Salvatore Capezio Theater
January 21, 2012

By Katherine Moore.

The Peridance Contemporary Dance Company, newly re-organized after a three-year hiatus, presented an intimate preview performance at the Salvatore Capezio Theater last Saturday. The program contained four works that will appear in their NYC Spring Season in May of 2012, two of which  Igal Perry choreographed, alongside two works by choreographers Greg Dolbashian and Kristin Sudeikis.

PCDC is a repertory company devoted to demonstrating the elegance of classical ballet while still exploring more contemporary notions of movement and design. As such, it is no surprise the dancers of PCDC performed with ease of movement and clarity of line, each one of them skilled and highly-trained.  This is an asset that all three choreographers used to their advantage in their works.

Perry’s excerpt from Constructs for 4 presented an austere and linear demonstration of his dancers’ advanced technical skills, and each dancer gained the opportunity to take the limelight within the work. In Leading From Behind, by Dolbashian, the dancers also rotated the chance to perform individually, but this time with far more intricate, sensual, and internally-focused movement that the dancers clearly relished. However, I hope to see a deeper, more mature grasp of this movement style by the time their NYC Season rolls around.  Sudeikis, likewise, choreographed opportunities for each dancer to shine in I am you, and even orchestrated this to occur via talking instead of dancing. I would also encourage the dancers and Sudeikis to deepen their understanding of the theatrical components of the work so that these spoken words might be more natural and less forced.

This visible showcasing of each individual’s talent and potential was a little obvious at times, but a pleasure to watch nonetheless. Once these young performers learn to channel their sizeable talents more towards the success of the choreography as an ensemble and not simply towards the achievement of their individual performance, this group will produce dynamic and moving work.

Indeed, while Dolbashian’s movement invention and Sudeikis’ sense of drama were interesting, I found the most enjoyable piece of the evening to be Perry’s  El Amor Brujo, a more traditional ballet piece inspired by a Spanish gypsy love tale.  Here, both Perry and his dancers excelled with their vibrant and intricate partnering, providing a lively and sweeping stage of movement that was lacking in the first half of the program. The dancers were able to shine as individuals while maintaining their connection to the ensemble. Perhaps the music, video, and theatrical elements helped tie it all together, but it seemed to me that this group, at present anyway, performed best within the constructs of a classical ballet drama.  For me, the traditions of classical ballet worth upholding in contemporary dance often have less to do with the elegance of the body, and more to do with the elegance of spirit, which was obvious in El Amor Brujo.

 By Stephanie Wolf.

The Joyce Theater, NYC
January 2012

Friday night’s performance of the Gotham Arts Exchange’s Focus Dance featured the sweet rhythms of Jason Samuels Smith and Company and the spectacular Trey McIntyre Project. A seemingly odd paring, the two companies’ contrasting genres, styles, and tones complimented each other nicely, making one think, “This is what American dance is about!”

Tap dancer extraordinaire Jason Samuels Smith and his talented dancers started off the evening with Smith’s piece A.C.G.I: Anybody Can Get It. From this first piece, Smith made his mission clear; tap dance is making a comeback and he wants to be at the forefront of it.

Accompanied onstage by 3 musicians, Smith and 4 of his dancers gave a cool, carefree performance. While their upper bodies remained loose, their feet moved at impressive speeds; it was as if they had detached their ankle joints, allowing their feet to move independently from their bodies. Each dancer had a solo break out, displaying their own abilities and artistry. At one point, the musicians stopped playing so that the audience could indulge solely in the sounds of the dancers’ feet. The audience reacted enthusiastically, expressing their delight verbally and frequently.

A.C.G.I was followed up by Chasing the Bird, a virtuoso female trio that featured some of the world’s finest tappers: Chloe Arnold, Michelle Dorrance, and Dormeshia Sumbry-Edwards. Originally, Chasing the Bird was part of a larger work titled Charlie’s Angels: A Tribute to Charlie Parker – it was Smith’s salute to the legendary musician. Performed to original recordings by the great saxophonist, the work captures the essence of jazz music’s playfulness and intrigue. Each dancer brought her own individuality to both the solos and synchronized sections of Chasing the Bird. Their musicality was right on par, engaging the audience in a musical conversation between tapper and the late, great Mr. Parker himself.

