By Tara Sheena.

You’ve seen his smooth moves gracing promo events for the high-school-hopefuls on Oxygen’s The Glee Project; you’ve caught his tightknit choreography on Extreme Makeover: Home Edition featuring beloved Broadway beauty, Kristen Chenoweth; you may have even witnessed the exciting chatter erupting after his class at Broadway Dance Center (BDC) on a Tuesday afternoon, but do you know the man behind this diverse spread of choreographic terrain? It is none other than Jim Cooney, Broadway vet and master teacher, who currently spreads his knowledge and know-how four days a week at Broadway Dance Center. Cooney not only teaches four high-energy classes weekly, but he advises the elite Professional Semester training program as well as the Summer Intern program.

Given all his roles within the BDC community, it is evident that Cooney is passionate about teaching students of all levels. In one week, he can encounter up to 200 different students at the busy NYC studios and says it is “seeing them succeed is the most rewarding and gratifying experience.” In particular, it is the students in the Professional Semester and Internship programs that fuel this joy. Cooney works intimately with them to acquire skills to sustain a career in dance. Those skills range from technical training to developing audition prowess, but the most important, according to Cooney, is developing performance skills.

“It’s the way the dancer interprets and executes the movement that matters most,” Cooney explains. “I often tell my dancers that your face is indeed part of your body and that their dancing doesn’t happen from the chin down.” One of his methods is to encourage his students to approach dancing like an actor would approach interpreting a script. This means asking questions like, ‘Who am I?’, ‘What do I want?’ and ‘How do I get what I want?’ Cooney feels it’s essential to know why you are doing each step before you do it; he encourages his dancers to think about their personal connection to the steps he gives them— “only then will it be organic and true,” he notes.

Being a former dancer himself (he’s been a dance captain for eight major productions!), Cooney understands what a vulnerable experience this approach can be for many aspiring professionals. For this reason, he strives to ensure the classroom environment is as safe and supportive as possible so the “students feel secure to let go.” Cooney also believes this environment enhances what it means to be a professional dancer.  “The more we work together, the more we can create,” he states, “Being cutthroat or negative does not in any way help you get a job. More importantly, it doesn’t feel good to have that animosity in your heart.”

Cooney’s classes are more than physical training or an amalgamation of repertoire. His views and approaches reflect important life lessons that any individual, dancer or non-dancer, can benefit from. One of the largest pillars of his approach is the lesson of gratitude. He knows pursuing a career in professional dance is a tough business that can be made more difficult with competitiveness in class, rejection, and the relentless toll that performance can take on the body and mind. To thwart this oftentimes-unpredictable lifestyle, he tells his students to think of ten things they are grateful for every night. “It puts you in the practice of knowing how many wonderful things you have in your life, and also let’s you fall asleep in peace,” he says.

Cooney conducts a rehearsal at Broadway Dance Center

Remembering gratitude, maintaining professionalism, and giving an authentic performance each and every time, sounds like the ideal performer to me. And, it works. Cooney’s students have gone on to win leading roles in Broadway and national tours, and professionals consistently pop into his weekly classes.

“We’re blessed to be able to do what we love for a living everyday,” Cooney states. And, for the students and professionals who have taken class with Cooney, I am sure they all agree.

Catch Jim Cooney’s classes weekly at Broadway Dance Center.

Photos: All photos courtesy of Jim Cooney.

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

So You Think You Can Dance is back, kicking off its ninth season with auditions beginning Thursday, January 5 at the historic Fox Theatre in Atlanta, GA. The show will then continue its hunt for ‘America’s Favorite Dancer’ with audition stops in Dallas, New York, Salt Lake City and Los Angeles.

So You Think You Can Dance will search for the most talented and loveable young dancers in the country. Those who shine during auditions will once again be given a ticket to Las Vegas for callbacks, where they will work with top choreographers to learn and

Excited contestants during last season's auditions. ©2011 Fox Broadcasting Co. Photo by Adam Rose/FOX

then be judged on multiple styles of dance. Dancers will then be chosen to compete in the series and dance for audience votes.

