At 17 years old, Ohio native Dwight Rhoden was playing the clarinet, flute and drums in his high school’s band. He had never taken a dance class and didn’t even know what the word “choreography” meant. He admits that while he was “good at social dancing” he was clueless to any real technique.

Rhoden even remembers the first time a friend suggested he take a dance class. “One day in high school I entered a dance contest at a local club. I didn’t have any formal training but I would just make up these elaborate steps and routines. My friend, who was actually a dancer, looked at me and said, ‘You know, you’re pretty good. Why don’t you take some real ballet and modern classes? See what you think. You really seem to love to dance.’” And as Rhoden explains, the rest is history.

Now the Co-Founding Artistic Director and Resident Choreographer of Complexions Contemporary Ballet, a celebrated and internationally-touring company hitting its 20th anniversary next year, Rhoden has established a remarkable and wide-ranging career. After beginning dance training late at 18 years old, he went on to successfully perform with Dayton Contemporary Dance Company, Les Ballet Jazz De Montreal and as a principal dancer with Alvin Ailey American Dance Theater.

As an accomplished dancer, Rhoden even appeared in numerous television specials, documentaries and commercials throughout the United States, Canada and Europe and was a featured performer on many PBS “Great Performances” specials.

Complexions Contemporary Ballet performs Rhoden’s ‘Mercy’. Photo by Sharen Bradford

Yet, Rhoden admits that those first few years as a young dancer were hard as many people thought it was impossible to begin training so late and make it as a professional. He recalls, “There were a lot of naysayers… even my family thought I had no chance. They told me not to get my heart set on it.”

However, that time of persistence, grit and determination only sharpened Rhoden. He would “eat, drink and sleep dance” and push himself harder. He says, “I never really thought about what I couldn’t do, only what I could. And I didn’t sit around listening to people tell me what I couldn’t do. I just didn’t set limits for myself, and I still don’t… That is why I am where I am now. It was 100 percent dedication and not looking back. I immersed myself in the art form.”

With that kind of perseverance, Rhoden blazed his career path to where he is now. Named “one of the most sought out choreographers of the day” by The New York Times, Rhoden has created works for numerous companies, including The Joffrey Ballet, Miami City Ballet, New York City Ballet, North Carolina Dance Theatre, Arizona Ballet, Aspen Santa Fe Ballet Company, BalletMet, Dance Theater of Harlem, Pennsylvania Ballet, Philadanco, Marinsky Ballet (Kirov) and Washington Ballet, amongst many others. Rhoden has also directed and choreographed for TV, film, theater and live performances, including So You Think You Can Dance, E! Entertainment’s Tribute to Style and Cirque Du Soleil’s Zumanity. Plus, among many other famous entertainers, Rhoden has worked with high-profile artists such as Prince, Lenny Kravitz, Kelly Clarkson, Nina Simone, U2 and Patrick Swayze.

Yet even with the multitude of companies, dancers and performers he has worked with, Rhoden says his crowning joy is Complexions Contemporary Ballet.

Dancers of Complexions Contemporary Ballet. Photos by Jae Man Joo.

“When Complexions came on the dance scene in 1994, I really feel like we changed the landscape of what contemporary ballet is. We were one of the first companies in both New York and the United States that was really trying to integrate on all levels,” says Rhoden.

The company got started almost by accident, Rhoden recalls. After leaving Alvin Ailey American Dance Theater with fellow company member Desmond Richardson, the two created a choreographic variety show that brought together a lot of their dance friends who were performing in assorted companies.

“For the initial project, we just wanted the dancers to come from all different aspects of dance. So we decided to call the project Complexions and get a theater… During the tech rehearsal Desmond and I sat down and watched what was happening on the stage and we looked at each other and said, ‘We’ve got to do something with this. This has to go beyond these performances.’ So right then and there Desmond and I decided to start a company. That was the beginning of the idea,” he remembers.

Nearly 20 years later, the company has become widely considered as “America’s Original Multicultural Dance Company” and is celebrated for its pioneering spirit. Rhoden says it feels a bit unbelievable to have come so far.

“I really feel nostalgic. I’m grateful that I’ve had the chance to have this opportunity with our company. It’s not an easy thing to start a company from scratch – it’s truly challenging. But I look back and there have been so many rewards along the way. I think I have learned so much.”

Dwight Rhoden working with Wendy Whelan and Desmond Richardson. Photo by Jae Man Joo.

And there truly is much to be proud of. In addition to helping to build a universal brand that continues to challenge traditional ideas, Rhoden has choreographed more than 80 original works for the company that have been presented on five continents and in over 20 countries – including the US, Canada, South America, Mexico, Europe, Asia, Poland, Australia, New Zealand, Russia, The Baltic Region, Egypt, Israel and the Middle East.

As a choreographer, one of Rhoden biggest inspirations and passions is engaging and challenging dancers. He takes pride in being called “a dancer’s choreographer.”

“I am one of those choreographers who is 100 percent inspired by the dancers in front of me. I love taking the talents they already have and the talents they are discovering and building something for them to shine with,” he says.

Desmond Richardson says, “Dwight has trained so many amazing dancers and that’s his gift. In the industry many of the formidable dancers call him the ‘dancer’s choreographer’ because of the way he challenges your aesthetic, and because of his range. He can do anything from street dance to the classical. I don’t think there are many choreographers like him with his range. To work with Dwight is to let your passion flow, to be on edge, and to be educated in the unknown.” 

Rhoden is so passionate about working with dancers that he says: “If I was never able to choreograph another ballet, I would still want to work in the studios with the dancers.”

Complexions Contemporary Ballet presents Rhoden’s ‘The Curve’. Photo by Bill Hebert.

Still, Rhoden is looking to the future with new, big dreams. Even while taking the time to celebrate his career and recent 50th birthday, he is not slowing down. With many projects in the works he keeps plunging forward. One of his upcoming projects is creating his own full-length Rite of Spring.