The second half of the program highlighted Boise’s Trey McIntyre Project. The contemporary ballet company performed two of Mr. McIntyre’s works: In Dreams and The Sweeter End.

Set to a compilation of Roy Orbison music, In Dreams was a series of vignettes, performed by five of TMP’s dancers. McIntyre’s choreography embodied the heart and soul of these well-known American tunes, making it a stunning visual interpretation of Orbison’s lyrics. McIntyre used series of fast and furious phrases, followed by suspension and breath. It was interesting and well done.

The dancers moved seamlessly through the intricate steps and partnering, so the movement never looked forced or contrived. In particular, the section danced to Orbison’s “Crying” displayed McIntyre’s precise musicality and the dancers’ expressive qualities.

McIntyre’s The Sweeter End, which received its premiere this past summer at Lincoln Center’s Out of Doors Festival, brought a distinctly New Orleans vibe to the Joyce Theater. Set to original music by the Preservation Hall Jazz Band, the ballet was fun, flirty, and full of endearing idiosyncrasies.

I was captivated from the first section in which Chanel DaSilva came out and spray-painted a large “X” across the backs of three of the male dancers until the bittersweet end when the audience was pleasantly surprised with an encore performance. The dancers kept up their energy and spunk until the curtain came down. It left me wanting more. Who knew such innovative ballet was happening out in Boise, ID?

It was a successful night of artistry, which made me proud to be a part of American dance. From the tantalizing rhythms of tap dancing to an original interpretation of contemporary ballet, Friday night’s performance of Focus Dance had me leaving in a dance euphoria.

Photo: Trey McIntyre Project, by Robert Allen

Dancing their way home.

In an unprecedented double couple elimination So You Think You Can Dance judges sent four contestants home in Season Eight’s first elimination round.  America didn’t have much time to enjoy the dancing talents of breaker Wadi Jones, tapper Nick Young, ballroom champion Iveta Lukosiute and jazzy  Missy Morelli, but do doubt we’ll see these dance stars again as they develop their careers and look to the future. Dance Informa spoke with Wadi, Nick and Iveta the morning after their shock departures.

Were you surprised to be eliminated?

Wadi
I wasn’t anticipating anything really, because anything happens. Last week nobody expected all of us to stay, and nobody expected the bottom three to be who they were.  This week I never expected even Ryan or Ricky to be bottom three, so it was shocking, in general. I went in with the mindset that whatever happens it’s really meant to happen and to be prepared to be bottom three and maybe go home.

Iveta
I was surprised because I thought this show was about versatility and showing different genres of dancers.  I was the only ballroom dancer, Nick was the only tap dancer and Wadi was the break dancer.  It was strange to me that on the first elimination they got rid of all these different styles.

Nick
I 120% agree with Iveta.  But you never really know who is going to be in the bottom. I think it is kind of ironic that the bottom three this week were completely different than the bottom three last week.  But the judges did what they thought was right. I’m a little disappointed.  I definitely thought I was going to get a little bit farther than the first week.

Nick

How do you all feel about the judge’s decision to not send anyone home last week?  Do you think the twist was fair?

Wadi

What was the most difficult dance style for you?

Wadi
Obviously, the Cha-Cha was really hard for me because of all the technical parts about it, like making sure I had strong arms and my feet were doing what they were supposed to do while keeping my head up. It was just complicated because I am way more laid back and don’t think so much about structure.

Nick
I’d have to say it’s the one I got eliminated on.  Bollywood is really, really intricate, with all the intricate hands that you have to do and all the footwork.  It was definitely hard to keep my stamina up the whole time.  But I had a lot of fun doing it.  I don’t regret anything about the way I performed it.  It’s just that America didn’t really like it.

Iveta

The different dance styles have such varied degrees of difficulty. Should this be factored into the judging?

Nick
I love that they keep it random.  Just this past week, we got Bollywood by chance.  But it is hard, for me especially, to have danced out of my style twice in a row, with two of the hardest dances the show has ever had, when at the same time you have a lot of people still dancing in their own styles. I don’t want to be bitter, but it is hard to get eliminated on a week where a lot of people were still dancing in their own styles.

Who was your favorite choreographer?