Last season’s winner, Melanie Moore of Georgia, danced off with a $250,000 cash prize and was featured as a Gatorade athlete on Gatorade.com and in Gatorade’s G series FIT print campaign. Moore also participated in the 32-city So You Think You Can Dance Tour 2011.

“For the past eight seasons, So You Think You Can Dance has been a huge part of our success. We are excited to bring the series and an incredible set of new dancers back for another fantastic season,” said Mike Darnell, President of Alternative Entertainment, Fox Broadcasting Company.

Last summer, So You Think You Can Dance ranked No. 1 in its time period among Adults 18-49, Adults 18-34 and Teens.

Get to an audition near you for a chance to be named ‘America’s Favorite Dancer’.

Atlanta, GA                      
Thursday, Jan. 5             
The Fox Theatre
660 Peachtree Street, NE
Atlanta, GA  30308 

Dallas, TX                        
Friday, Jan. 13                 
McFarlin Memorial Auditorium
6405 Boaz Lane
Dallas, TX  75275

New York, NY                  
Monday, Jan. 23              
Manhattan Center
311 W. 34^th Street
New York, NY  10001

Salt Lake City, UT           
Thursday, Feb. 23           
Capitol Theatre
50 West 200 South
Salt Lake City, Utah  84101

Los Angeles, CA              
Friday, March 2              
Orpheum Theatre
842 S. Broadway
Los Angeles, CA  90014

Please note that venue information may change. For the latest information visit www.fox.com/dance.

Registration will begin at 8:00am at each venue. Auditioners traveling to cities for the open calls should make arrangements to stay for at least two days following their initial audition in the event of a callback. Dancers must be either a U.S. citizen, legal permanent resident of the U.S. or possess a current legal Employment Authorization Card enabling him/her to seek employment freely in the U.S. (i.e., without restrictions as to employer) by the date specified in the eligibility rules. Dancers must be no younger than 18 or older than 30 years of age on the first day they register for auditions. Any dancer who is a minor in his/her state of residence must also have a parent or legal guardian sign all required documents. Dancers must provide legal, valid proof of age when they register for auditions.

For more details on auditions for season nine, as well as eligibility requirements, go to www.fox.com/dance.

By Laura Di Orio

Auditions. They’re like swallowing your vitamins. All they take is a little practice and some mental reassurance, and then you can come out stronger and, in this case, maybe with a job. Dance Informa spoke with leading working dancers and choreographers across the US to get their tips and audition do’s and don’ts.

Where to Look
Nowadays, audition listings, like most other information, can be found over the Internet. Dance Informa provides nationwide audition listings (click here to view the current listings) and even craigslist and facebook have news on upcoming auditions and gigs. There’s also good old paper: most dance studios have a bulletin board with audition listings and job offerings. For some dancers, word of mouth and/or recommendations are also good audition hunting tools. And for those interested in company work, attending workshops or classes by prospective companies can be valuable. They often have company mailing lists, which inform recipients of upcoming auditions.

Audition Prep for the Mind and Body
It’s important to get enough sleep prior to an audition in order to stock up on ample energy and concentration levels. If nerves or other factors prevent you from getting the zzz’s, then help yourself with an energy drink, suggests choreographer Annabelle Lopez Ochoa. You need to be “on top of your game because you have to show in no time what you’ve got,” she says.

Nothing is worse than feeling unprepared. “If you can, research the project or company choreography,” says Clymene Baugher, a company member of Elisa Monte Dance in New York City. “Wake up early and give yourself time to orientate yourself to the day, not only preparing your body physically but also giving yourself time to mentally prepare.”

Mentally, it’s crucial that as an auditioning dancer you exude confidence. “Believe you are worth watching and that you have something to offer the company,” Lopez Ochoa says.

“Think of auditions as dress rehearsals, the more relaxed you are the better,” Baugher adds.