“I’ve always wanted to tackle the Rite of Spring so for next season I will be working on a two-piano version for Complexions. It will be premiered in Seoul, South Korea as part of a festival with seven other companies from around the world, which are all doing different versions of Rite of Spring. I will really start working on it in late July and early August.”

Also for his company, Rhoden is going to premiere a new Stevie Wonder ballet next season, saying, “Everyone can connect with some Stevie Wonder song from sometime along his career.” Furthermore, he will continue to choreograph for SYTYCD and the North Carolina Dance Theatre (where he is resident choreographer), and be directing Richardson’s solo show, which will feature Richardson dancing with a few guest stars. “I think that will be very exciting. We are hoping that will kickoff by the top of 2014, at the latest,” he says.

Somewhat secretively, Rhoden also revealed that he is currently working on a “very exciting Broadway project.” It comes out of one of his previously choreographed ballets and is in the works to go to Broadway next year.

One goal Rhoden and Richardson have for this year is to find Complexions a permanent home. Rhoden said they are scouting locations in New York City and elsewhere. Ironically, the company has had offices but not an actual studio space to call their own.

“Our education programs are very strong components of what we do – with Summer Intensives in three cities now – NYC, Detroit and Dallas. The programs are extremely competitive to get into and we simply can’t do all that we want to because of the lack of our own space,” Rhoden explains.

Complexions dancers. Photo by James Houston

“We have our feelers out in various parts of the country and have made some inroads in a few places. We have been nomads for nearly 20 years without a space of our own [and] Desmond and I are hot and heavy on the pursuit to have a permanent space.”

He says that there seems to be desire for Complexions to offer dancers training in the style of the company year-round. For that reason he is excited about finding a home where the company and school can continue to evolve. Moreover, Rhoden mentioned that Richardson and he have developed their own contemporary ballet technique through Complexions that is actually in the process of being trademarked.

“It’s basically taken classical ballet and added the torso. It encourages the movement of the upper body and is a very physical and athletic way of training. It will prepare dancers for anything off center,” he says.

Overall, when dually reflecting back on his momentous career and his formidable future, Rhoden sees one trend – hard work and diligence. He says that while many dreams are outstanding – like perhaps working with American Ballet Theatre’s Misty Copeland, producing some film shorts, being an “on-camera host to talk about art, dance and the creative process,” amongst other possibilities – he knows that success  only comes if you refuse to give up.

“When I look back, I see that there was no guarantee that I could ever have a career as a dancer starting so late and having absolutely no training. There was certainly no guarantee that I would reach the level of some of the companies I danced with. I look at that and think of what a huge testament it is to hard work and diligence,” he says.

“It goes back to something I really believe – that if you have the passion for something that you really love and you stay true and focused to it, there is no way you will not be able to accomplish the things in your heart. That kind of belief and energy is powerful. “

For more information on Rhoden and his upcoming projects, visit www.dwightrhoden.com. For more information on Complexions Contemporary Ballet and its 2013-2014 season, visit www.complexionsdance.org.

Photo (top): Dwight Rhoden © Jae Man Joo Photography

This year, the Royal Academy of Dance (RAD) USA will offer two different summer programs: a two-week Performance Course and a six-day Vocational Graded Syllabus Intensive. Both programs have been gaining popularity, and RAD USA expects there to be a larger international student body this year.

The Performance Course, held from July 8-20, is a specially-designed program that gives students insight into how it feels to be part of the creative process, while also allowing them to develop their skills as dancers and performers. Students will work with professional dancers and teachers to be a part of original pieces of choreography in preparation for a public performance.

RAD USA’s second program, the Vocational Graded Syllabus Intensive, is an intensive coaching session for RAD students who are preparing for Vocational Graded Examinations. This program, which will take place from July 22-27, is open only to RAD students.

For both RAD USA summer programs, auditions are not required. However, participants in the Performance Course must be between the ages of 12 and 22, and students in the Intensive must be between the ages of 11 and 22, with at least five years of ballet training. RAD USA will accept up to 80 students, with no more than 25 students per class. The Performance Course will be divided into two levels; the Intensive into four levels.

A culminating performance opportunity will be offered to students enrolled in the Performance Course, as its focus is primarily on choreography and performing.

“The [Performance Course] students work extremely hard over the two-week period learning new choreography in ballet, modern and musical theater to perform for a public audience on the last day of the program,” says RAD USA’s Special Projects Coordinator Ferrell Alexander. “The performance is an important aspect of the summer program, as it gives the students an immediate and tangible goal to work toward.”

A group performs during the 2012 RAD USA Performance Course. Photo by Colleen Dishy.

Students in either summer program have the option to reserve accommodations on campus at California State University Long Beach. They will be closely chaperoned by parents and teachers, with a ratio of one chaperone to 10 students.

In addition to studio time, participants will also have the chance to venture on a field trip each week. Performance Course students will attend a performance of American Ballet Theatre and will also visit the Long Beach Aquarium. Intensive students will attend a musical theatre performance.

“Each year, we hope that the students come away from the program with a greater sense of self – confidence not only as dancers and performers but also as young people moving through the world,” Alexander says.

For more information on RAD USA’s summer programs, visit www.radusa.org/courses.php.

Photo (top): A RAD teacher corrects a student during last year’s Vocational Graded Syllabus Intensive. Photo by Colleen Dishy.

With big dreams and big hearts, Travis Wall, Nick Lazzarini, Teddy Forance, and Kyle Robinson took on the greatest challenge of their careers last year when they decided to combine their artistic efforts and talents to create Shaping Sound—a new, Los Angeles-based contemporary dance company that melds together different aesthetics of movement and choreographic voices. The creation and debut performance of the company were chronicled in an Oxygen original series called “All the Right Moves” in 2012. Now, Shaping Sound is ramping things up with a thirteen-city national tour presented by Break the Floor Productions, LLC.

