By Kathleen Wessel.

Teachers, think of the last time someone asked you, “What is modern dance?” Your answer probably didn’t come easy, because most people – even those who teach it – can’t accurately define this ever-changing art form. Once, I overheard an audience member explain to her companion at a mixed-repertory dance concert: “When their feet are pointed, it’s ballet. When they’re flexed, it’s modern.” If only the distinction were that simple.

We can easily identify a definition (and there are many) that is either too narrow or completely wrong. “Free-flowing,” “less strict or demanding than ballet,” “emotionally expressive,” “interpretive”: all can be proved incomplete or inaccurate by calling up historical and current examples. Anyone who has survived a grueling floor warm-up based on the teachings of legendary choreographer Martha Graham knows that “free-flowing” and “loose” were not part of her vocabulary. And one could argue that the highly specific choreography of the late Merce Cunningham, a pioneer of the avant-garde, postmodern dance movement, is in fact more strict than ballet. In keeping with artistic trends of his time, Cunningham certainly did not intend for his work to express an emotion or interpret a story through movement. 

At every turn, we run into a movement or choreographic style that defies convention and challenges our definition of modern dance. Some teachers delineate a difference between “modern” and “contemporary” dance under the assumption that “modern” refers to techniques of the past, while “contemporary” choreography is more current. Both terms, as they are synonymous and equally nondescript, fail to categorize this mysterious art form. 

This begs the obvious question: as teachers, how do we effectively communicate an artistic genre’s ideals, proper techniques and philosophies if we can’t define it? For a possible answer, we turn to those who have established their own definitions and created a movement language or specific technique that drives their choreographic style. Instead of categorizing this shape-shifting art form, we can study and teach the many traditions – both historical and current – that continue to redefine it.

Here are a few past and present pioneers who have paved the way for the richly diverse landscape of 21st century dance. Talk about these legendary figures in class. Perhaps they will inspire a young student to one day create his or her own movement language.

Katherine Crockett, Principal dancer of Martha Graham Dance Company in ‘Cave of the Heart’. Photo © Albert Watson, 2010

Martha Graham’s Contraction and Release

Talk to students about Graham’s focus on the core. With the incorporation of Pilates and the emphasis on core strength in many of today’s dance studios, students should already have some core awareness and be able to isolate it. Practice breathing exercises that encourage students to draw in or “contract” their core muscles, then “release” them. Discuss Graham’s belief that the core is also the emotional center of the body. Her famous philosophy “movement never lies” can resonate with students working on performance technique.

Doris Humphrey’s Fall and Recovery and Jose Limon’s Breath and Weight

Students might be interested to know that these two legendary choreographers worked together – Humphrey as artistic director of Limon’s company from 1946 to 1958 – and collaborated to create a unique aesthetic quality. Many students have probably heard the terms “grounded” and “weighted” to describe modern dance. Humphrey and Limon were pioneers in the effort to teach these qualities. Torso or “drop” swings are classic examples of Humphrey’s fall and recovery technique. Have students work on this concept by emphasizing the breath, while performing any movement with an element of suspension, such as leg swings or falls to the floor.

Atlanta Ballet performing Ohad Naharin’s ‘Minus 16′. Photo by C. McCullers

Ohad Naharin’s Gaga Technique

Israeli choreographer Ohad Naharin developed, and continues to develop, this improvisational technique as a way for dancers to lose their self-consciousness and move without physical or psychological inhibitions. To incorporate some concepts from Gaga in class, lead a structured improvisation and encourage students to pay attention to physical sensations rather than what a movement “should” look like. Ask the students to “float on water” or have their “spine become a snake.” And cover up the mirror! Naharin says mirrors “spoil the soul and prevent you from getting in touch with the elements and multi-dimensional movements and abstract thinking.” He advises dancers: “Know where you are at all times without looking at yourself. Dance is about sensations, not an image of yourself.” Tell students, as they are improvising, to “perform to all sides of the room.” They’ll gain the confidence to move more fully in three-dimensional space.

The creator of Countertechnique, Dutch choreographer Anouk van Dijk. Photo by Silvia Sztankovits

Anouk Van Dijk’s Countertechnique

This is a new movement system developed by Dutch choreographer Anouk Van Dijk that emphasizes oppositional and continuous movement. Van Dijk says the theory behind Countertechnique is simple: “If you’re in motion, your movement has direction.” And movement in one direction requires movement in the opposite direction. As students work on a known phrase, have them identify not the primary movements, but the opposing actions or body parts. For example, instead of thinking about the height of an arabesque, have them concentrate on lengthening their torsos. By sending energy and focus to opposing movements, students can create an “ever-changing dynamic balance” and move with explosive power through space.

