put a piece on both companies that we will perform during the shared performances in May and separately while the companies are on tour independently”, explains Payne.  The piece is titled See (in) Me and wrestles with issues of stress, stamina and trust; all set to a rhythmically inclined score.  Payne adds that it has been rewarding to see the dancers and artistic directors, “have the opportunity to work, share, and inform each other.”

Photo by Marc Monaghan

The community qualities that are essential to the collaboration with DWC are evident throughout all of Muntu’s work.  Muntu maintains a teaching presence in 11 Chicago-based schools and community organizations and offers open adult division classes to the community.  Gray says, “Muntu has a dual function, we are definitely a professional performing arts company that performs around the world and self produces our season every year.  But equally as important to me, is that when there is an important event of significant happening in the community, Muntu is called upon to bear witness to that and to bring the appropriate cultural celebrations.”  Muntu is ‘honored’ to regularly perform for weddings, funeral celebrations, parades, block clubs, and during visits of foreign dignitaries.

Dance Informa asked Gray and Payne what advice they would give to fledging dance companies.  Gray advised, “be sure that you have a vision for your work; and you have to have clarity about how you are going to express that vision. You’ve got to have something to say. You also have to set realistic goals and objectives for your work and how you are going to advance that work and take it one step at a time. You have to think about a model of operations for the resources that you have or you will have in the foreseeable future. When Muntu first started it was the artists who did all the management stuff, too.  We weren’t paid at that time…we had to do everything.  If you are not prepared to do all of those different types of things until you get to the level where you can contract people, you shouldn’t get started. I don’t believe that every dance company has to have a vision of (lasting) into perpetuity.  Every dance company that gets started may not want to be an institution.  They may want to survive the lifetime of its founding director.  Be clear about what you want to achieve.  If it’s for a single choreographer’s vision, that’s fine, just explore different ways you think. Holistically, it can work for you.”  Payne adds, “you cannot do this by yourself.  It’s important to get a trustworthy team that shares the vision.”

When asked to reflect upon a single wish for Muntu during this anniversary year Payne confided, “one of my single wishes is a wonderful facility in order for Muntu to continue to do the valuable artwork and share it with the community.”  Gray adds to that, “where the whole organization could be under one roof.  We know we could deepen our impact and our expression, and make it easier for everybody, if we were all under one roof.”

Connect with Muntu’s website www.muntu.com to learn more about the company and this season’s 40^th anniversary celebrations.  As Payne said in closing, “be part of the celebration!”

Top photo: Muntu Dance Theatre. Photo by Marc Monaghan.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

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By Katherine Moore.

Summertime is rarely a time of rest for aspiring dancers. Instead of lounging by the pool, young dance students often opt to spend weeks, possibly months, at intensives and workshops hosted by top dance companies, where students use the long, sweaty days of summer to learn and push themselves toward bettering their craft. These intensives attract students from across the country, and in some cases, from across the globe.

One such institution is World Dance Movement, an international workshop event that takes place in Castellena Grotte, Italy, where students have the opportunity to invest in their dance future and lounge by the beaches of the Adriatic Sea. As an institution dedicated to uniting cultures through dance, WDM brings students from 25 countries to study with internationally-renowned dance teachers and choreographers.

Founded on the idea of creating a global forum where dancers can grow both artistically and culturally, WDM’s overall mission is “to become a leader in the international dance scene – a respected source for bridging cultures through dance,” according to Michele Assaf, founder and director of WDM.

Dana Foglia's Hip Hop Class at World Dance Movement

For three weeks, from July 8-29, students from the age of 6 though 17+ will study a myriad of dance techniques and styles while residing in the beautiful Puglia region of Italy. The curriculum includes standard offerings such as jazz, ballet, and contemporary, but also more unique topics such as acrobatics, Yamuna Ball Rolling, and the opportunity to participate in workshops/seminars about auditioning and career development.

Assaf is especially excited that Cirque du Soleil will be joining them as a workshop partner this year. “WDM dancers will have an opportunity of a lifetime,” Assaf said. “The Cirque du Soleil senior artistic talent scout will hold dance workshops and seminars, as well as visit select WDM classes in search of future Cirque du Soleil artists.”