When the cameras stopped rolling

“Having our own company and a television show that followed our story was phenomenal,” says Forance about season one of All the Right Moves. He believes this platform exposed the company and their creative process to both the dance community and mainstream culture, opening them up to numerous opportunities they might not have had otherwise—such as this tour, which was buzzed about at the end of season one.

The four friends learned a lot from their experiences on the show, and Lazzarini commented they have all since grown as “competitors, teachers, students and friends.” After the television show’s finale, the four shifted their focus to this first tour, and initially, spent a lot of time developing its concept with their production company. “We had to think about what we wanted to do, where we wanted to go, when we would do it, and how we would pay for it,” says Wall about the obstacles they had to tackle before bringing dancers into the picture.

Nick Lazzarini, Kyle Robinson, Travis Wall and Teddy Forance of Shaping Sound. Photo by Rob Daly.

The show: what’s in a dream?

So, what can be expected this time from the creative minds of Shaping Sound?

Forance promises lots of fun and whimsy. The show’s concept is inspired by a quote from the original Peter Pan book—“You know that place between sleep and awake, the place where you can still remember dreaming? That’s where I’ll always love you. That’s where I’ll be waiting. ”

Blurring the lines between dream and reality, it is an imaginative exploration of what happens in dreams—a seemingly fitting idea to evolve from four big dreamers. “This new creation is a wild roller coaster in a dream world of love and fantasy,” says Forance. “The music is powerful and I believe we will surprise our audiences with our range of music and movement styles.”

With a roster of fourteen dancers, fans of All the Right Moves will recognize some familiar names, including Jaimie Goodwin, Channing Cooke, Alexa Anderson, and Matthew Peacock, among others. But there are also several fresh faces joining the company on this tour, making for a diverse and dynamic cast.

“This is the most creative work environment I’ve ever been in,” says Lazzarini of the company dancers hitting the road with him later this month. Forance also notes that Shaping Sound is the first contemporary dance company to be comprised primarily of dancers from the competition circuit.

Move like the dancers of Shaping Sound

In each city, a workshop taught in the style of Shaping Sound will be held before every show. “The idea behind the workshops is that you get a chance to warm up and dance with the company members,” says Robinson. Wall, Lazzarini, Forance, and Robinson will be at each workshop, rotating who teaches the warm up and choreography section. Attendees learn actual choreography from the show, getting the rare opportunity to “experience our movement firsthand before viewing it that night,” says Robinson.

The workshops are available to advanced dancers ages thirteen and up. Robinson assures that the four of them won’t just dole out combinations robotically, but will be out in the crowd, dishing out tailored technical corrections and helping the attending dancers discover a deeper understanding of Shaping Sound’s movement concepts. These types of educational experiences are an integral part of the company’s mission. Robinson explains that the ultimate goal is about more than just putting on a great dance show and says, “to inspire young talent by doing what we love is the best job in the world.”

Shaping Sound. Photo by Rob Daly

The dreaming continues

Wall hopes this will be the first of many tours for Shaping Sound. He’d like to take the company on the road every year and hopes to eventually tour the company to Europe, exposing the world to its unique vision. And while they hope to some day provide full-season dancer contracts, for now, Shaping Sound remains a project-based company. This gives Wall, Forance, Lazzarini, Robinson, and the rest of the company members the flexibility to pursue their personal careers in conjunction with Shaping Sound’s progression—the beauty of the commercial dance world is a dancer’s freedom to chase a vast variety of professional avenues and Wall wants to maintain that for the present.

As more exciting ventures evolve for Shaping Sound, Wall continues to hone his choreographic skills by working in multiple mediums like movies and Broadway. “Sky’s the limit,” he says—and with this type of momentum the artistic possibilities are bountiful.

The details

The 13-city tour kicks off with two mid-May performances in Los Angeles and hits up cities across the continent, ending in New York City on June 17. Those interested in attending one of the workshops can register on the company’s website—spaces are limited.

For more information about the company, visit www.ShapingSoundCo.com or connect with them on Twitter, @ShapingSoundCo.

Photos by Rob Daly.

Want better jump height, more endurance, improved brain function and better fat burning? Then carbohydrates can be your best friend.

Should I eat a high protein, low carb diet?

There always seems to be yet another new bestselling, yet unscientific diet trend that touts low carb, high protein eating. These diets are not good for anyone, but this is especially so for the type of activity that dancers do. Certainly adequate protein is important, but the body would prefer to spare it for important physiologic functions, not burn it as fuel. Carbs provide the type of fuel that the muscles need for dance. High protein diets can lead to lower bone mineral density and increased risk for long-term diseases. Plus, such diets have not consistently shown to help with weight management over the long term ^1,2,3.

Carbs can be found in wholegrain pasta, bread, rice, quinoa, barley, dairy, all vegetables and all fruits. Of course, you should avoid simple sugars in sweets, juices, soda, refined grains and baked goods. Sugar won’t give you enough energy to get through barre, but have a simple sandwich or pasta with veggies, and you’ll dance strong all the way through grande allegro. You won’t get that same level of sustained energy from a protein shake, or a big piece of meat before class.

Weight management and carbohydrates

The main reason people believe the hype about low-carb diets like Atkins, South Beach and Paleo diets is that they do aid in weight loss…. at first. For most people, much of the weight is gained back often with a few extra pounds to spare¹. Yo- yo dieting is not what dancers need, especially when it is at the expense of their health or performance. Quick weight loss, a hallmark of low-carb diets, can lead to loss of lean mass (muscle). Going on any very low-calorie diet and losing muscle means losing the most metabolically active tissue the body has. In addition to lowering the metabolic rate, the body adjusts to the restricted calories, setting one up for an endless cycle of gaining and losing. A better strategy would be to limit simple sugars and eat smaller more frequent meals and snacks with fruits, vegetables, whole grains and legumes as the foundation.