Christine Cox rehearsing with members of Ballet X

Show it Off!
Wear dancewear in which you feel good, something clean and neat and in a bright color. Unless it fits with the style, Lopez Ochoa says to avoid baggy clothes, “too sexy” looks and leg warmers. “A dancer should reveal his/her body because if you hide it in baggy clothes, the choreographer tends to be suspicious,” she says. “It’s all about honesty.”

Courtesy Goes a Long Way
During an audition, you’re being tested on more than just dance skills. How do you behave toward the director or choreographer and your fellow auditionees? “Being courteous to other dancers and the casting people is incredibly important,” says Drumlin Brooke, currently a trainee with First State Ballet Theatre in Delaware. “A lot of directors are looking for people who will mesh well with their company.”

How you behave in an audition also gives directors an idea of how you would work in the studio. “Listen very well to what a director or choreographer is asking you to do,” Lopez Ochoa advises. “Usually he/she does not expect you to be perfect, but he/she is just testing if you listen well and react to what he/she is saying.

“Don’t constantly look at the director to check if he/she’s watching you,” she adds. “That can be utterly annoying.”

Stay in your Comfort Zone?
There’s debate about whether or not to audition for something out of a dancer’s skill level or comfort zone. Lopez Ochoa says to avoid such auditions. “You’d be wasting the time of the choreographer,” she says. “It’s already hard enough for a choreographer to perceive all the qualities of the dancers in such a short time and in such big crowds.”

On the other hand, Christine Cox, co-founder of Philadelphia’s Ballet X, says go for it. “I think it’s important to know how to audition, and the more experience you can gain from it the better,” she says. “Who knows, you may get the job. If it starts to make you feel depressed and insecure, then stick to what you know and keep your confidence building.”

Likewise, Brooke says, “If you go you might get the job. If you don’t audition you definitely won’t.”

The Must-Haves
Depending on the style of the company or specifics of the gig, choreographers and directors look for different qualities in dancers. Lopez Ochoa looks for generosity, a strong technique, versatility and, most of all, musicality when she’s auditioning a dancer.

For Cox, attributes like musicality, good work ethic and amazing technique make dancers stand out. “You can’t fake being a good dancer,” she says. “You either are or you aren’t.”

Bracing Rejection
“There’s no band-aid for rejection,” Lopez Ochoa says. “It’s always hard and disappointing when you’re not chosen.”

The key, then, is to trust that there’s a place out there that would be happy to have you as a dancer. “If a director does not hire you, it doesn’t mean that you’re a bad dancer,” says Lopez Ochoa. “It usually means that you don’t fit the style of the company.”

Most importantly, when faced with rejection, don’t give up. “Being a dancer is one of the hardest professions, and rejection hurts,” Baugher says. “If you want it bad enough, then you have to push on and continue to attend auditions and put yourself out there.”

#1 Do’s and Don’ts
According to these working dancers and choreographers, here are their number one do’s and don’ts:

Lopez Ochoa’s #1 DO: “Show that you love dancing. You’re not at an audition to get a job, you’re there to show how much you love your art. It’s a slightly different state of mind that makes a huge difference in how and what you radiate.”

Lopez Ochoa’s #1 DON’T: “Don’t stand in front if you don’t know the combination.”

Brooke’s #1 DO: “Pay attention! Nobody wants confused dancers who aren’t listening.”

Brooke’s #1 DON’T: “Don’t be late. Being early is both respectful and smart, and you want to be able to take your time to prepare.”

Cox’s #1 DO: “Show who you are as an artist in the audition. Be expressive and daring.”

Cox’s #1 DON’T: “Don’t show attitude.”

Baugher’s #1 DO: “Enjoy! Being a dancer is not easy. Think of auditions as miniature journeys.”

Baugher’s #1 DON’T: “Do not beat yourself up. Not getting the job often means absolutely nothing about you as a dancer, but most especially does not reflect your worth as a person.”