Wadi
I can’t pick a favorite because each one has such different styles and such different ways of teaching. Each choreographer, from Jean-Marc to Sonya and Tyce had something inspiring to say that had more to do with life than just dance and they taught us how to be better dancers and better people.

Nick
I loved working with Sonya.  The passion she puts into her dancing and the passion she wants you to put into it, is just amazing and it says a lot about the kind of person she is. Working with Tyce was just a lot of fun.  He’s just a really genuine guy and you know he means everything he says.

Iveta
I enjoyed working with Jason Gilkison. He is a great choreographer and it was an honor for me to work with him. I thought every choreographer was great and unique in their own style. I learnt so much from how much passion they put into their work, how much they get done in such a short time. They inspire the dancers to believe in themselves and to be better.

What was the highlight of being on the show?

Wadi
The highlight, honestly, was being able to connect so well with other dancers because where I’m from, unless I’m in the city or at a dancing event, there are not really any other dancers around me because my home town is very small. It was great to be in front of so many talented and amazing dancers who I can learn from, because you can only get better from being around people who are better. The other contestants were really the highlight for me. Also the choreographers were so amazing, and being in front of millions of people was great.

Nick
I think a highlight would have to be the family we created.  We’re past friendship, we’re past best friendship; we’re family. We’re the family called Season Eight Top Twenty and we’re going to be the only ones that will ever be able to say that.

Iveta
For me, it was amazing to see how the dancers can do so much more than they can imagine.  I could not have imagined learning the most difficult choreography within only six hours and then performing it in two days on a stage in front of millions of people. Every single day I was thinking ‘how can we possibly perform this? It’s not possible’.  But every single dancer learnt the choreography, perfected and performed it at their best.  That was amazing.  Every single performance was magical and having all the fans support you was a highlight.

Wadi and Missy dance Cha Cha

Who do you think will win the competition?

Wadi
Every week is a surprise and you never know who is going to be on the top or bottom or who America is going to vote for, so you can’t ever really say.  There are no favorites because we all are such a big family.

Iveta
I think everyone deserves to be a winner on this show because everyone works so hard and everyone is extremely talented.

Nick
Anybody could win.  We could have won the show a couple of weeks ago, so you never know.  Whoever wins, I’m going to be their biggest fan.  We’re all a family and I don’t want to favor anyone over anyone else.

Nick and Iveta dance Bollywood

What do you have planned for the future?

Nick
I am not 100% positive of what I want to do, but I’m hoping to move out to New York City to try to start up a Broadway career. We’ll have to see what happens over the summer.  I’m just going to take it one day at a time.

Iveta
I am planning to open a ballroom studio this year in New York City.  I was planning to do this even before I got on the show. I also enjoy all the television camera work so maybe I would like to try dancing on television.  We’ll see…

Wadi
Tadd Gadduang, another friend and I started a company before we went on the show called Dance Touch Collective. What we do is promote drug and alcohol abstinence for kids. We teach them about how to handle abuse and how to use dance, art or basically anything they love as an outlet instead of doing drugs.  We started doing workshops with kids. I want to continue to do that and continue to reach out and inspire kids to go out and do what they love.

Photos: Portraits by James Dimmock/FOX, Action shots by Adam Rose/FOX

Making the Most of Summer Dance Opportunities.

By Laura Di Orio.

Summer is fast approaching. While for some that means bathing suits and lemonade stands, for serious dance students it means another opportunity to train, work hard and perfect their craft. And what better way to learn new and different things than in a new and different environment? Dance intensives and workshops abound in the summertime. They are a chance for students to practice, learn from new teachers, experience an unfamiliar terrain and meet new friends with similar interests. So what should dancers know about excelling at and enjoying their summer dance program? Dance Informa looks at how to make the most of any summer dance experience.

Dance-Packed Schedule

Dancers can choose to take classes at their home studio, if available, during the summer or serious students can study out of town, thus broadening their technique and teacher/friend circuit. Depending on time and interest, dancers may decide between varying formats, from intensives to workshops. No matter the venue, however, summer programs tend to lend themselves to smaller class sizes, more individual attention and tons of dancing.