YouTube is a great resource for viewing examples of these and other techniques. After teaching a class that focuses on historical or current figures in modern dance, encourage students to look up videos or watch clips together as a group. Instead of concentrating on the choreography, have students pay attention to the movement qualities – the how rather than the what. Modern dance is defined and constantly redefined by those who create its language. Introducing the next generation of dancers to the conversation is the best way to keep it going. 

Classes provide rich experience for participants

By Chelsea Thomas.

Renowned year-round contemporary dance company Hubbard Street Dance Chicago, now in its 35th season, can constantly be seen touring both nationally and internationally. Yet, in the past few years, the company’s local dance studio, Lou Conte Dance Studio, has begun to garner similar national attention for its phenomenal public dance programs.

With over 70 classes offered per week to youth and adults, Lou Conte Dance Studio is a hub of physical activity and movement. Yet one program stands out amidst the others – The HSDC Parkinson’s Project.

“The Parkinson’s Project is a set of classes offered for adults with Parkinson’s disease. The program is about five years old now and has been steadily growing,” says Kathryn Humphreys, Director of Hubbard Street Education’s Youth and Community Programs.

Parkinson’s disease, a degenerative neurological disorder, affects the central nervous system and causes movement-related symptoms, usually including shaking, muscle rigidity, slowness of movement, difficulty walking and postural instability. While there is no cure for it yet, physical therapy has been proven to help curb some symptoms. With this in mind, HSDC’s program uses contemporary dance techniques to work to slow the progress of the disease.

Like other programs that have sprung up across the country, such as the well-known Dance for Parkinson’s Disease that is led by the Brooklyn Parkinson Group and the Mark Morris Dance Group, the program seeks to create a positive atmosphere where participants can improve mobility and overall well-being.

“First and foremost it’s a dance class. It is not focused on their disease as much as their interest in dance,” Humphreys explains. “The participants looking to be involved are typically interested in this not feeling like a therapy… Not that they don’t find it therapeutic, but mostly, they like to think of it as something they do for themselves and not for the disease.”

A student participating in Hubbard Street Dance Chicago Parkinson’s Project in 2011. Photo by Todd Rosenberg.

Classes, which are offered twice weekly and on the third Saturday of every month, are taught by Sarah Cullen Fuller and Kristen Gurbach Jacobson. Fuller, a former Hubbard Street dancer and the program’s founding teaching artist, says the program focuses on dance experimentation in “improvisational techniques and personal narratives.”

“We approach class with an open mind and with a strong desire to continue to improve and push boundaries along the way,” Fuller explains. “We understand that our participants are challenged with their disease, but we also aim to see them through a dance lens. In other words, we acknowledge the disease, but it does not drive us from a pedagogical point of view.”

“Like many dance classes, there is a huge spectrum of movement abilities in the room, and it is our job to help to develop new skills and trust in the process, regardless of limitations.”

Jacobson, also the Hubbard Street Youth and Family Programs Manager, says a typical class first starts with “a check-in, or a time of greeting and getting everyone acquainted” since the program is so community-centered. Then it immediately dives into one of Hubbard Street Education’s most important components, the BrainDance. This is an idea originally developed by Chicago educator Anne Green Gilbert.

“The BrainDance focuses on moving through breath and the cross-lateral connection, which is like walking,” Jacobson explains. “The idea is that by re-patterning our bodies from the outside we can better connect them to what’s happening inside, both emotionally and mentally. It’s a really fitting exercise to do with our participants.”

Jacobson says this section of class has become one of her favorite moments “because they’re beginning to connect to their bodies again, and maybe they haven’t all week long until that point.” After this, the class goes into a warm-up, followed by a standing combination “somewhat akin to the ballet barre” and an improvisation session, to finally conclude with a group combination.

Participants dancing in a HSDC Parkinson’s Project class. Photo by Todd Rosenberg.

While the class is mostly taught with the participants sitting in chairs, Jacobson clarifies that the movement is much more than “just arm circles.” By the end of the class most of the students can be seen standing and dancing across the floor.

“As they move with the live musical accompaniment they slowly begin to increase their range of motion without necessarily thinking about it,” Humphreys recounts. “Many participants say that they feel much more fluid when they are dancing. They don’t feel so conscious of their movement. Rather, they feel like dancers, confident and comfortable.”