Carbohydrates and performance

There is no better fuel for athletic performance and brain function than carbohydrates. Complex carbs in whole grains, vegetables and fruits give the muscles a prolonged source of energy. It has been found that giving athletes carb-based snack bars between meals results in better energy output and anaerobic power, while keeping weight the same and lowering body fat⁴.

In one study carbohydrate intake prior to exercise was shown to be as effective in improving repeated jump height as the supplement creatine ⁵. The carb group didn’t gain weight but the creatine group did⁵. The American College of Sports Medicine recommends that athletes get 55-60% of their total calories from carbohydrates, and whole grains are also important sources of fiber, B-vitamins, iron and folate.

How much, and when?  

Here are a few real-life examples:
Everyone is different, but if 2000 calories are needed then 55-60% should come from carbs. That is about 275-300 grams because carbs have 4 calories per gram. Carb needs can also be calculated based on grams per kilogram of body weight. In general, recommendations are 5-8 g/kg depending on intensity of activity. So a 120lb (54.5kg) female dancer would need at least 272 grams per day.

Examples:
1 piece of bread: 12-17 grams
1 apple: 25-30 grams
1 cup quinoa or brown rice: 39-45 grams
1 cup green beans 8 grams

Long, busy class and rehearsal days

Plan ahead so that carbs and protein are eaten within one hour post exercise the day before.  Carbs should be eaten in the range of 30-60 grams per hour during the rehearsal day.

Show or audition day

If a dancer is feeling nervous and doesn’t want food sitting on their stomach, then they should be well-fueled 3-4 hours prior to the show/ audition. Then an hour or so before, opt for easy to digest carbs like pretzels, crackers or a sports beverage. High-fat and high protein foods take a bit longer to digest, so eat these in moderation if you’re nervous. Re-fuel as needed if it is a long show.

Rest day

On well-deserved days off, a dancer still needs carbs but not in the same amount as a workday.  Cut back just a little bit, and eat lots of fruits and veggies.

The subject of carbohydrate intake is big, and can’t be covered in one article. Check out my earlier Dance Informa article on glycemic index for additional information.

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

Sources:

1. Four-Year Follow-up after Two-Year Dietary Interventions N Engl J Med 2012; 367:1373-1374. October 4, 2012.
2. Campbell TC, Campbell TM. The China Study. 2006. Benbella Books
3. Rohrman S, et al. Meat consumption and mortality – results from the European Prospective Investigation into Cancer and Nutrition. BMC Medicine, 2013.
4. Benardot D, et al. Between Meal Energy Intake Effects on Body Composition, Performance, and Total Caloric consumption in athletes. Medicine & Sci in Sports and Exercise V37. 2005.
5. Koenig C, Benardot D, Cody M, Thompson W. Comparison of creatine monohydrate and carbohydrate supplementation on repeated jump height performance. Journal of Strength and Conditioning Research. 2008;22

Photo (top): © Phinizrl, Dreamstime.com

Becoming a professional dancer is like building a house from the ground up. You can’t start by adding the roof and interior decorations; rather, you must start by creating a solid foundation to support the structure and make it last. Similarly, a dancer must establish that foundation in technique before adding all the “tricks” and performance quality. And that foundation, according to many dance teachers and professionals in the field, is ballet.

“Because ballet has been constantly evolving for over 400 years, it has arrived at a very solid method of developing human movement potential for the stage,” says Stephen Pier, director of the Dance Division at The Hartt School of the University of Hartford, located in Connecticut.

“It’s still the most relevant technical training all around and can serve as a very effective way of organizing and developing the facility of the dancer. Most other techniques or styles have not been around that long. They are too limited to be the sole basis of training, and they haven’t worked out the science and art of dancing to the depth that ballet has.”

All of Pier’s students are required to take daily ballet class during their four years at Hartt. Ballet has proven to inform their dancing, and students have gone on to work in a vast range of professional companies – from Paul Taylor and Joffrey Ballet, to downtown contemporary and Las Vegas.

Like Pier, Dawn Hillen, master ballet teacher who currently teaches in NYC at Steps on Broadway, Broadway Dance Center and Ballet Arts, stresses the importance of ballet as a foundation of training. She says even her non-ballet-focused students have benefited. Some of her students who first started in hip-hop and found ballet later, for instance, said they felt definite improvement in their ability to change weight quickly, hit clean lines faster, focus and stay in the moment, and they became physically and mentally stronger.

Dawn Hillen leads a ballet class at Broadway Dance Center. Photo by Fiamma Piacentini Huff.

“You can use ballet to refine yourself,” Hillen says. “It creates a dancer or performer who is centered, balanced, lengthened and physically graceful. Just standing up is an art form, and it is a big part of your first impression. There have been a number of pre-professionals who were not getting work, and once they added ballet training to their daily or weekly routines, they began getting callbacks and jobs.”

Ballet contributes more to a dancer than just refined technique, too. Pier says ballet also imparts skills like “attention to detail, mastery, form, harmony, precision, discipline, social grace and awareness of the group – all skills that help young people succeed in the adult world.”

In addition, Yuka Kawazu, who has been teaching ballet in NYC for 15 years at various studios, including Ballet Arts and Broadway Dance Center, says, “We learn so many things, like patience, discipline, a different language, how to breathe, and we share joyful moments with other dancers.”

For these reasons, it is probably best to introduce ballet early on in a dancer’s training, to establish these skills in his/her dance and life. “If you really have the dancer’s best interest at heart, you must offer a proper ‘diet’ of training, and ballet is a big part of that good ‘diet,’” says Pier. “Not everyone is going to like broccoli if they’re used to eating candy all the time, but you might find some great recipes for serving it more tastefully.”

Still, some students may complain that ballet is “boring” or that learning the basics of technique is “slow.” In actuality, however, ballet is rigorous and demanding and a practice that requires great physical and mental control. To change a dancer’s approach from ballet as “boring” to ballet as “interesting” or “enjoyable,” Pier suggests taking a look at that dancer’s passion. Perhaps he/she is more focused on jazz. Then how can ballet support that passion, and what does ballet have in common with that passion?