With innumerous summer intensives to choose from, what makes WDM a distinctive option for aspiring dancers is the versatility of so many different teachers and choreographers from around the globe at one event.  The faculty roster includes the likes of Desmond Richardson, Dana Foglia, Jason Parsons, Igal Perry, and many, many more.

WDM strives to keep class sizes small, which gives students the rare opportunity to interact intimately with international choreographers and their fellow students, many of whom will be speaking different languages.

David Marquez

David Marquez, a Broadway choreographer, director, and WDM faculty-member, mentioned the importance of gaining this international perspective as a young dancer. “Exposure of any kind is helpful, in anything, specifically with dance. Dance is such a universal thing. It comes from everywhere and belongs to everyone. Therefore, those who are doing it in America differ from those who do it in Istanbul, or Lisbon, or Sydney. And creativity is like perspective, everyone has one, and everyone’s is different.”

The opportunity to gain new perspectives on dance is furthered at the conclusion of each week of the event, when families and teachers gather to watch students perform what they have learned in an outdoor gala.

WDM gives over $65,000 in international dance scholarships to ease students’ and parents’ financial burden of taking part in this artistically and culturally-immersive opportunity.

Past students have felt that WDM’s unique location, international faculty, and overarching goal of bridging cultural gaps through dance, creates a summer filled with inspiration.

“On top of being in one of the most beautiful places in the world and being surrounded by amazing people from all different countries, you are taking classes from a diversity of the most talented, giving teachers. I made so many close new friends who now seem like family,” one student said.

Similarly, Marquez, who described himself as “the musical theater, Broadway expert in the WDM family,” enjoys teaching his passion just as much as he relishes the close time spent with students, parents, and teachers from around the world.

He said, “For a week or three you are doing what you love, in a beautiful setting, in the company of other people who love doing the same thing you do, while learning about different cultures, making new friends, speaking new languages, and sharing an experience that is un-duplicated anywhere in the world.”

Top photo: Students take class with Desmond Richardson at World Dance Movement Italy. All photos courtesy of World Dance Movement.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

By Laura Di Orio.

The Boston International Ballet Competition (BIBC), founded by former international ballet star Valentina Kozlova, returns for its second year this June at Boston’s Cutler Majestic Theater. This year’s competition, to be held June 13-17, will allow dancers from the ages of 13 to 25 to perform and have the chance to win a variety of monetary prizes and even company contracts.

Although there will be a couple of changes to this year’s competition, such as the inclusion of mandatory contemporary pieces for each dancer, Kozlova aims to maintain the positive, enriching environment that she instilled last year for the dancers.

“I think it’s very important for dancers to know it’s about them,” Kozlova says. “It’s not about anything else. It’s about giving them a chance to be comfortable and to be nurtured in this environment that is very positive. I would like to do everything and anything to continue to do that.”

Kozlova, who trained at the Bolshoi Ballet School and performed with the Bolshoi Ballet Theatre and New York City Ballet, says she expects to match last year’s number of about 85 participants. The participants will be split into different age groups – student division (ages 13 and 14), junior division (ages 15-18) and senior division (ages 19-25). They will also have the option of competing as an individual or as a couple.

Brooklyn Mack (USA), who received a Bronze in the Senior Male Division at last year's BIBC. Photo Brian Mengini

This year, in addition to each dancer’s classical variations and/or pas de deux, everyone will be required to perform a contemporary pas de deux or two contemporary solos. Dancers will learn those pieces, as well as receive insight and suggestions for style and costume from the choreographer, directly from the BIBC website.

“Then, onstage at the competition, they do exactly the same choreography but very different interpretations,” Kozlova says. “It’s very experimental for me and the judges.”

Kozlova will also place some restrictions on what dancers can and cannot present. She says those in the student division, for instance, will not be allowed to dance “more seductive roles”, such as the Black Swan pas de deux in Swan Lake and Kitri’s variation in Don Quixote.