Fuller says that the “tight-knit” community built through the dance classes usually makes a way for trust and in response, greater physical confidence. “This trust is evident in the risks that they take each and every class. These are dancers who walk or wheel into the room and who may have difficulty getting to class, but who also flourish, learn, grow and develop new skills through dance.  It’s really such a beautiful thing. Moving with a group of people with whom you trust, value and love is truly transcending.”

About 70 students and caregivers are currently registered with the program and Jacobson estimates that more than 150 have been involved in the last five years. The only program like it in Chicago, The Parkinson’s Project is also the oldest of its kind in the Midwest. But what’s the neatest part? Perhaps that the program is completely free to participants.

Fuller summarizes the heart of The Parkinson’s Project, saying, “We are all on this journey with one another, bound together through our love of dance.”

For more information on The Parkinson’s Project, visit www.hubbardstreetdance.com. Contact the HSDC Education and Community Programs Department at 312-850-9744 x149 if you or someone you know might be interested in attending a class.

Photo (top): Two dancers participating in a class as a part of Hubbard Street Dance Chicago Parkinson’s Project. Photo by Todd Rosenberg.

By Chelsea Thomas.

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.

By Rain Francis.

Do you stretch extensively before class? Do you often sit in a stretch for a few minutes or more? Do you stretch every single day?
As dancers, most of us would probably answer “yes” to at least one of the above questions – which would mean that we might have been practicing unsafely, and could be doing our bodies more harm than good. It’s time to get wise about the correct, safe and effective way to stretch.

Flexibility is important for injury prevention, physical fitness and mental and physical relaxation. Since all bodies are different, there is little point in comparing your flexibility to another dancers; flexibility is determined by genetics. However, stretching, when practiced correctly, can increase your flexibility and improve your performance.

When to Stretch
The most crucial factor in regards to stretching is to always warm up first. As much as we may be used to it, this means not sitting in stretches before barre! A proper warm-up should start with some light aerobic activity (such as a gentle jog around the studio) to increase your core temperature. When you produce a light sweat, it’s time to engage in some dynamic stretches. Dynamic stretching should start slowly and gradually increase in the speed and power of the movement. (See below for an explanation on the different types of stretching). Many Pilates exercises incorporate dynamic stretching, so before class is a good time to do your Pilates routine.

At the end of your cool down after class – when the activity that requires you to be strong and stable has ceased – is a good time to do your static stretches. Believe it or not, stretching to your end-range before class actually reduces strength and stability, as well as increases your risk of injury, so it should be avoided at all costs.

What to Stretch
It may feel good to practice the stretches that are comfortable for you, but it’s important to stretch the muscles that need to be stretched, not just the ones that are already flexible. Stretch both sides of a joint, in order to not develop an imbalance that could lead to injury. Practice stretches that only target the muscles you are trying to lengthen. Isolating a muscle group gives you greater control and means you are able to vary the intensity of the stretch.

How to Increase Flexibility
In order to maintain your range of motion, a weekly stretch session is sufficient. However, if your goal is to increase your flexibility, you need to stretch three to five times per week, and you need to be consistent. It may take several months for certain stretches to become comfortable, but perseverance is key (just make sure you are not pushing yourself to the point of pain.)

As it takes time for your muscles to adapt and adjust, you must give them time to heal, rest and repair themselves. This means mixing up your stretching program by alternating light days, heavy days and rest days. Any gym bunny knows the importance of working and resting different muscle groups on different days, and making gains in flexibility follows the same principles.

Though it may be tempting, over-stretching increases the risk of injury and can just push your goals even further away.

Stretches should be slow and gentle, and should never create a sharp or painful feeling. Use your breath to assist you, and do not bounce!

How Long to Hold Stretches
Hold your static stretch (but not your breath) for 30 seconds, then relax. After a brief rest, repeat the stretch two or three times. The changes in your flexibility from stretching in this way will only last less than an hour. However, when performed consistently, as explained above, flexibility gains can be maintained. If you are a child or young adult whose bones are still growing keep stretches to 10 seconds or less.

Contrary to what you may believe, prolonged stretching should only be used by medical professionals and is not appropriate for dancers. Rather than simply stretching muscles and their connective tissues, stretching for extended periods of time can elongate joints and ligaments, which are there to keep your joints stable. You may think that lying in second while watching TV is doing you good, but this can actually lead to loss of stability and serious injury, whether in the short-term or further down the track.