Broadway Dance Center Summer Students

Summer intensive programs like those offered at Boston Ballet School, University of North Carolina School of the Arts and The School at Jacob’s Pillow are called an “intensive” for a reason. Often up to six weeks long, with five to six hours of class each weekday and optional classes or rehearsals on the weekends, these programs are geared to the serious dance student. The day usually begins at 8:30 or 9:00 a.m. with a technique class, followed by specialty classes such as pointe, variations, character, men’s class, partnering or modern, and then repertory or performance preparation. In the mix are often also lectures on nutrition, injury prevention or career-building seminars, opportunities to work creatively with guest choreographers, and a culminating performance.

For a more short-term summer dance experience, such workshops as Broadway Dance Center’s Summer Workshop Series allow students to test out a variety of dance styles. During BDC’s SWS, students generally take a 2.5 hour morning class with a workshop instructor, have a 1.5 hour master class for two days and receive a five-class card good for any of BDC’s long list of classes.

Absorb it All

Whether attending an intensive or a workshop, dancers should take full advantage of everything offered to them. Students should arrive at any program well rested, injury-free, in good shape and eager. They should focus during each class, apply every correction and pay attention to all presentations and discussions. Dancers should “approach their work with an open mind, understanding that they can learn so much from their experience both from the expert faculty and their peers,” says Kelly Kerrigan, summer dance programs manager at Boston Ballet School.

“[Students] should not be afraid to ask questions,” says Douglas Gawriljuk, ballet faculty member at University of North Carolina School of the Arts. “Approach faculty and talk to them. Teachers are there to share their experience, so take advantage. And work hard, without overexerting oneself. The dancer should always leave a summer intensive feeling that you gave it your all.”

A summer dance experience could be the opportunity to not only hone in on technique and grow technically, but also to grow artistically. “It’s important to try something new,” says Emily Bass, marketing and events coordinator at BDC, “for dancers to get out of his/her comfort zone and explore different styles of dance and movement.”

The School at Jacob's Pillow Ballet Program participants with choreographer Karole Armitage. Photo by Kristi Pitsch

Sweat, Hydrate and Repeat

With an abundance of dance classes and, in some cases, extreme summer heat, it’s important to try to avoid overexertion and dehydration. Dancers should be sure to drink plenty of water. When students are dancing and sweating, it’s important to replenish and stock up on fluids.

J.R. Glover, director of education at The School at Jacob’s Pillow, advises to “pay attention to how you are responding to the weather and adjust your own patterns accordingly.” This could be anything from replacing a morning cup of coffee with a glass of water or wearing breathable dancewear.

Students should also be wary of overdoing it. “To prevent dancers from overexertion,” Gawriljuk says, “our teachers monitor the progression of their classes and remind students to make sure to pace themselves, especially during the first few days when energies are high!”

Likewise, Kerrigan suggests that dancers “use the down time in the day to rest and make sure to eat and drink sufficiently throughout the day.”

Glover adds, “We all want to see dancers in the studio and not on the sidelines. Trying to push through something, ignoring it or hoping it will ‘just go away’ are key factors in a dancer being sidelined. Learning what your body needs in order to dance long-term is one of the learning curves of summer training.”

Collecting Contacts

All program directors would encourage students to seize all opportunities to network and connect with dancers and teachers who could be beneficial contacts for the future. “The artist faculty come to know the dancers personally and can be strong advocates for them when their artist friends and colleagues are hiring dancers,” says Glover. At the Pillow’s program, which accepts only 24 dancers per each of its four departments (ballet, cultural traditions, contemporary and jazz/musical theatre), the staff stays in touch with its dancers as much as possible.

At a school like Boston Ballet School, which is directly affiliated with a professional company, a summer experience “could be the doorway to your future,” Kerrigan says. Many students who have attended BBS during the summer have joined the school, then BBII, are now principal dancers with the company.

Dance Now, Prepare for Later

A summer dance program will provide students with a “deeper knowledge and appreciation for what is required to work as a professional artist,” Glover says. If dancers are open to “try on” new techniques and movement styles, participate in all activities offered, embrace ideas and corrections (and smile!), then they could be one step in the direction of a long career.

Enjoy your summer dancing!