Try to enjoy the audition experience and the journey, and work hard. Your persistence could someday soon pay off.

Top photo: Clymene Baugher, company member of Elisa Monte Dance. Photo by Cheryl Mann.

We all know Christopher “Lil‘ C” Toler as a verbose judge and hip hop specialist on So You Think You Can Dance. A pioneer of Krump and a well-known performer and choreographer in the hip hop scene, Lil’ C may be a man of many words – but he knows what he’s talking about. Lil C will once again be a judge on the SYCTYD panel this new season and Dance Informa spent a few minutes with him during the auditions to talk about his time with the show.

What are you looking for when you’re judging Season Eight?

When I’m judging I’m looking for a number of things. I’m looking for authenticity, for individualism and a connection to the music and heart. Technique only goes so far. Technique is taught, but ‘essence’ – that’s not taught. It’s discovered, developed, learned and honed.

Lil' C with fellow judges for Season 8 of SYTYCD

SYTYCD has been a television phenomenon. What do you think is SYTYCD’s secret to success?

I don’t even think there’s a secret, it’s think it’s just a success! The things that have been going on in dance have always been going on, but SYTYCD has created a funnel to showcase this and make people aware of what is going on in dance. There are so many revolutionary things going on in this industry that people haven’t even caught up to yet.

The fact that SYTYCD is now on the radar of middle America and reaching the masses makes people aware of what we are really doing. We as dancers are athletes. We are just as athletic as Kobe and LeBron. The things that we can do with our bodies are amazing like our muscle elasticity and our rhythm – it’s crazy. The fact that SYTYCD showcases that makes it a success.

How do you think SYTYCD has changed the street dance scene?

It’s definitely opened eyes to what is going on in the ‘urban culture’. It is urban dance – it’s under the radar and people are oblivious to it. Having a platform that showcases urban dance only strengthens the education about it. SYTYCD is educational as well as entertaining and that is a recipe for impeccability!

What is the highlight of being a part of SYTYCD for you?

The highlight is being able to do all three things – being able to choreograph, judge, and perform as well. Whether I’m hitting the stage with Russell or dancing with Twitch, it’s great. And then to see these dancers grow into the amazing artists and physical expressionists that they become, it just warms my heart. It’s being more than a judge; you’re helping them develop themselves.

Watch Season 8 of SYTYCD on Fox!

By Emily Yewell Volin.

You know it when you see it.  Some call it star power, others say it’s an innate quality of the soul.  Stage Presence.  What is it, how important is it, and can it be trained?

To answer this question Dance Informa spoke with six leading professionals whose careers have spanned performance, choreography and direction in a variety of dance genres.

What is stage presence?

Homer Bryant, Founder & Director of Chicago Multi-Cultural Dance Center, The School of Homer Hans Bryant
www.cmdcschool.com
Stage presence is dancing in a relaxed manner from your heart.  You can be dramatic, comedic, whatever.  It’s when you transform yourself and the audience says, ‘wow, that’s amazing’.

Rhee Gold, Publisher Dance Studio Life
www.dancestudiolife.com
I think most people would believe that it is a smile or a personality on a stage, but to me, stage presence is being able to express an emotion that is felt by the audience; it’s more from the gut.  I hear teachers say, ‘give me a smile’.  Even if the students smile, it’s not necessarily stage presence.

Matt Kent, Associate Artistic Director Pilobolus
www.youtube.com/watch?v=aB_N0qHKOD0
It’s about displacement; the amount of water you spill out of the bathtub.  There’s not an ‘x’ factor that you can read about in a book and get.

Thomas Lund, Principal Dancer Royal Danish Theatre Ballet
http://kglteater.dk/OmKunstarterne
I find from my experience that some people have star quality; they get on stage and people look at them.  But I find that people who do not have that strength can work through the quality of the movement, how to sustain moments, and can actually look more interesting.  I don’t always buy ‘she/he hasn’t got it’.