The Importance of Breath
There is a reason why yoga and Pilates place so much emphasis on the incorporation of the breath. Correct breath control is essential to getting the most out of your flexibility training. It helps relax the body, improve muscular elasticity, increase blood flow and remove lactic acid, which reduces muscle soreness and the risk of injury.

When stretching during your cool-down, keep your breath fluid, not forced. Use slow, relaxed breathing, with an emphasis on exhalation through the mouth or nose. Inhale through the nose, which will filter and warm the air you inhale and allow more oxygen into your lungs (just ask any yogi!)

Types of Stretching
There are several different techniques for stretching muscles, each with advantages and disadvantages. You should consult an experienced teacher or health care professional to find the best technique for your physique.

There are two main types of stretching: static and dynamic.

Static stretching is a stretch that is held in a particular position. For example, lying on your back with one leg raised in the air and gently easing the leg in toward the chest to stretch the hamstrings. Static stretching is more effective than dynamic stretching for producing long-term flexibility, but should only be practiced when the body is fully prepared.

Dynamic stretching is a stretch that is an active movement as a result of muscle contraction. For example, circling the ankle or shoulders, or controlled leg and arm swings. This type of stretching takes you to the limits of your range of motion, with no bouncing or jerking. A good dynamic stretch is one that reproduces the movement patterns required for the exercise you are about to undertake. For dance, an example is a controlled développé to the front or side, which dynamically stretches the hamstrings. Dynamic stretching should be performed only after a proper warm-up.

When researching for this article the author consulted the following resources:

Stretching – a vital part of dancers training and practice, by Tania Huddart for DANZ ©. www.danz.org.nz/Magazines/DQ/April2012/stretching.php

Stretching for dancers, by Brenda Critchfield, MS, ATC, under the auspices of the Education and Media Committees of the International Association for Dance Medicine and Science. www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=353

Stretching rules for dancers, by Ausdance. www.ausdance.org.au/articles/details/stretching-rules-for-dancers

Photo: © Candybox Images | Dreamstime.com

By Tara Sheena.

In many ways, Cris Judd appears as a modern-day Renaissance Man. As a producer, choreographer, songwriter, musician, actor and teacher, he has achieved multiple tiers of success in all of these ventures. You may know him as a star performer with the likes of Jennifer Lopez, ‘NSYNC, and Michael Jackson. Or you may recognize him from convention stages around the country, having been one of the founding teachers of Co. Dance and now at The Pulse dance conventions everywhere. However, amidst all his accomplishments, one thing is clear: he does not take any of it for granted.

Cris Judd teaching at The PULSE. Photo by ProPix – courtesy of The PULSE

Judd revealed to Dance Informa that he was a “late bloomer” to dance, not starting training until he was twenty-one years old. In fact, it was more out of spite for a girl than a desire to dance. “I was working at Disney World in the character department,” he states, “I liked this girl who was one of the Kids of the Kingdom. I had asked her out and she told me she doesn’t date characters. So, I told her that I would be a professional dancer within one year.” To her surprise, I am sure, it did not take Judd one year. Eight months later he embarked on his professional dance career, working with the likes of Marianne Morrison, Michael Peters, and Pam Bolling. Something that began out of spite quickly turned to passion.

It seemed like an auspicious start for the spirited 21-year-old, especially considering Judd was a self-proclaimed “wallflower” as a child. As an athlete who was pursuing a career in golf before his Disney days, Judd deems the start of his dance career very unlikely. However, considering his impressive performance career, it is no surprise that he has made the switch to choreographer and teacher within the past couple of years. A highly sought after convention teacher, he cites his work with The Pulse as something he has a “deep respect” for.

Cris Judd. Photo by Lee Cherry

After assisting Bolling on conventions and spending a few seasons teaching for Co. Dance, he was approached by Brian Friedman and Mia Michaels to start touring with The Pulse. “We were wanting to get away from the formulaic competition dance pieces and trying to encourage choreographers to tap into their creativeness,” Judd recalls. “Tell a story. Take us on a journey.” This different approach made Judd realize how much his teaching had the power to affect the students that come back year after year, stating they are “truly inspirational” to him.

In his classes, Judd does whatever he can to emphasize the fun. “It’s not that you have to dance, it’s that you get to dance,” he says. Judd wants young dancers to realize that they may not catch on to his highly dynamic moves right away, and that is okay. Judd views each convention city as a new chance to explore and create, thinking of each weekend, no matter how long and arduous, as a completely new experience. Summing it all up, he cites a quote from Ancient Greek philosopher Epicetus: “If you want to improve, be content to be thought foolish and stupid.”