The BIBC 2012 judges are big names in the dance world, including Mikko Nissinen, Artistic Director of Boston Ballet; Violette Verdy, former New York City Ballet ballerina; and Septime Webre, Artistic Director of The Washington Ballet. The nine-person panel will award a variety of prizes, including monetary rewards up to $5,000, one-year contracts with Boston Ballet II and The Washington Ballet Studio Company, full tuition scholarships to prestigious ballet schools and summer programs, classical tutus and more.

Valentina Kozlova, founder of the BIBC. Photo Boz Swope

“The dancers put so much energy and life into competing,” Kozlova says, “so the rewards should, in any way we can, give to the dancers.”

Despite the prospect of winning prizes, Kozlova says dancers should not let that be their driving force in this, or any competition. “You do it because you have a passion for dance,” she says. “You have to want to work differently, to be seen, to see. If you come with the ‘I want to win’ mindset, that will be very upsetting for you and people around you. You should be excited to be a part of this and want to be a part of this dance community. And if your attitude is positive, you might be rewarded.”

During this year’s BIBC, guest artists from Boston Ballet, American Ballet Theatre and New York City Ballet will perform. Two dancers from last year’s competition will also perform, which, Kozlova says, will become a BIBC tradition.

Kozlova has high hopes for this year’s BIBC and for the future of the competition. “I just hope to do what we did last year and more, and I hope dancers will show good results,” Kozlova says. “This competition is by selection only, and I hope that we’ll see great art.”

For more information on BIBC, visit its website at www.bostonibc.org.

Top photo: Ji Young Chae and Young Gyu Choi (South Korea), Gold Medalists in the Senior Division of last year’s BIBC. Photo Brian Mengini

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

By Emily Yewell Volin.

DanceWorks Chicago is a contemporary dance company committed to working in a “culture centered around a generosity of spirit and building community,” says Artistic Director and Co-founder, Julie Nakagawa.  The company is currently celebrating its 5^th anniversary season of working within the model of bringing together people with a “wide range of skills, approaches, and experience”, shares Nakagawa. “I think that many dance companies select dancers based on who would be good for them, who is best able to serve the repertoire.  For us the conversation also goes the other way.  How can we at DanceWorks Chicago serve these dancers?”

DanceWorks Chicago’s commitment to service pervades every aspect of their work.  From audiences being invited into the audition process, to the reciprocal mentorship of dancers and choreographers within the company, DWC is all about “illuminating the work of art”, Nakagawa explains.  “We are about investing in the future.  So many of us individually and collectively are really focused on today, because if we don’t have a good today we’re not going to have a good tomorrow.  And, I totally get that.  But if you’re lucky enough to have a tomorrow, what’s it going to look like if you don’t think about it today?  I’m going to be optimistic and work towards having a tomorrow.  You might as well think about the future and invest in a positive future for everybody.  For us it’s beyond DWC.  We promote personal responsibility within our dancer contingent but we also feel as an organization that we need to have a responsibility to the bigger picture and our art form.  We try to lead by example.  We work to create an atmosphere conducive to young artists doing their best work by listening, challenging, stimulating, supporting, and encouraging them to own their time here.”

DWC presents 'Beat in the Box'. Photo by Cheryl Mann

DanceWorks Chicago artists come from all different kinds of backgrounds. “They look different, they approach dance differently, they have different goals in terms of dance and different ways they want to fit into the dance community. They are learning about those ways as they go through their journey, of which DWC is just going to be a small part”, says Nakagawa. “The opportunity to gather together diverse individual artists makes us richer and stronger as a group. With lots of different voices in the studio and on stage, DanceWorks Chicago has so many points of view, and energy to catalyze vibrant art-making and connections with the audience.”

DWC alumni present a convincing track record for the viability of training within this model.  The company is proud to have 15 DanceWorks Chicago alumni out in the world in places ranging from Alvin Ailey American Dance Theater, The Lion King on Broadway, the national tour of The Color Purple, Chicago’s Luna Negra Dance Theater, Los Angeles Ballet, the freelance dance scene and cruise ships to even Chicago Public Schools.