Susan Quinn (Williams), Associate Professor at University of Arizona School of Dance, Master Teacher & Choreographer
www.susanssight.com
Stage presence to me is when the whole body, head to toe, is at its highest point.  It’s when everything comes together.

Pattie Obey, Master Teacher/Choreographer
www.pattieobey.com
It’s the ability to perform to an audience.

Thomas Lund in 'Swan Lake'. Royal Danish Ballet. Photo by David Amzallag

Why is stage presence important?

Matt Kent
It’s what makes people follow you where you are going to lead them.  All the other things you have may be for naught if there’s no presence about.  Dance always starts with imitation but you have to get beyond it.

Thomas Lund
If you don’t have stage presence, people won’t think there’s anything to watch.  There won’t be anything special about your performance.  Whatever you do, you have to make something.

Susan Quinn
You have to tell me a story.  I can’t stand it when a choreographer/dancer dances the movement and then starts to walk.  Why are you walking there?  If you’re walking for no reason, I’m going to get popcorn.  You must tell me a story.  I want you to tell me what you are feeling.

Pattie Obey
It’s important because the audience wants to be entertained.  It’s important because you learn to show why you dance.  Open your heart, spread the love around.  If you can’t live, eat, and drink dance, then don’t do it.  It’s not 100% commitment, it’s a 200% commitment.

Is stage presence just something you are born with or do you develop it?

Homer Bryant
There are some people who are just born with it, it’s part of their DNA.  Many others train.  Dancers get better with time.

Rhee Gold
I think it is a case of overcoming inhibitions and the ability to let it go and not be intimidated to share who and what you are with the audience.  I’ve seen many teen dancers who don’t ‘get it’ but then they pursue dance at the college level of performance and they learn.

Thomas Lund
Some are born with special abilities.  And then, there are people you don’t notice in the studio who then get into the stage lights and there it is…it’s in the face.  It’s not about being photogenic, it’s something to do with performance.

Susan Quinn
Yes; some people have natural stage presence.  I’ll tell you, though, I’ve been teaching over 30 years and maybe ten or so people I know have natural stage presence.  Stage presence must be taught.

Pattie Obey has presence! Photo: Andrea Hausmann

What can you do to improve your stage presence?

Homer Bryant
My school offers musical theater and acting classes/coaching in addition to dance technique classes.  I’ve found that these classes really help develop stage presence.  Another way we are teaching stage presence is by having the students of every age perform for their peers during class time.  They critique each other, without being harsh, and grade each classmate’s performance.  As a teacher I ask the students how they feel about particular movements to help them make human and mental connections to what they are doing.

Rhee Gold
I think it comes with performing.  It’s about explaining to your dancer what the story is about, what they are supposed to portray; really giving them the information they need to express the story.  Sometimes dancers do not know what the choreographer is trying to express.  The dancer needs to be fully aware of the choreographer’s intention.

Matt Kent
I’m a guy with no dance training who is working in the field because I brought something else.  Part of the dancer’s job is to let the magnetism out; to displace the energy in the room into more and more circumstances.  You first have to learn how to bring out what you have and then let that ooze and infect the rest of the world of movement and drama.  And, it’s a practice.  It’s not in your head.  I come from a martial arts background so I see stage presence as an action thing.  Get onto stage more.  And, if you’re a student ‘fake it ‘til you make it’. It’s going to be difficult to develop stage presence if you are afraid to take a risk.  Trust what you’re good at, trust your technique and then go out there, take a risk, and let it all hang out.

Susan Quinn
I think we tend to leave it up to the students and that does not work. Stage presence must be taught right when you teach the first demi plié.  It has to do with épaulement, écarté, looking croisé; the body positions.  You have to teach style and performance quality at the same time you teach technique.  I also bring in commercial choreographers for mock auditions.  They tell the dancers, ‘I don’t care if you can turn 50 times or how high your leg is in the air.  If you are not selling the product I will not watch you’.