Dance with Cris Judd this season with The Pulse! Visit www.thepulseontour.com for more information.

Top photo by Lee Cherry.

By Tara Sheena.

Dance conventions offer an amazing experience for young dancers to be exposed to new styles, work with some of the industry’s best teachers, and meet fellow dancers from around the country. However, they are also long weekends where the students often dance for up to eight to ten hours a day! With such a demanding schedule, it is important to remember to balance it all and take advantage of every opportunity. Dance Informa asked three convention pros to sound off on their top tips and compiled them below so you can enter this convention season knowing it will be the best one yet!

1. Eat well

Convention days are tiring and they can be even more exhausting if you aren’t eating well. Fruits and vegetables are a must and easy to keep in a small lunch bag so you can nibble throughout the day. Tim Perry of Starbound National Talent Competition notes you should “plan to have healthy snack foods on hand” for long days of classes and performance, where you may not be able to leave the site for a sit down meal. And most importantly, don’t skimp on the greens!

2. Take notes

Ron DeVito of Access Broadway explains that conventions are not meant to be an overwhelming experience, saying students do not necessarily have to “absorb everything at once.” He recommends taking notes on new styles that may be beyond your training or in order to remember strong points on styles you already know well. “You can always go back to it in your notes another day when you don’t have such a heavy schedule,” DeVito explains.

3. Use your time wisely

It’s no secret conventions are jam-packed weekends full of high-energy classes and insanely energetic performances. That’s why we love them, right? But, going for broke the entire weekend can leave you fatigued and more prone to injury. In between breaks in classes and competition, Ron DeVito suggests that you “find a spot to lie down and shut your eyes for fifteen to twenty minutes. Power naps can be very helpful on a long, busy day.” Avoid needing unhealthy energy drinks and sugary snacks for a pick-me-up by taking advantage of rest time when you get it. However, don’t forget to re-warm up and stretch after you wake up so your body is fully refreshed and ready to go.

4. Be open

The variety of classes available to you at a convention or workshop is truly mind-boggling. You will go from ballet slippers to jazz sneakers to tap shoes in merely a few hours time. Randy Coleman of International Dance Challenge highlights the importance of taking advantage of every class, whether or not you have prior experience with that particular style. “Who knows,” Coleman suggests, “maybe the last style or class of the day will become your next favorite?” Stepping out of your comfort zone is part of becoming a versatile dancer, as Coleman explains, “A truly successful dancer in the profession has never achieved that success by taking a couple of classes off and sitting on the sidelines! Work for it. You will come away with knowledge and growth one way or another.”

5. Have fun!

Dance conventions are a perfect way to expose yourself to professional teachers while meeting dancers from around the country. So many successful dancers got their start in convention ballrooms just like you, so it’s important to remember to have fun while you are working hard. “The opportunity to be exposed to such a vast variety over the course of a weekend convention is empowering,” Coleman notes. It is important to remember that everyone is there for the same reason: to express his or her love for dance! Remembering to have fun makes the long, challenging weekend an enjoyable time for all.

For more information visit www.intldancechallenge.com, www.accessbroadway.com, and www.starbound.net.

Top photo: Dance students learn from Wade Robson at The Pulse On Tour dance convention.

By Chris Bamford.

Being a dance teacher is one of the most rewarding jobs in the world, but I might be a little biased as I am one. There’s nothing more rewarding than seeing a student improve, grow and reach his or her full potential in your class.

But what about the teachers? We place so much emphasis on the students’ conditioning, care and injury prevention, yet we have a tendency to forget about ourselves.

Long gone are the days where the teacher just sat in a chair with a cane and explained what the students had to do. We teach a lot more visually and practically these days. The teacher generally shows the wrong way and the right way to do steps and movements and goes to the extremes so students can see and understand the differences. This can put teachers at risk, especially when they may not be as fit and limber as they used to be.

Being a dance teacher, and especially a studio owner can be very stressful. You need to wear so many hats and manage many facets of a business from customer service, complaints, marketing and finances to general administration. Then add an annual recital to the mix, and maybe a summer school and competition, and let’s face it – we are stressed! So we don’t need to add injury to our lives.

What can dance teachers do to reduce the risk of injury? Let’s start by looking at what some of what the most common dance injuries are

• Muscle strain

• Joint sprain

• Bruising

• Muscle soreness

• Fractures

Understanding what these injuries are and what causes them can help identify problems early, as most teachers do with their students. But what about yourself? Let’s look at what can cause these injuries during the many hours of instructing and choreographing that each teacher does.