One shining example of DWC’s commitment to gathering individuals is its Dance Chance event.  This event, which DWC hosts in partnership with the Ruth Page Center, attracts and supports the work of Chicago-area choreographers.  “It’s meant to be the start of a conversation”, says Nakagawa. Dance Chance presents three choreographers a month. Following the event, names of self nominated choreographers are randomly drawn from a fishbowl to present work, in the order drawn, during the next Dance Chance event.  “Each person has 15 minutes to show work or talk about work”, adds Nakagawa.  The event is totally non-curated though there is a guest moderator to catalyze connections between the artists and the audience.  Dance Chance attracts both those who already have a relationship with dance and those for whom dance may be a new curiosity.

DWC presents 'Nocturnal Sense' by James Gregg. Dancers: Peabody, Horton & Jackson. Photo by Vin.

Equally interesting are DWC’s modifications to the dance audition process. The DanceWorks Chicago annual open audition is conducted on stage, which removes the judgmental mirror and adds the audience component. Nakagawa explains, “It’s an unedited, very authentic experience. We talk about the muscle of courage and how it’s important to make sure that gets a work out every day.  We start with a ballet class, with eliminations, and move on to repertoire selections taught by DWC dancers so that the auditionees, and audience, get more of a sense of who we are as well as our culture of inclusion and personal responsibility.  The DWC dancers are responsible for sharing the information and are included in the audition process, which gives them a different vantage point.  Feedback from the auditionees has been very positive.  They seem to appreciate the presence of a supportive audience and, while difficult, they also take advantage of the opportunity to join the audience if they are excused from the audition and use it as a chance to observe and continue the learning process.”  DWC welcomes a diverse audience into the audition.  “Reaching for a dream and making yourself vulnerable – these are things we can all relate to”, says Nakagawa.

DanceWorks Chicago enjoys being part of a community as an in-residence company at the Ruth Page Center for the Arts in Chicago’s Gold Coast. The company partners often with River North Dance Chicago on combined company classes and even events like potluck lunches. “There are connections that happen behind-the-scenes that reflect our mutual respect and appreciation of one another.  In fact, Monique Haley, a former dancer with River North, participated in Dance Chance as a choreographer and subsequently created new work for both River North as well as DanceWorks Chicago.  Her new work See(in) Me is actually a DWC collaboration with another Chicago company, Muntu Dance Theatre of Chicago!  The collaborations and the energy continue!” shares Nakagawa.

DanceWorks Chicago’s 5^th year includes many performance highlights.  They are excited to debut in Italy with a three-city tour from April 17-19 and for collaborative performances with Muntu Dance Theater, which will take place at the North Shore Center for the Arts, Skokie, IL May 11-12.  DWC also looks forward to their debut at the Spring to Dance festival in St. Louis on May 25 and to their 5^th anniversary benefit, which will be held in their home at the Ruth Page Center on June 3^rd.

To learn more visit www.danceworkschicago.org

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events.

By Laura Di Orio.

When Karina Teran, a freelance dancer in New York City, was offered the opportunity to travel the world, save money that would normally go towards her NYC rent and receive a consistent salary to perform large-scale Broadway-style production numbers, she thought she shouldn’t pass it up. When her dear friend got the exact same offer, her decision was made. For the next seven months, Teran would embark on her adventure – dancing on a luxury cruise line.

For many dancers, a gig on a cruise ship is a welcome one. Some choose the job because they want to save money to pay back debt or for the future. For others, it is their first professional dancing gig and offers invaluable, nonstop performance experience. And for some, dancing on a cruise ship allows them to travel the world while they’re still young.

Christine Wunderlich in performance with Royal Caribbean Productions. Photo by Bobby Black

“For a NYC freelance dancer, a cruise ship job can be a blessing,” says Teran, who has had two contracts with Carnival Cruise Lines. “It’s an opportunity to have a permanent dance job with a good salary.”