Pattie Obey
Watch other dancers – go to see professional productions and see how other people perform.  Why are those dancers in that great company?

Would you rather hire a dancer with tremendous technique and average stage presence or a dancer with tremendous stage presence and average technique?

Homer Bryant
I have seen some beautiful but dry dancers whose performances didn’t cross the footlights.  Dancers must invest in both stage presence and technique.

Rhee Gold
I’d definitely go with a medium level dancer with stage presence rather than a technician.  My responsibility is to entertain and move the audience.  Give me a dancer with energy, life, and passion.  I think stage presence is the key to success as a performer, as a teacher and as a choreographer.  Stage presence is present whether you are on the stage or not.

Matt Kent
Especially with the work I do, I have zero interest in a perfect technician who does not have anything to say or a voice of their own.  I’m not interested in imitation.

Thomas Lund
It certainly depends on the field you are in.  Classical ballet people must look at the instrument, the feet, the lines and turn out.  But then you would also look at how they project and how they take the room.  If I see two dancers and they are equally technically strong but one looks more interesting and more expressive, I’d probably choose that one.  Dancers have a tendency to fall in love with their technique and what can be done with the body, but somebody in the front line must also have a personality.  That’s one very strong part of the history of the Royal Danish Ballet. We’ve had ballerinas and males with great technique and quite a range of personality.

Pattie Obey
I would hire the dancer with tremendous stage presence and work on the technique.  If I am the director of a dance company I need to get butts on the seats.  I have to build an audience and sell tickets to more than just a dance audience.  Leave the arabesque at 90 degrees but perform your heart out.  It’s sometimes easier to improve upon technique than stage presence.  I think as a performer you need to capture the audience.  It’s a relationship you build from the moment you walk on the stage.

By Deborah Searle.

Tap Extraordinaire Jared Grimes is a performer with heart. I recently met Jared at a New York dance competition he founded called ‘Run The Night’ where he gave young dance hopefuls a chance to perform in front of their peers and industry judges for feedback, encouragement and a cash prize. His heart for the next generation of dancers is evident as he strives to give artists a chance to shine and develop their talents.

Producing his own shows and performing across the US, Grimes is making his mark in the tap and hip hop dance scene with an infectious charisma on stage and off. He has danced alongside legends such as Wynton Marsalis, Gregory Hines, Ben Vereen and Jerry Lewis, has toured with Mariah Carey and danced for Common, Salt-n-Pepa, Envogue, Busta Rhymes and the Roots. Jared’s theater credits include Cirque Du Soleil’s, Banana Shpeel, Twist, Scottsboro Boys, Pure Country, Babes in Arms, Sammy, Vaudeville and Broadway Underground, a show he directs himself. Grimes has also appeared in commercials for Coca-Cola, Subway and MTV, along with several television shows and films.

Jared performs at Run the Night by Broadway Underground

So who is Jared Grimes? What are his passions?
I am a performer. My passion is tap. I feel my greatest strength is the ability to connect with people.

What are you proud of?
I’m proud to be a person who has lived by all the morals and principals instilled in me by my parents. They gave me the everlasting gift of never giving up on people.

Tell us about your dance background
I moved to NYC in 2001 for college and had no money after tuition. My feet conjured up food and rent for about four years. The subway is where I built my performing stamina, drive, and execution in tap. If I couldn’t connect with a crowd they didn’t stay and watch. Relating to different cultures, races, genders, and ages is what I had to do to last a day in the subway.
I started dancing when I was 3. My mother was my first teacher.

What is your favorite dance style? Tap or hip hop?
Tap is my favorite style of dance. Hip hop is second.

What is your career highlight?
My career highlight is regularly performing with Wynton Marsalis, whom I call my professor. He has a wealth of knowledge and his perspectives on music send me to the stars and back with every performance and every conversation.