Yuka Kawazu corrects a young dancer in her ballet class. Photo courtesy of Yuka Kawazu.

“Sometimes it’s good to show them how many successful artists in that field have studied ballet,” Pier says. “I like to point out in ballet class how different steps or phrases or movements relate to other dance techniques that I know a student is really turned on by.”

Similarly, as a teacher, Hillen says that when students come to her with the “ballet is boring” attitude, she tries to discover what they want, what they value and what drives them, and then she connects ballet to that. 

“The dancer can use this same approach on themselves to link up what they love with what they may need to do that, at first, seems ‘boring’,” Hillen adds. “Ask yourself what you want and what you like and how ballet is actually a means to creating those things.”

Many of Kawazu’s students are young Broadway professionals, and she says they have all come to realize the importance of ballet training to their career. Her teenage students have performed on Broadway in Finian’s Rainbow, Mary Poppins, Billy Elliot, Beauty and the Beast, Evita, Once, The Little Mermaid and more. 

Kawazu says she has had students who didn’t want to take ballet but should of in order to better their performing career. “I tell them that it’s okay to make a lot of mistakes and then they’ll learn,” she continues. “I mix between trying to make ballet fun and teaching more seriously. I would like them to feel that they can get better when they repeat the same exercises a few times. And when they hold their balance or can do the step, I see their face glow. I love that moment!”

In today’s dance world, where dancers are expected to be versatile, it probably doesn’t hurt every dancer, regardless of his/her concentration, to explore other dance forms. But it is the old tradition of ballet that seems to make the difference between dancer and professional. 

“Ballet is the ‘grandmother’ of them all in the Western world,” Pier says. “This system has evolved over centuries and has survived and absorbed every fad imaginable. It has great wisdom and logic imbedded in it, which every dancer should learn about. It’s not important whether or not you think you will become a ballet dancer. It is very important, however, that you become educated about your art and respect all of its various practices and practitioners.”

Music and dance — there was a time when the two were inextricably linked as live arts. Music was written for and tailored to movement; movement was created in conversation with that music; and performance was a continuation of the creative dialogue. But with the increasing availability of recorded music, that standard has changed. Choreographers save money by forgoing live music and commissioned scores, and musicians lose nothing by taking on more lucrative gigs.

For New York City-based dance-maker Leigh Schanfein and composer Jonathan Howard Katz, the rift between the two artistic disciplines is cause for concern. “When we showed one of our collaborative pieces at a dance showcase last fall, it was the only one of 11 pieces on that program to feature live music,” Katz recalls. “In a city where musicians are coming out of the woodwork, we had to wonder why.”

Thus was planted the seed for Periapsis Music and Dance, Katz and Schanfein’s venture to bring composers and choreographers, musicians and dancers together in the studio and on the stage. What began as a mere mutual thought last September blossomed into a full-fledged show in February, and will fuel the production of two more performances this month, at the Secret Theater in Queens on May 16 and the Actor’s Fund Arts Center in Brooklyn on May 20.

Leigh Schanfein and Mike Hodge in rehearsal. Photo by Alex Agor.

Though their first collaboration dates back only a year, Schanfein and Katz now find themselves facilitating what they hope will become a large-scale movement to reunite and revivify their artforms. Considering the massive response they gleaned from their initial calls for composers and choreographers, there is more than enough momentum coming from their respective realms to turn their vision into a reality.

“For the February show, I made only a mini call for composers and ended up with a playlist of about 40 pieces for the choreographers to choose from,” says Katz. “Most of the composers had never worked with dancers before, and they were flattered and impressed to see their work transformed into movement.”

Schanfein received similarly enthusiastic responses from the four other choreographers on Periapsis’ inaugural program, all of whom enjoyed some level of interaction with the composers behind their chosen music. A high priority for next year’s projects is to increase coactivity amongst participants, allowing for a more integrated creative product.

“So far, we’ve only worked with previously composed scores,” Schanfein says. “Even Jonathan and I have collaborated only on concepts. He writes the music with our ideas in mind, and I choreograph on top of that. We’d like to move toward a 100% collaborative process. That means extra rehearsal time, more back and forth, a lot of unused music and choreography… It would be really cool and also kind of scary.”

But heightening the artistic intensity of their work will likely prove to be somewhat of a creative release, given the plethora of logistical challenges Schanfein and Katz have faced in the less than six months they spent producing their first show. Of primary concern is, unsurprisingly, funding — an aspect of Periapsis’ well-being that its directors are determined to stay on top of.

“Freelance dancers especially are used to being poorly paid. But we need to have the budget to compensate our artists — all of them — in a reasonable manner,” Schanfein asserts. Katz is equally adamant on the topic of payroll, and with this point in mind, is eager to see through the group’s application for 501(c)3 status. “I seriously want to address the issue of pay with the grant writing we have coming up because we’re working with people who should not just be surviving, but actually making a living as artists.”

Composer Jonathan Howard Katz at the USF Robert Helps Competition and Festival. Photo by Kyle Scharf.

Finding suitable performance venues for Periapsis is another problematic task, considering the various technical requirements of productions incorporating not just one, but two live arts. Quality of acoustics, proper flooring, availability of less transportable instruments (pianos, drums), soundproof rehearsal rooms, warm-up studios — Katz and Schanfein take all of these details into account when scouting venues. And when the pair is not scouring the city for the perfect performance space or piecing together a non-profit budget, they are making moves to cultivate an audience and get more people involved in their cause. The greater their following, they believe, the greater the opportunities for their fellow artists.

“We don’t just want to produce our own shows; we want to help other musicians, dancers, composers and choreographers to collaborate,” Schanfein says. “If a music group wants to have dance in its next show, we can help them make connections. We want to see these visions realized.”

To learn more about Periapsis Music and Dance, or to find out how you can become a part of its next season, head to periapsismusicanddance.org to snag a ticket to one of the group’s spring shows.