Memnon Adams, who has been dancing on cruise ships for the past year-and-a-half, agrees. “The advantages are saving most of your salary, visiting many different islands and continents, being exposed to so many different cultures and languages, seeing ancient ruins, but most of all, not having to pay rent,” he says.

Dancers can make $2,000-4,000 per month, depending on the cruise line and factors like seniority and special abilities (dance captains make more). Most cruise ship dance jobs cover room, food, transportation and primary health services while the dancer is working on the ship. As crew members, dancers also receive discounts on shore excursions and tours, and can take advantage of services aboard the ship: free gyms and pools, discounts at ship stores, coffee shops, bars, spas and hair salons, as well as a number of activities and parties for the staff.

Even more than these extra perks, cruise ship dancers gain intensive performance experience. In a typical six-month contract, consisting of a number of four to five day cruises, dancers can perform three different shows about 180 times, Teran says.

These shows tend to be very theatrical and energetic and can include dance styles that range from Latin jazz to tap to square dancing.

“The productions are of a high level that you can compare with Broadway or Vegas shows,” says Teran. “You work with the ultimate technology for lighting, visual effects, revolving stages, sets and an orchestra.”

For cruise ship dancers, the performance style is extremely varied, so versatility is a must. “It is important to have very solid technique, as well as be strong in jazz, contemporary and theater styles,” says Christine Wunderlich, a freelance dancer from Vancouver, Canada, who is in her eighth contract with Royal Caribbean Productions. “Having partnering experience and knowledge of ballroom styles is also a plus. The more versatile you are the better because many shows have different styles in one show – jazz opening to ballet or contemporary and into partnering.”

A cruise ship dressing room full of costumes, wigs and props. Photo courtesy of Karina Teran

Adams agrees and says it’s also most important to enjoy dance. “It’s tons of fun because I’m learning new skills like harness and trapeze,” he adds.

Most shows incorporate full stage makeup, wigs, props, accessories and quite a few quick costume changes. “Since you are responsible for all your costumes, you learn how to take good care of them and be extremely organized,” Teran says. “These are good habits that will help you in your career as a dancer wherever else you work.”

For cruise dancers, days on which they perform are known as “sea days”, and other days, “port days” – when dancers and crew can roam the land, although often with a curfew.

In Teran’s experience, a typical sea day for a cruise dancer goes as follows:

12-2 p.m.: Rehearsal
2-4 p.m. (or before rehearsal): Duties
Aside from performances, a part of a dancer’s contract often includes additional duties, such as teaching dance classes, assisting in bingo or ping-pong tournaments for the guests or working in the library. Some of these responsibilities offer additional pay.
4-7 p.m.: Break, light dinner and dress for shows
During this time, dancers can rest and prepare their body for the evening of shows ahead. Most cruise lines do not offer a warm-up class, so the dancers must take it upon themselves to warm-up and stretch. Teran says she would do a ballet barre on her own and then stretch in the steam room.
7:15-8 p.m.: Dancers called to dressing room to organize and pre-set all costumes, props and wigs
8-8:50 p.m.: Showtime
8:50-9:45 p.m.: Break, stretch, prep for second show
Should someone get injured, this time would also allow a re-block of the entire show. Dancers must also reset their own costumes, wigs and props. “You have the quickest costume changes imaginable,” Teran says, “and if something is not in the right place it can ruin your timing, putting you out of a number.”
9:45-10:35 p.m.: Show #2
10:35-11:15 p.m.: Organize and put away all costumes, accessories and props
11:15: Done
“After two full workout shows you finish very hungry, so you can take a good meal at the 24-hour dining service before you go to bed or head to the disco with the rest of the cast,” Teran says.

Since so much time is spent onboard and with the other dancers and crew, it is likely that a cruise dance job is a great way to make friends. It is also a great way to learn how to work well with others.

“You work with people of all different backgrounds, and you’re almost forced to live with them and share the same space,” says Teran. “If you weren’t a tolerant or patient person before, you will become one by the end of the contract. In this aspect, you become a better professional.”