Tell us about your show ‘Broadway Underground’.
Broadway Underground is a culture in the making of performers who have the ability to do it all. We are a culture of triple threat performers much like Fred Astair, Sammy Davis Jr., Gene Kelly, the Nicholas Brothers and Gregory Hines. We are like them, but for our time. Broadway Underground is how we put a twist on old ideals of performing. Broadway Underground will soon be a television show fusing dance and comedy!

How do you keep inspired to perform, teach and create?
I stay motivated! I don’t know why or how I keep pushing forward, but there is something inside me that is never satisfied with the moment. I’m always seeking perfection outside the box and it is an obsession that I have learned to live with. It never stops. When I was little I can remember challenging my image in the mirror [laughs]. In life I never want people to figure me out. My brain is always trying to stay ahead of itself and I am just trying to keep up with it by feeding it my heart and soul. It’s a crazy thing. Teaching is an outlet for what is constantly going on in my head.

What is your advice for young street dancers?
My advice to all dancers is to know your history. There’s nothing worse than a dancer that does not know who paved the way for them.

What are your current projects?
I’m currently doing the musical TWIST at the Pasadena Playhouse directed by my friend Debbie Allen. We will be doing shows from June- July 25.

What are your dreams?
I want to take over the world in a way that hasn’t been done since Sammy Davis Jr!

Video: Courtesy of youTube.
Dance Informa/Dance News International takes no responsibility for the content of any videos viewed through youTube.

Joyce Theater, New York
April 17 2011

By Deborah Searle

As I took my seat for DanceBrazil, in New York’s renowned Joyce Theatre, I wasn’t sure what to expect. I gathered I’d see some Capoeira and maybe some traditional tribal dancing, but I didn’t know how well this would translate on stage. However, very quickly I was engaged and energized by the dancers performing before me. DanceBrazil has a strong cast of vibrant and expressive dancers that kept me entertained and artistically challenged throughout the show.

Performing three distinct works we were treated to a display of extraordinary athleticism, strength and stamina as both the men and women in the company highlighted their Capoeira expertise. I enjoyed seeing not just tricks, but real choreography blending the Capoeira balances, stunts and high kicks together into beautiful dance movement that was at times soulful and at other times explosive. There were so many amazing acrobatic movements within each dance phrase that it was hard to see when one move finished and the other began – brilliant choreography!

The second act, ‘A Jornada’, allowed the dancers to show their modern dance training and strong dance technique. After the first act I wondered how technically trained the dancers were in the more popular styles of ballet and modern, but I was left without any question after their flawless performances in ‘A Jornada’.

The last piece, ‘Memorias’ was joyful and vibrant, celebrating Afro-Brazilian culture, and was a fitting end to an evening celebrating one of Brazil’s best dance companies.

DanceBrazil was thrilling and thoroughly entertaining. The combination of live and recorded music was uplifting and rhythmic, and the dancers brought every beat to life with the perfect combination of choreography, committed performance and colorful costuming. Congratulations to Artistic Director Jelon Vieira and his talented artists.

By Emily Yewell Volin.

It’s job hunting time and you’re ready.  You’ve spent countless hours training with the best teachers you can find, coiffed your image, and know the type of position for which you are qualified.  You’ve accumulated a dancer’s artillery of audition essentials including a bag stocked with every type of shoe and attire you might need, as well as knee pads and emergency hair accessories. Problem is; you may never have the opportunity to showcase your talents and incredible style if you haven’t developed an eye catching résumé.  The audition is a dancer’s job interview.  Here are some tips for writing a résumé that will get you booked for an audition appointment (interview) or get your information (and you!) noticed during an open call.

1.  Keep It Short and Simple
Many of us had teachers or advisors who encouraged the popular KISS (Keep it Short and Simple) mantra for written work and project management. The same principle is beneficial when applied to the creation of your résumé.  The best résumés are a single page in length with easily read font selection and size and clearly articulated sections.  The use of wildly colored or patterned papers and other attention grabbing tactics are not advised. These devices typecast you before you are ever seen. Personalization of your résumé is best accomplished by including a small thumbnail of your headshot (typically at the top), within the document.