Photo (top): Dancer Robin Gilbert in a Periapsis Music and Dance rehearsal. Photo by Alex Agor.

From a small town competition to the international Prix de Lausanne, there is a ballet competition for every age and every level of dancer. Whether you’re a young ballet student, in full-time training, or are a seasoned professional, the benefits of ballet competitions are numerous. However, there are some drawbacks, and the ongoing question of whether ballet should even be competitive. If you’re weighing whether or not to enter the world of ballet competitions, or are already a regular on the competition scene, Dance Informa has put together a guide to ballet competitions to help you navigate the tutus, tights, tears and trophies.

For younger dancers, competitions expose them to the fun of stage lights, costumes, make-up and prizes. For parents, it can mean long car rides, tantrums and endless sewing of sequins. Yet the pros far outweigh the cons, and the skills and discipline learned through competing can be carried on to other aspects of the dancer’s life, making them a more focussed and mature adult. Personally, some of the fondest memories of my childhood involve ballet competitions. I formed great friendships, developed an affinity for the smell of backstage, learned to be organized and to perform even when nervous. Importantly, I learned the spirit of sportsmanship. It wasn’t about winning; it was about performing on stage in front of an audience, having fun and being friendly with fellow competitors.

If you’ve ever seen an episode of the television show Dance Moms, you will be forgiven for thinking that competitions are cut throat events that involve screaming teachers and complaining mothers. While that may happen from time to time, it’s important to find a ballet teacher who is encouraging and selects students for competition who are able to handle the pressure and are up to standard. Competitions are not the be all and end all of ballet training. If a teacher is putting too much emphasis on competition and neglecting the technique and enjoyment aspects, then consider trying other ballet schools.

For older dance students, ballet competitions can mean scholarships to prestigious schools, prize money or even job prospects. While bringing home a medal or wad of cash is fantastic, the greatest benefit of competing can be the connections dancers make to ballet companies and their peers. Competitions are reshaping the way dancers audition for companies. Rather than attending multiple auditions at what is often a great financial expense, major ballet competitions are used by ballet company directors to source new recruits. Directors can see the dancers both in class and on stage, something they cannot do in a regular studio audition. USA’s International Ballet Competition (IBC) is basically an audition for attending company and school directors. According to Stanton Welch, who is currently Houston Ballet’s Artistic Director, competitions augment the audition process and are a great way for directors to shop for talent.

Joel Woellner competes at Prix de Lausanne 2013. Photo by Gregory Batardon.

The Prix de Lausanne, one of the world’s greatest ballet competitions for pre-professional dancers now schedules networking into the program. An afternoon is set aside for schools to set up booths to talk with potential new students, so dancers don’t have to be a prize winner to be awarded a scholarship or offered a place in a training programme.

For dance students of any age, it is important to keep expectations realistic. Judging is subjective, and things can go wrong on stage. No matter how much dancers rehearse, they still may fall out of a pirouette or fluff their balance in arabesque, and no matter how well they perform, they still may be beaten at judging time. It is important to value the quality of the learning experience and the performance itself over the number of medals or prizes won. Students can return to class after competitions with inflated egos after winning or become overanxious about their dancing if they aren’t as successful as they hoped. Some dancers receive scholarships and job offers after being eliminated from competitions, which is far more beneficial in the long run than a medallion or prize money. Both dance students and parents, as well as teachers, need to keep things in perspective and not focus on a gold medal.

For dancers in a ballet company, their career is going to consist of constant auditions, so the practice early on is extremely beneficial. Every time a visiting choreographer comes in to watch company class and cast for their next work, they will be auditioning for them. The competition doesn’t end once a dancer gets a contract with a company.

Most local competitions allow entry through an application form. Some may request a photo or video. The bigger competitions will require dancers to attend an audition class or series of elimination rounds, and international competitions will first need to see an audition video.

DO:

• Speak to your ballet teacher about local competitions and check Dance Informa’s listings for upcoming opportunities.
• Do your research. Visit the website of the competition and carefully read the entry form and guidelines.
• Make sure you are eligible. There are often age restrictions and sometimes even syllabus restrictions.
• Pick a routine or variation that compliments your abilities. Don’t do something that is too difficult for you.  It’s better to do a simple routine well than fumble through a tricky number.
• Make the most of every experience. Listen to the judges and teachers and apply their feedback.
• Enjoy the experience! You’re on stage in front of a supportive audience.
• Talk to as many people as possible.
• Have a make-up kit that you take with you to every competition. Include needle and thread, resin, hairspray, hairpins and spare tights.
• Be prepared! Rehearse, practice in your costume, test out the stage before you go on, get plenty of rest, and fuel your body.
• Have a back up copy of your music.
• Remember that people are not only watching your dancing, but also the way you behave. Be professional, attentive and courteous.

DON’T

• Give up!  The more competitions you do, the more confident you will become.
• Let your nerves get the better of you. What is the worst that can happen?
• Be negative or critical of others.
• Put anything extra on your application form or audition DVD. Follow the guidelines.

Remember that the process is the prize. Here is a listing of various ballet competitions around the world:

-  www.rad.org.uk

-  www.prixdelausanne.org

-   www.ballet.org.au

-   www.jjgp.jp

-   www.yagp.org

-   www.usaibc.com

-   http://moscowballetcompetition.com

-   www.bda.edu.cn

-   www.theamericandancecompetition.com

-   www.concorsointernazionaledanza.it

-   www.wbcorlando.com

-   www.danceuponadream.com

Photo (top): Promotional image from dance documentary First Position about the Youth America Grand Prix - a must see dance film.

In recent years, an increasing amount of dance studios have begun to offer classes and programs for special needs youth and adults with various forms of developmental and mental disabilities. Merging dance techniques with theatrical activities and therapeutic exercises, these classes are witnessing frequent physical, emotional and social improvements in the students involved.