While there are many advantages to dancing on a cruise ship, the job may not be for everyone, or just may take some getting used to. “If you are a city person you might feel sometimes that you live in a cage,” Teran says. “You will breathe some freedom only on port days and only for a few hours. It’s different from the dance life on tour when you have a full day off.”

Another concern is the potential for injury, especially since dancers are usually expected to warm up on their own. Some ships, like Royal Caribbean, do offer a weekly company class.

“Personally, some days I would love to have more company classes,” says Wunderlich. “However, I also like to do my own warm-ups, and it prevents doing classes with people who may be less enthusiastic than yourself.”

Adams, too, tries to give himself a dance class when he can. “I try to stay motivated just for my health and of course for future employment,” he says.

For dancers who may be interested in cruise ship work, Teran recommends speaking to those who have worked on ships. If it seems like something of interest, auditions are frequently posted online (check out Dance Informa’s listings or the individual cruise line’s website).

“Working on a cruise ship as a dancer is a wonderful experience, positive in many ways and one that makes you grow as a professional and as a person,” Teran says. “You come back to land with unforgettable memories that will make you smile every time you look at the sea.”

Top photo: Karina Teran, photo courtesy of Karina Teran.

Published by Dance Informa dance magazine – dance news, dance auditions & dance events.

By Emily Yewell Volin.

Interlochen Arts Academy is a fine arts boarding high school that has earned a reputation of quality arts and college preparatory instruction since its founding in 1962.  Celebrating 50 years in 2012, the school offers areas of study in creative writing, dance, motion picture arts, music, theatre arts, visual arts and comparative arts.  The dance program has alumni working as choreographers and dancers “all over”, says Cameron Basden, Director of Dance, Interlochen Center for the Arts. And she’s not exaggerating.  Interlochen is proud of its excellent reputation for college placement and celebrates its graduates who are currently in positions as university faculty members, dancing and directing on Broadway, as well founding and dancing for renowned concert companies.

What makes an Interlochen graduate so successful?  “Interlochen brings together dancers, musicians, visual artists, writers, filmmakers, and actors. Dancers are immersed in their own discipline and develop technical skills but there is a tremendous benefit that comes from their exposure to and collaboration with creative students in other disciplines.  Ultimately, it helps our dancers become better artists,” explains Basden. Chris Hintz, Interlochen’s National Marketing and Communications Manager, adds “Students may be roommates with a musician or with an actor. [The community] is supportive in a sense that everyone is always working hard towards the same kind of artistic goals.”

'Mercurial Shades' choreography by Thang Dao, music by Vivaldi: Gloria in D, RV 588

Furthermore, “the arts and the academics support each other at Interlochen,” Hintz says. “A lot of students’ parents express surprise at our academic program; it’s college preparatory.  The idea is that a student could leave here and go into any discipline they want and get accepted into a very competitive school in any major. We want to be sure we are opening as many doors for them as possible.  All our academic faculty knows that every student in their class is an artist so they are able to teach in a way that captures their imagination.  They are used to more of that right brain type of learner than you have in a standard class. For example, the physics professor will have a dancer and explain the laws of physics from a dance perspective and how they act on a dancer making a particular movement.  He’ll talk about acoustics and the properties of sound and he’ll put it into the perspective of the violin. [Students are] seeing their instrument in a whole new light and seeing physics in a whole new light”, Basden adds. “Not only do you excel in your art form, you excel in your academics.”

Dance students at Interlochen perform three fully produced concerts per year and regularly work with guest artists.  Performances take place in a 1000 seat theater and there is a full costume shop. Basden adds that regardless of these polished productions, “It’s not always about the performances. A lot of times it’s about what happens in the studio on a day-to-day basis. We make a big effort to make collaboration a part of what we do; not only in performances but in our days. Visual artists coming in to draw the dancers, dancers going into the visual arts department, writers watching dancers move and writing about what they see and why they are moving and dancers reading things and moving according to what they read.  This encourages students to be creative and think outside the box.”