2.  Know Your Audience
How do you keep a résumé to a single page?  Consider drafting several versions of your résumé so you may highlight information relevant for a particular position. Your teaching résumé will be different from your performance résumé, which will be different from a résumé highlighting your choreographic experience or administrative background. There are positions for which you will need to compile all information about your professional experiences. Consider creating a maximum 2 page résumé for positions of this sort. 

3.  What’s Unique About You?
Don’t be bashful, you know your strengths and they are exactly what an audition director wants to know about you. Technical and performance proficiency will only get you through a first cut and maybe as far as a call back.  Once you’ve made it to that point, it’s your responsibility to clearly articulate and showcase your strengths. Including a ‘strengths’ section on your résumé helps spark interest in you and initiates conversation or showcases your competencies.  That said, your résumé is not the place to address political or religious views.  Inclusion of information regarding these affiliations should be kept vague.  For example; ‘President:  Local Membership for a Major Political Party’ and the accompanying responsibilities of that position are enough information to prove the breadth of your service within an organization.  Employers are not legally allowed to discriminate on the basis of these and other issues of free speech.  Nonetheless, your résumé is no place to discuss politics or religion.

4.  Honesty is the Best Policy
Be honest about your experiences and physical attributes, and focus on the positive. An audition is often about filling a role that has already been created. It is essential for directors to have accurate information about your dance experiences as well as your actual height, weight, hair color, eye color, and other relevant information unique to the job. Many positions are cast according to a pre-made costume or staging into which a new cast member must fit without complication. Other positions are cast by finding someone who has a breadth of professional experience and is a quick study. Or at times directors search for someone who is a raw talent that can be molded to a particular technical style or look.  Do not waste anyone’s time by misrepresenting yourself.

5.  Keep it Current
It is preferable to update your résumé before every audition you attend. Be sure your contact information is current and that there is a way to contact you if the résumé is placed into a file and pulled out at a later date. Many auditions that do not result in immediate hire do result in fantastic networking opportunities. It’s the familiar “don’t call us, we’ll call you” line.  Don’t let a disconnected mobile phone number or an out of service email keep you from future opportunities. It is also advisable to maintain a simple and low cost résumé website. There are many hosting companies that offer easy to manage templates.  Include your web address on your paper résumé alongside your phone number and email. Maintain your website to include current contact information and résumés. A helpful tip is to be sure you only post your résumé in .pdf format so it may not be modified (intentionally or accidentally) by those who download it.

6.  Treat Your Résumé Like a Ticket
Your résumé is your entry ticket to the future you desire.  Keep a few copies of it ready to mail at a moment’s notice.  Many positions open suddenly and require quick casting.  If you are attending an open audition, be sure to arrive with a clean and unwrinkled version in hand.  If you must fold your résumé in order to mail it to a prospective employer, keep the folds crisp.

A thoughtfully scripted and well presented résumé will work for you.  Take the time to present yourself well on paper. A great résumé will result in more opportunities for you to realize your goals and the occasion to show off that fabulous new audition ensemble. 

About Emily Yewell Volin
Emily Yewell Volin has been teaching in university and college programs since 1998.  She earned her MFA from the University of Arizona and also holds a BS in Education from Loyola University Chicago.  Yewell Volin currently resides in the Atlanta area where she is an Instructor in Dance in the  Agnes Scott College Dance Studies Program.  She is also scheduled as a visiting Teaching Specialist at The Emory University Dance Program during the Fall 2010 semester.  Emily served as faculty member of the prestigious USA International Ballet Competition Dance School that convened in Jackson, Mississippi, this June and recently completed the creation of a commissioned K-6 dance assembly program in collaboration with Young Audiences Woodruff Arts Center.  She is an active board member to The D.A.I.R. Project, the Jazz Dance World Congress, and the Young Audiences Woodruff Arts Center Program Committee. www.emilyyewellvolin.com

Photo: © Kostyantine Pankin | Dreamstime.com