Top photo: The School at Jacob’s Pillow Contemporary Program participants rehearse in preparation for their Inside/Out performance.
Photo by Charlie Winter

By Emily Yewell Volin

You may have heard about First Lady Michelle Obama’s Let’sMove! Initiative:  America’s Move to Raise a Healthier Generation of Kids (www.letsmove.gov). You may not be aware that Beyoncé and the First Lady teamed up to create a music video to help families, schools, and communities get moving.  The song is adapted from Beyoncé’s “Get Me Bodied” single and called “Move Your Body”.

Schools across the nation and the world are getting involved by using the official Let’s Move! workout instructional video, led by choreographer Frank Gatson Jr.,  to teach the ‘Move Your Body’ flash workout to students of all grade levels, teachers and staff.  The workout includes eight easy to follow and fun to stylized ‘missions’,  Knees Up, The Shuffle, The Dougie, Jump Rope, Cumbia, Running Man, Dancehall, and the Bounce and Snap, and incorporates the Beyoncé Bounce, the Cat Daddy and other signature Beyoncé moves.

Everyone’s feeling the grove and I’ve heard of 8^th graders teaching the workout to kindergartners with great success. All involved reaped the benefits of the increased feeling of school community and fitness as a result of preparing for the flash performance.

Take a look at the official “Move Your Body” mashup – Let’sMove! video to see thousands of students from around the country, and the globe, share their dances.

Keep current with “Move Your Body” by selecting ‘like’ on the NAB Education Foundation Facebook page (http://www.facebook.com/NABEF) and follow NABEF on Twitter at www.twitter.com/NABEF.

Summer is around the corner and many young people will be heading to camps – what a perfect place to organize a “Move Your Body” flash workout!  Let’s implement this tool created by First Lady Michelle Obama, Beyoncé and the NABEF and help end childhood obesity through something we already love – dance.

Get fit, build community, and dance; move YOUR body.

Official “Move Your Body” Mashup – Let’s Move! video:

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

By Alex Little & Sari Anna Thomas

At Feedback, you’ll find musicians against the studio mirrors, painters to your right, a photographer observing the room, a lighting designer setting the mood, a poet with pen in hand, a film student documenting the experience… and DANCERS everywhere.  Welcome to Feedback:  A two-hour journey where art inspires art.  “Feedback is the beginning of a new movement that combines every type of artistic expression into one class”, says Feedback student and dancer Kathryn McCormick of So You Think You Can Dance Seasons 6 and 7. “Feedback gives you the space to discover how much you have to offer.”

Feedback’s mission is to provide a space for artists of all genres to gather, co-create and inspire one another. So far, it has accomplished just that. The structure of the class, danced to live music, includes a warm up, an across the floor moment to loosen up and an improvisation section for all dancers and musicians to ‘feed off one another’. This is then followed by a dance combination for an hour. After class all are encouraged to mingle around the ‘Artist Xing’ table where artists post their info and promote themselves and their products. This is where painters show their works, bands sell their CDs, and upcoming events are shared.

Founded by Alex Little, a Los Angeles-based dancer/teacher/choreographer, Feedback was an idea that has rapidly gained momentum. Alex’s goal was to get rid of the stereo and create a class she could teach to 100% live music. “There is nothing like moving and being one with the piano, the guitar, the voice… essentially the story. In this awareness your dancing changes. It deepens because the sounds are visceral and you feel the presence of a connection between one another’s artistry. As a dancer this experience awakens a sense of awe and gratitude that spurs your discipline to dive more deeply into your senses and find a more developed musical self. It enhances the purpose and intention in your movement – it’s just contagious!”

Alex teamed up first with musical director Steve Maggiora. Alex knew Steve’s voice and musicianship would lend itself beautifully to the project. Steve suggested using local bands for the sound and shortly thereafter began scouting the scene and lining them up. Next Alex recruited teacher and choreographer Sari Anna Thomas who became her partner. Not only does Sari help develop and produces the events, but she also co-teaches each class with Alex. All three felt extremely passionate about the need for this community -based project to begin, where artists could not only be offered another outlet to work on their craft, but could find one another.