A recent example of collaboration in the dance department was last year’s work with Austin, TX based Gina Patterson and her Voice dance company.  Basden recounts, “visual artists were in the studio moving with the dancers and one visual arts student created a sculptured dress that was danced in.  Gina’s dancers worked with comparative arts students, ESL students and Spanish students and all of this went into choreography that was created for her dancers and the Interlochen students.  All of it inspired by chocolate!”

Interlochen Arts Academy students in the studio

The dance department at Interlochen accepts 40-45 dance majors a year.  Basden says she does not want classes to get too large because the program is “very individual and the faculty tend to have a very one-to-one relationship with the students.  We look for students with coordination, musicality, a passion for what they do and the potential and commitment to implement the knowledge that is given to them.  The dance world today is so diverse. If a dancer is really driven to be a part of it, there is usually a fit for them, and we want them to have options to find the best fit.”

Interlochen also offers one, two, or three-week summer dance programs.  Basden describes the programs as “very encompassing” and a “wonderful way to experience Interlochen.  It is a healthy and challenging environment where all students are there to learn as much as they can from the instructors and each other – and they do.  It’s amazing what happens over the course of a summer.  Both ballet and modern students work in three levels to study ballet, modern, jazz, repertory and conditioning. The modern students take composition and the ballet students have pointe and variations.  All students culminate the summer with a performance in our new outdoor theater.  They not only grow as dancers, but they grow and mature as people and as artists.”

Futhermore, Interlochen offers a week-long summer dance workshop for adults that immerses participants in current trends and practices in dance.  Basden describes this new program as “geared to the post high school student who wants to continue his or her training with classes each day, but the majority of the focus will be on choreography and exploration.”

Interlochen will be celebrating the 50^th anniversary of the Arts Academy with an all alumni reunion weekend set for May 23-27 and touring performances taking place all over the country during the next several months.  “The irony,” adds Hinz, “is that Interlochen is rather secluded here in northern Michigan, though we have students from around the world.  It’s important for us to leave our home every now and then and go out to where our students come from.  That’s what this 50^th is all about.”

Learn more about Interlochen at www.interlochen.org

Watch Interlochen Arts Academy’s 2011 Nutcracker:

Article published by Dance Informa dance magazine – dance news, dance auditions & dance events.

Auditions have started for Season Nine of So You Think You Can Dance, and Dance Informa’s been there to catch the action.

Dance Informa spoke to Nigel Lythgoe, Cat Deeley, Mary Murphy, guest judge Debbie Allen and Co-Executive Producer Jeff Thacker at the Atlanta auditions. With the elimination of the “Results Show” this season, there are many changes in store for the popular reality dance show.

Watch these video interviews to find out about Season Nine, and much, much more.

Top photo: Cat Deeley and Nigel Lythgoe of So You Think You Can Dance. ©2011 Fox Broadcasting Co. Adam Rose/FOX

By Alex Little.

Terry Beeman, 45 years old, is like the Madonna of dance; he continues to evolve, revealing even more facets on the diamond of the artist that he is. From dancing on international tours with Paula Abdul, Whitney Houston and Mariah Carey, to films such as Showgirls (Terry was the principal male dancer, partnering both leading ladies), to performing in aerial circus shows and with his company Mental Head Circus, Terry is a talented and tenacious jack of all trades.

When did you start dancing?

Dance started late for me, when I was a senior in high school at 18 years old, at a small studio in my hometown of Kansas City, MO called “Dance Factory”.  I was self taught in many respects. It came fairly naturally to me. I started because I was a gymnast, and my coach wanted me to find better alignment in my tumbling. I must have been tumbling crooked! Needless to say, I stuck with dance.

So clearly you had some talent and passion?

I moved to New York as soon as I could. I think I was 20 years old. My first teacher Denise Webb had just moved there so I followed her and trained with her at Steps on Broadway. I studied with a lot of teachers: Rick Atwell, Michele Asaff and Michele Kadison, to name a few. I trained in a variety of genres, at all the studios in NY. I knew it was good to be well rounded. When I was training you took classes in everything. You weren’t just a jazz dancer or hip hop dancer. You were everything.

When did your career take off?