Excessive range: This applies to movement that forces a joint or body part beyond a safe range. For example, hyper flexion at the neck or over-arching the back.

Excessive load: Movement that places excessive weight on or through a joint or muscle. For example, knees bending below 90º when landing or straight leg sit-ups.

Ballistic: Repetitive dynamic movement that stretches muscle tissue beyond the normal range. This sort of movement is often explosive and uncontrolled. For example, bouncing (of knees, spine), overly repetitive kicks, leaps, head isolations and arm flings.

Sustained: The holding of a position that places excessive stress on a muscle group or joint. For example, a coccyx sit or balance on one leg for a long period of time.

Repetitive: Too much repetition can be dangerous. Even safe movements performed too many times can cause injury. For example, jumps, push-ups and lifts.

In my opinion, when you’re teaching for four hours in a row or more, you can’t avoid some of the above movement types, but it’s important to be aware of them and to think about how much we demonstrate a movement if we feel strain, pain or any warning sign. Injury and stress are always going to be in our lives, it’s the nature of the dance business, but here are some tips to help you reduce them:

• Remember occupational health and safety rules.
• Get a regular remedial sports massage or visit a physical therapist.
• If you have injured yourself, but still have to teach, use an assistant teacher or senior student for demonstrating until you have fully recovered.
• Keep up regular classes for technique and strength. We can get so busy, but we too must be in class regularly. I have heard of large dance studios holding a teachers’ class once a fortnight and rotating who from the staff takes the class. This helps the teaching staff to keep up their technique and fitness.
• Keep hydrated and eat a well balanced diet.
• Make sure to get plenty of sleep. You need energy to energize your students and a rested mind to be creative.
• If you are teaching for long period of time pace yourself and take regular breaks if you can.

At the end of the day, teachers need to remember to take care of themselves. We inspire and nurture talents, yet we sometimes forget to inspire and nurture ourselves. Start to look after yourself so you can continue to give to your students for years to come. Being a great dance teacher is just as important as being a great dancer.

Source: www.curriculumsupport.education.nsw.gov.au/primary/pdhpe/dance/dan004.htm

Photo: © Viorel Sima | Dreamstime.com

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

The School of Visual, Media and Performing Arts at Brooklyn College is partnering with the Martha Graham Dance Company to offer two unique and intensive classes at the Brooklyn College campus in Flatbush, New York, January 9-26, 2012.
 
The two classes, ‘Technique’ and ‘Composition,’ will give undergraduate students of Brooklyn College and other institutions an opportunity to immerse themselves in the dance technique of the legendary Martha Graham. Each of the classes will accrue three credits. Faculty from the Martha Graham School of Contemporary Dance will work alongside guest artists to introduce students to the basics of the Graham technique and how to construct a dance.
 
The technique class runs Mondays through Fridays, 9 a.m.-noon. The composition class runs Mondays through Fridays, 2 pm-5 pm. These two winter intensives are specifically designed for students who wish to progress rapidly in the Graham technique. Classes may be taken concurrently or separately. Registration is open to undergraduate students from Brooklyn College and other colleges and universities.
 
The Martha Graham Dance Company, which will be practicing for its next tour at Brooklyn College’s Walt Whitman Auditorium during the week of January 23, has agreed to open its rehearsals to students every day that week. The general public will also have an opportunity to attend rehearsals on Tuesday, January 24, from 2 pm to 3:30 pm and on Wednesday, January 25, from 10:30 am- noon.
 
For tuition information or to register, students can visit www.brooklyn.cuny.edu or call 718-951-3180.

More than a manipulation of the elements.

 By Emily Yewell Volin

Does choreographic creativity ooze out of you or are you petrified by the choreographic work required in your dance major?  Whether the urge to create naturally flows from you or you think of yourself as a performer and technician who does not need the required choreography class, you have more to gain by taking the class than you may think.  And, believe it or not, your dance professors are fine with either attitude as you enter choreography class.  They just want you there.  Why?  Because there’s movement potential in you that must be explored.  Choreographic training will make you a better dancer and might even lead you toward an additional passion in the field.  Here are a few tips for getting the most out of those choreography classes.