As the field of dance therapy has grown in the last two decades, so has the appeal to incorporate a broader range of students in the dance studio. Three organizations across the country that are actively exemplifying this development are: The Ballet Academy of Arizona, The Georgia Ballet’s Dance-Ability program, and Merrimack Hall Performing Arts Center’s Johnny Stallings Arts Program in Huntsville, AL.

Ballet Academy of Arizona dancers perform

Caroline Atkinson, a 2012 Arizona Governor’s Arts Award Finalist, is certainly a pioneer in this dance sphere. The Founder, CEO and Artistic Director of the Ballet Academy of Arizona, a dance studio specializing in teaching special needs students, Atkinson has the education and expertise to speak to this field.

Atkinson holds diplomas in anatomy and kinesiology and child psychology and development, and is classically trained in both Cecchetti and Royal Academy of Dance (RAD) syllabi. A current tutor, mentor and practical teaching supervisor with RAD USA, she also has a wealth of experience to pull from, including teaching dance in Swaziland at an orphanage for 500 AIDS children and once leading 600 dance students at her ballet studio, Ballet Academy of Westport, CT, for 17 years.

“I have always worked with dancers with special needs, whether they have physical disabilities or emotional needs,” Atkinson says. “Drawing out the inner dancer and inner strength of the children and young adults that I work with is my passion and gift. Promoting the importance and acceptance of inclusion in our society is what I am trying to do.”

At Ballet Academy of Arizona, special needs students can participate in holistic dance classes, periodic group performances and inclusive community. Through these programs, dancers with any disability, whether it is Down syndrome, mental retardation, autism, cerebral palsy or even rare genetic disorders, can experience the joys of dance, movement and community.

Atkinson says that the programs set “high expectations of all dancers, promoting positive attitudes and behavior.” Classes select and use a range of learning styles appropriate to the learning outcomes and needs of all dancers, taking into account strategies for inclusion and differentiation.

Dylan in ‘My Holiday Wish’ in ‘Dance Your Dreams!’ performance. Photo courtesy of Merrimack Hall.

“I also concentrate on working on fine and gross motor skills, sequencing, counting, musicality and complete music saturation, confidence, the knowledge that nothing is ever wrong when dancing, and above all, the joy of dance –whether the dancer is able to move or not,” Atkinson details.

In addition to teaching at the Ballet Academy of Arizona, Atkinson is also teaching in Charleston, SC and southern California, where she was awarded the 2011 Inclusive National Leadership Award from K.I.T. in San Diego. This year, she is excited to launch several more teaching locations within southern California, which will serve the “typical as well as the disability community.”

Likewise, Debra Jenkins, Co-Founder and Chairman of the Board at Merrimack Hall Performing Arts Center in Huntsville, AL, has seen a growing desire for special needs dance programs. Through a program called ‘Dance Your Dreams!’, youth with various disabilities can partake in quality dance instruction. The program launched its first class in October 2008 with nine girls and one boy aged 3-12 years. Now more than 40 students participate per semester.

“We conduct our classes exactly as you would any traditional dance class. We begin at the barre, move to the center for floor work, learn combinations and variations and make use of props such as exercise balls, hula hoops, scarves and others to stimulate our students’ participation in dance,” Jenkins says.

“Many of our kids are non-verbal, but they certainly know what to do when the music is turned on! Movement brings great joy to our students, particularly those who are immobile due to cerebral palsy.”

A dancer and volunteer interact at Camp Merrimack. Photo courtesy of Merrimack Hall

The Dance Your Dreams! program is also offered free of charge to its participants,  with students even being provided class dance attire and costumes for performances. Each participant is also paired with a trained teenage volunteer, or a “coach,” who offers whatever level of assistance students require.

“Our volunteers are recruited from local dance studios, high school theatre and choir groups, service clubs and others. Coaches are provided with training at the beginning of each year and are asked to commit to one semester at a time, “ Jenkins explains. “By pairing the kids one-to-one with assistance, and limiting our class size to 10, we are able to offer quality dance instruction to children with a variety of disabilities, including Down syndrome, autism spectrum disorders, cerebral palsy, cancer and a host of other debilitating conditions.”

Similarly, a newer program on the national radar, The Georgia Ballet’s Dance-Ability program, utilizes teaching assistants who enable dancers and provide one-on-one attention. Rebecca Geiger, Arts in Education Associate at The Georgia Ballet, has established the program as a 12-week class designed for students with special needs, ages 6 and up.

“I tailor the class to the different abilities of each dancer and I rely heavily on my volunteers to be able to push each dancer to achieve his or her potential,” Geiger says. “I look to strengthen muscles, reinforce neuromuscular control, increase balance, coordination and motor planning, develop vestibular input and strengthen social skills.”

Some ways Geiger does this is by teaching basic ballet positions and steps, and working on jumping, galloping, walking on tiptoes and remembering choreography. Her background as a certified therapist is able to help her tailor the class to the different abilities of each dancer.

Classes at Ballet Academy of Arizona

“I have to be ready to adjust my expectation to each child in terms of what steps they will be able to master and to what degree they can perform them correctly.  I also have to be a lot more tolerant of talking to another person in the class since social skills are difficult to understand for some,” she says.

Yet, for all the additional work and preparation that go into planning and leading special needs dance classes, the reward is multiplied. Jenkins shared numerous stories of dancers improving motor and social skills.

“We have one student, Amelia, who started with us at age six completely confined to a wheelchair. Today, Amelia not only walks, but she can chasse across the floor,” Jenkins exclaims. “Amelia is profoundly developmentally disabled, wears cochlear implants and is non-verbal, but she takes to the stage like a pro at our frequent performance opportunities. Her mother and physical therapist are convinced the only reason Amelia is walking today is because of her participation in dance.”

Jenkins adds, “We have testimonials from physicians and physical therapists stating that our students have made great improvement in their core strength, agility, balance and even in their social and communication development because of their participation in dance.”

Overall, in talks with many teachers, instructors and volunteers, one consistent outcome of special needs dance classes and performances was evident – inspiration for all involved.