It all started for me at 21 years old, when I auditioned for and got a big show in Italy called Fantistico Otto (or “Fantastic Eight”). It was a really big variety show in Italy. I was the lead male dancer. It taught me everything. I credit Heather Parisi for teaching me how to perform. We had to learn 2 – 3 dance numbers in a week, then actually perform them live every week! It was amazing! It taught me how to learn fast, and be ready to perform.

Terry Beeman. Photo by Vance at True Image Concepts.

Two years later, at 23 years old, I was back in NY, and began teaching at Steps while I was training. In NY you could still teach and train- and that was ‘cool’. Everybody instantly wanted to know what I learned in Italy, so people came to train with me.  I was teaching hot, sexy jazz. That was all we did back then. I taught in NY for about 10 years.

When did you begin to teach in LA?

During my 20s I was going back and forth to Italy for 6 or 8 more shows, and I met dancers from Los Angeles who spread the buzz about me on the west coast. Shortly thereafter, I was in LA for my first commercial job for Adidas, and I began teaching at the Edge.

What have been your most notable jobs?

My first tour was with Whitney Houston, then Paula Abdul. I finished Mariah Carey’s tour last year. My first film was Eraser. It was my first time dancing in drag. I learned a lot about how to go over the top. Before that I had only had experience doing jazz, sexy jazz, and lyrical. Showgirls was my biggest film. I mainly worked in LA in the commercial world of film, video and tours. I never really worked in New York because in my 20’s I wasn’t much of a theatrical dancer. That came later in my life.

How did you start choreographing?

I always had a knack with combining steps. I enjoyed it.  It has always flowed for me.

Did you begin your own company so you could choreograph?

Yes! When I want something or when times are tough, I go to the drawing board and create what I am looking for. Terry Beeman Dance Company began in my mid 30’s because I wanted to create.

When did you start aerial work?

I didn’t start until I was 36 years old- ten years ago!

Wow! Your work is of such high caliber. How did you become so strong at aerial?

Thank you. Well, I train a lot.  After our first show I found a little studio here, in LA, called Hollywood Aerial Arts and began training, and eventually teaching there.

Your current aerial show, Mental Head Circus, is one of the most phenomenal shows I have ever seen. How did Mental Head Circus begin?

Everything I have created starts the same way. I am out of work and poor, but I am not going to sit still, so I begin my next project. Through nothing I created something. With several years of aerial training, I decided to create a “twisted aerial dance cabaret”. To create a “pretty” vaudeville circus show, not the gypsie type, but more theatrical – something different.

How long has the show been running?

We are going onto our 4^th year. It is held at King King in Hollywood. It’s a really raw space, which is perfect for us. We are always evolving and changing it up, performing once, twice, and sometimes three times a month.

What are your goals for Mental Head Circus?

I have huge aspirations for the Mental Head Circus. I want 3 variations. I would like a live circus tent traveling show, a Broadway show, and a movie. I am writing songs right now as well as a screenplay. One of the songs is called “I believe” to remind me to keep going.

How are you funded?

I am not. All the money is out of my own pocket right now. When I have the money I buy T-shirts for promotion, or update the costumes. Basically whatever I can do, I do it. But I do have a great fan base. Our audience is growing.

How do you keep up the momentum and the dream?

I am so blessed to have the cast I have. They are loyal and they believe in me and the vision…more than I do. They love the show so much. They love how it feels, and the art of it.

You have been approached by reality TV shows. How do you feel about putting Mental Head Circus out there in that medium?

I don’t like the dramatization of those shows, so I have avoided them in the past. I want Mental Head to be shown in its true light. I also have always been a stickler on working hard and earning everything because of my talent and years of hard work.  At this point, however, if this is a way to get out there, make money and possibly get a show in Vegas, for instance, then I am willing to do it! So we will see what this year brings.

How can people outside LA access Mental Head Circus?

On YouTube and at our Facebook fan page.
www.facebook.com/MentalHeadCircus

For more information on Terry visit www.terrybeeman.com

Top photo by Vance at True Image Concepts.