• First and foremost, realize that most brilliant choreographers did not come by it naturally, they were trained.  Accept this. 
• Find inspiration.  Your life experiences ARE interesting.  Find new ways to look at them and create work based upon your reinterpretations.  You may be inspired to create linear works that tell a story, abstract works without a literal interpretation, or a mixture of both.  Spend time moving in silence or to music you find that triggers your creativity.  Discover how your body moves and what thoughts come to mind.  Be inspired by these realizations; they are your most honest creative desires.
• A choreographer’s job is to make the dancers you are working with look fantastic.  There are typically three strategies for choosing your cast members.  You can cast accomplished dancers, novice dancers, or a mixture of technical expertise.  Regardless, it is important to work with conscientious dancers and to take time to teach your choreography in detail.  The most expertly crafted work will fall flat if you have not clearly communicated your movement or if you find yourself working with dancers who either cannot or will not respond to direction.  A cast of dancers who ‘almost’ execute your intended movement and style will undoubtedly deflate the value of your work.  Be realistic about your cast members’ abilities, choreograph accordingly, and expect clarity. 
• Be true to your individuality.  Take a risk and share something of yourself.  You are inherently influenced by all movement, dance and otherwise, you have seen or danced in your life.   Embrace these influences on your way of moving.  Draw from them but do not be paralyzed by them.  Utilize the physical and aesthetic experiences to develop your own choreographic voice.  Inexperienced choreographers frequently develop phrase after choreographic phrase with little attention to developing a concise vocabulary or style for the piece.  Begin manipulating a few movement phrases and expand upon them.  Less is more at this point. If you find ‘filler’ steps in your work, cut them.  Choreography class work frequently involves the creation of several short choreographic studies. Create solid studies and you may find they form the basis for expanded works in the future.
• Find music that both speaks to you and is inextricably tied to the work.  Lyrics are fine, just realize you will be bound by them.  And, be aware that recognizable tunes and songs carry with them a litany of memories and preconceived notions for your audience.  Realize symphonic pieces are difficult to pair with a small cast of dancers and that sparse music is difficult to make work with a large cast.  Consider utilizing some choreographic tools like syncopation and stillness in your work.  Rhythmic texture adds intensity to your work.
• Staging changes everything.  This is something you will learn in choreography class.  Devise a way to begin visualizing what staging works.  Draw staging diagrams, move coins around on paper to represent dancers in the space; whatever works for you. Choreography class content includes a lot of tried and true staging information.  Implement these choreographic techniques and experiment with other ideas.  Our brains and eyes are accustomed to deciphering multiple stimuli at once.  Be intentional about the texture and staging of your work.  If your preferred aesthetic is stark, be true to it.  If you enjoy creating the decadent opulence of bodies in space; explore that.  Either way, be intentional and leave nothing to chance.
• Explore the creative capacity of your work in at least one other art form.  Write a poem, paint or draw, create a collage or a story board, journal, compose a jingle, read texts that relate to your ideas about the piece…the possibilities are endless.  Keep these inspirations near you throughout your choreographic process in order to create a portfolio of inspirations for the piece.  Share these creations or discoveries with your cast members.  Or, better yet, involve your cast in the creative process and be sure to share your inspirations.
• Reflect and revise.  We all know how frustrating it is when you’ve spent hard found time setting and learning choreography only to return to the next rehearsal and learn that the director has major changes to the piece.  Expect this as part of the process.  Accomplished choreographers reflect and revise, and you should too.  It is often difficult to discern if something is going to work until it is seen in real time.  Invite your faculty choreographic advisor to your rehearsals or provide a video for him/her to watch.  Listen to his/her impressions of the work and either implement their recommendations or request more discussion about the ideas. 

We all know that good choreography comes from the manipulation of the most basic elements of dance: time, space, and energy.  A choreography class will help you realize that well crafted choreography is much more than the simple orchestration of mechanical elements.  The best works embody the physical exploration of heart and honesty working in tandem with the splendid manipulation of time, space and energy.  Whether or not you continue to create after the completion of your choreography class, you’ll be a better performer, technician, teacher and artist as a result of the effortful journey.

By Emily Yewell Volin

Sherry Zunker’s BeMoved® has been in the press a lot lately, and with good reason.  The popular movement based product designed for adults of all movement abilities is quickly spreading around the country.  BeMoved®’s seemingly overnight success story has a lot in common with those of other seemingly overnight successes; it’s the result of years spent honing and applying skills, gathering diverse experiences, and trusting one’s own vision and uniqueness.  Sherry talked with Dance Informa about her experiences developing BeMoved® as well as her other current projects.  As always, a conversation with Sherry is filled with honesty, humor and heart.  Enjoy.

Tell us about BeMoved®. 