“I have learned more in the past five years from people who our society tells us are ‘less than’ than I’ve ever learned from anyone who is ‘normal’. And I’ve learned that it’s through the arts that we are able to express our humanity, regardless of the level of our performance,” Jenkins says.

“One of our students, Abbey, is 13 and has cerebral palsy. Smart as a whip, Abbey has suffered through multiple surgeries, wears hearing aids, is visually impaired and walks with great difficulty. But her indomitable spirit is contagious, as is her love of dance. This summer, Abbey shared this wisdom with me. She said, ‘I’ve decided that everyone has special needs and that we all have two special needs in common. We all have the need to be loved and we all have the need to be accepted. Some people’s special needs are on the outside, like mine. And some people’s special needs are on the inside.’ She went on to say that when she’s dancing at Merrimack Hall, ‘I feel beautiful and graceful no matter what anyone else says.’”

For more information on these programs, visit the links below:

• Ballet Academy of Arizona: www.balletacademyofarizona.org
• The Georgia Ballet’s Dance-Ability: www.georgiaballet.org
• Merrimack Hall’s ‘Dance Your Dreams!’: www.merrimackhall.com

Project UP (a performing company for teens with special needs) traveled to Atlanta in January to compete at NRG Dance Project. They performed Waiting on the World to Change, a piece about bullying, acceptance, and loving everyone regardless of our differences.

Photo (top): Dancers performing at ‘Dance Your Dreams!’ Eve of Dance, courtesy of Merrimack Hall.

With over 15 years of international industry experience, The Squared Division is a force to be reckoned with. Two singular talents, Antony Ginandjar and Ashley Evans, join to equal a powerhouse team in high demand both in Hollywood.

Collaborating with some of the hottest names in the industry such as Ke$ha and Taylor Swift, Antony and Ashley fuse their love of fashion, recording, styling and choreography to produce one-of-a-kind events.

Dance Informa caught up with the boys to chat about their start in the industry, and continued international success.

Can you tell us how The Squared Division came about?

Antony
We were professional dancers before we met. We actually met back in 2005. We both dabbled in choreography, but on the side Ashley was always working in fashion styling and I had an interest in song writing and recording. So it wasn’t until 2007 that we officially joined forces and decided to put everything we loved doing under one umbrella: styling, recording and choreography. From there, The Squared Division was born.

Taylor Swift with Antony Ginandjar of The Squared Division

How well do you think you complement each other?

Ashley
We really complement each other. For the most part as creative directors, we deal with the lighting, designing, set prop design and camera shots; then choreography is the next step. We have such a large scope of duties and we really know how to delegate according to each other’s strengths. I guess that shows the 100 percent trust we have in each other. We’re able to stand back and critique each other’s work objectively and come up with something we both love.

Ashley, would you say fashion is what inspires you with your choreography?

Ashley
Art and fashion really inspire us. Alexander McQueen and Givenchy; I think clothing can change a performance. That piece of clothing also allows us to transport to another time and place. That’s where we get our direction from, and then the choreography as well.

When you’re working with stars such as Ke$ha or Taylor Swift, do you have an input as to what they wear?

Antony
Definitely. I guess that’s where the creative direction side comes into it. We put together what we call ‘creative treatments’ that involves not just the stage, lighting and choreography, but also the costumes for the dancers and performers. From there, we direct the artist’s personal stylist with what vision we’re seeing. They will then come back with their thoughts and it becomes kind of like a collaboration.

What is it like working with Ke$ha?

Antony
What we love about her is that she’s crazy in a really good way (laughs). She allows us to push boundaries and she pushes us quite far out of the box. We really love that. She’s a pop star but at heart she’s a rock god fusing her crazy rock and roll with her pop songs.

Ashley
We’ve been working with her for three or four years now, so we know exactly what she’s thinking.

Ke$ha and Antony Ginandjar

Which choreographers inspired you when you were first starting out in the business?

Antony
I think for both Ashley and myself, the big one would have to be Bob Fosse. Then growing up in the pop era, Wade Robson is someone we have always looked up to. Kelley Abbey is a major inspiration for us as well.

When was the last time you had a ‘pinch yourself’ moment?

Antony
I guess the last time would probably be late last year. It was when Ash was back in Australia and he was working on the finale for the X Factor Australia, and at the same time I was in LA working on the American Music Awards with Ke$ha. It’s not often that we have to split up but we had two massive jobs on, so we had no choice. And then on top of all that, we got a call from our US agent telling us we just booked Taylor Swift! That was a spin out! After the meeting I called Ash on opposite sides of the world and we couldn’t stop laughing with amazement. We were literally pinching ourselves, thinking this was crazy, really stressful, and yet wonderful all at the same time!

Do you ever feel pressure living in LA?

Ashley
Not really. Every time we’re in LA we’re working. I guess we’ve been really lucky that as soon as we’re here in LA we’re working on big jobs. We haven’t experienced too much pressure yet (laughs). We’re very much day-by-day people and look forward to what the future may hold.

Kylie Minoque with Ashley Evans and Antony Ginandjar

How important is teaching to you?

Antony
We always say we wish we could do it more often. Master classes are definitely our way of getting back out there and seeing how the younger dancers are coming along. Hopefully we inspire them as much as they inspire us.

Ashley
At the end of the day, we’re only as good as our dancers. We really pride ourselves in working with amazing talent.

Where do you hope to see The Squared Division in the next five or so years?

Antony
I guess our goal is to continue to build our business in the US and all over the world, as well as continue to be strong in Australia. It’s always been a goal of ours to direct or choreograph an arena or stadium show for a music artist. That would be in five years or even less! And we’re both really passionate about the film industry, so all those things are on our cards.

To find out more about The Squared Division and keep up with all the news, visit www.thesquareddivision.com and www.facebook.com/THESQUAREDDIVISION.

Photo (top): Ashley and Antony of The Squared Division. Photo by Marvin Joseph.