“For the last decade I have wanted nothing more than for the world to see and hear how talented my friends are! We can start with the community- then the world”, Alex says regarding singers, artists and musicians she can’t wait to have be a part of the class. Feedback’s first class was held at Elevation Studios with local band “Four Stops to Freedom”. With 35 dancers, a photographer and a painter attending the first class, they knew they had begun something unique, and ever since the word has spread like wildfire.  Today, Feedback is attracting fine artists from all realms, and is quickly growing into a creative haven for all artists to be challenged and inspired.  “The people attending are there to live, love and learn”, says dancer Alex Blitstein. “This is not a class, it is an experience. I only wish Feedback could be in so many more places at once… I see so many wonderful things for Feedback’s future.”

Currently, Feedback is held once a month at the state-of-the-art facility, Foresight Studios in Los Angeles, but there is the potential to utilize other venues. “Feedback is hoping to expand to theaters by the end of the summer. We feel that one of the real backdrops for this class is a theater”, says Thomas. “By removing the mirror and allowing space for an audience, Feedback will finally be able to take the shape we envision.” Feedback has already been invited to take place at a few different venues in LA. “We are also thrilled to take Feedback on the road as we are now offering it as an in-studio workshop”, Thomas adds. The Feedback team sees their class in other site-specific places, such as the lawn of a museum, at the beach, and even at an art gallery. Painter Amber Helmstetter has painted at each class since the beginning. “I feel honored to take part in such a unique blend of music and dance… the energy and vibe of the experience brings out imagery in my paintings that I know is inspired by the dancers.”

Dancing to live music is as old as time and The Feedback Experience hopes to honor the tradition that has brought communities together throughout history. “In the middle of an industry where there is so much competition for work as an artist, we hope that for these two hours, our class will transcend all of that” adds Little. “When everyone feeds off each other, the walls of fear and judgment seem to dissipate. I have witnessed the surrendering process happen and when pure authenticity comes out the body, the fingers, the paint brush, the lense, the pen, the mouth, the mic, the amp. … it is profoundly beautiful.” As Phillip Attmore, So You Think You Can Dance Season 6, Top 20 contestant, put it, “I felt like I was in New York again… it was simply a forum of artists gathering together and sharing their passions with nothing to prove.”

For more information, view videos/photos or contact the FBX, please visit the website www.theFeedbackexperience.com www.facebook.com/thefeedbackexperience

Photos: Cheyenne Boivin, CDB PHOTOGRAPHY

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 Jessica Innes.

It is said “If you do what you love, you’ll never work a day in your life” and with tenacity and the right approach, the dream of dancing for a living can become a reality. We all dream of being a Broadway musical star or dancing in a Justin Timberlake video clip, however the sifting process in the performing arts allows only tiny portions of talent to make it through the brutal mill of the industry. So after hours of grueling training and perfecting of your craft, what options do you have to utilize your hard work? It’s all about making yourself a versatile performer and finding your own niche to flourish in.

TEACHING
This is reliable and fulfilling work that will allow you to develop valuable choreography skills. Approach local dance schools and share your passion with the next generation of dancers.  Attend dance teacher conferences such as Dance Teacher Web Conference & Expo. A University Degree in Dance Education will open even more doors and allow you to teach dance in High Schools as well as studios.

INTERNATIONAL CONTRACTS
Many countries draw from the US talent pool to fill positions on cruise ships, in theme parks, for Bollywood and casinos all over the world. You need to ensure you have a valid passport and are willing to commit to a contract of at least 6 months. Experience other cultures as you dance all over the world!

MUSICAL THEATER
Triple Threat’s have a huge advantage in this area so develop your singing and acting techniques to increase your versatility. You often need an agent to be put forward for auditions so finding representation is a good first step.

MODELING AND COMMERCIAL
Dancers have the advantage of maintaining a good level of fitness due to regular training and have an increased awareness of their bodies. Many dancers will find they are suitable for modeling and extra work for film or television. Photographers are always looking for amateur models so start putting together a portfolio.

STAGEHAND WORK
Surround yourself with inspiring performances by working backstage or as an usher at a theater. You’ll save money on buying tickets and you’ll gain valuable contacts that can guide you to the spotlight.

CREATE YOUR OWN OPPORTUNITIES
You are the master of your own destiny, so if you want to dance and don’t have an outlet, do something about it! Form a crew, collaborate with other artists and put on a community show or make a dance film. Every experience is going to add to your credibility and wealth of knowledge as a performer, so be proactive and put your best foot forward.

We wish you the best of luck with your future endeavors and a successful and fulfilling dance career!

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.