BeMoved® was 30 years in the making; though it really only took me a few days once I decided to do it.  The process really started when I was Co-Directing at River North Dance Chicago. Company dance classes were ballet three times a week and jazz twice a week.  The repertoire was so hard and the dancers’ bodies were getting battered.  Things kept getting more technical and athletic and the joy and art of dancing started to escape.  So, first I adjusted my classes; especially those I taught for the Company.  I made my class about the dancing of dancing; artistically interesting and therapeutic.  Then I realized there were a lot of post professional dancers out there looking for classes.  I couldn’t find a class I enjoyed taking; either the choreography wasn’t good or the class hurt my body.  So I realized this type of class, what is now BeMoved®, was something really missing in the field.  Part of the mission of the Mature Dancer Project (MDP, a project driven performance company of post professional dancers) is to create a haven where post professional dancers continue to dance and evolve as artists while bringing dance into the community. BeMoved® was born from that part of MDP’s mission. 

Sometimes you don’t know how what you’re doing will serve you later in life.  BeMoved® was finalizing a huge puzzle and now I see how all these pieces fit.  I really care about this and what I can do to help the most people.  BeMoved® speaks to me as a person and has been the biggest full circle ‘ah hah’ moment of my life”. 

You have developed syllabi and training for BeMoved® instructor certification to ensure consistency with the BeMoved® experience.  Tell us more about what to expect during a class.

The entire BeMoved® syllabus is designed so that the movement does not hurt; that’s the point.  Most people don’t get the opportunity to move to complex, interesting music the way dancers do.  And a BeMoved® class is not about how you look doing the movement, it’s how you feel about it. 

You can really have an emotional and spiritual experience during a BeMoved® class because you move to music (expertly chosen from Sherry’s extensive experiences choosing music for Royal Caribbean Productions) and don’t stop. As a result, BeMoved® is a great cardio workout; though that was never my original intention. More people succeed in a BeMoved® class than they do in athletics or a dance class.  In fact, a lot of people who take BeMoved® for the first time say it’s a lot more fun than they thought it would be and that they could do all the movement!  In the end it’s just so much fun and that’s my intention with BeMoved®. 

You are currently directing Royal Caribbean Productions’ presentation of Chicago.  To what do you attribute your directing success? 

Even though I’ve done a lot of diverse things, being a really good teacher and loving to teach have really helped me be a good director.  I’m able to teach people how to do my work.  I look at what’s in front of me, for example either a River North Chicago dancer or a singer who has never danced before, and I’m able to figure out how to make the most of them.  When I direct I try to share with those I mentor.  I walk into the room and think of what the work is supposed to be.  I try to look at things as a human being and then my visceral response identifies what’s going on.  I care less if (the people I’m directing) like me.  I’m more concerned that I am able to teach them.  I understand this responsibility.  Also, I know time is money and that efficiency is key.

Having the awareness of how much information a person can receive at a particular time is also important.  As a director it’s important to know the two things a person can take away today, even though there may be ten things they eventually need to hear.  That gets me really good results.  It’s a timing issue.  The minute someone is overwhelmed, it’s over. It’s crucial to be inspirational.  That’s how you get people do to things; not with fear – it’s inspiration and excitement. 

What kind of dancer do you like to work with?

I notice if a dancer can pick up things fast and if he/she is a good listener who is kind, aware of, and helpful to other people.  I also notice if the dancer goes out for a smoke or stays in the studio to stretch during a break and if he/she is looking at me and always paying attention.  I need them to do my style and not add their own. There are a lot of people I cannot hire because they want to do their own version of the choreography.

What audition advice do you give dancers?

Dancers need to know what they are auditioning for.  For example, if auditioning for Royal Caribbean they need to have make up on, a cute cut, and an outfit without tears. Or, if it’s a company, find out what the rep is like and what their dancers look like. Do not show up looking like a dance student. Look like you are a professional performing artist.  Do your research (Sherry suggested youtube searches) and be what the auditioners already like.  A lot of times the people making the final casting choices are not the ones with the dance/singing knowledge.  It’s often the producers who have the final say because they have the money.

The multiple components of Sherry’s well developed career nourish and inform each other; and she isn’t slowing down. 

Learn more about Sherry and her projects by checking out these sites:
Sherry Zunker:  www.sherryzunker.com
BeMoved®:  www.bemoved-dance.com
Royal Caribbean Productions: www.royalcaribbeanproductions.com/chicago
River North Dance Chicago:  www.rivernorthchicago.com

Photo’s by Cheryl Mann