By Kristy Johnson.

It’s no wonder why Paul’s CV is extensive, when he’s willing to work with all different styles and environments. Having been mentored by the one and only Kenny Ortega, Paul’s choreographic career has taken off in leaps and bounds. At a young age, he has already secured gigs with the Twilight franchise, American comedy-drama series Hellcats, and Canada’s Got Talent.

Dance Informa caught up with Kenny Ortega’s protégée, to discuss the opportunities that have come his way.

Can you tell us how you managed to land the role of choreographing for Twilight?

Well, they were looking for a choreographer and my name got mentioned. The director called me and I met them on set while they were filming. They had very high security. It was all very quick! They said, when can you start? And I said tomorrow (laughs). So it was a very quick decision.

Which do you enjoy the most? Choreographing for film or TV?

Well, I love doing film because I can really take my time. I find film to be amazing, but I also love doing stage. It’s pretty special.

When working on a film, how much time do you have to put it all together?

It’s always different. There are always different factors that determine how long it will take. It’s a lot of work when working on a film.

How difficult is it to work with actors who don’t have a dance background?

Oh yeah, it’s a lot more difficult! But sometimes the best movement comes from that factor. We’ll get something traditional that could also work.

Paul Becker works with cheerleaders for Hellcats

You work with a diverse range of dance styles. Which style do you feel most comfortable in?

I’m kind of into everything! I don’t really have a signature style. I enjoy doing every style, which I can evolve into. I started off as a break-dancer and hip hop dancer but I like jazz and ballet, so I can’t really tell you. Probably one of the reasons why I get to do what I do is because I do all styles. It helps me out a lot.

What you have accomplished in your career to date is amazing. You must feel blessed with all the opportunities?

Definitely, I feel very blessed! Having been mentored by Kenny Ortega has influenced my work ethic. He definitely inspires me.

Where do you look to for inspiration when choreographing?

Well, I look at photographs a lot. I look at photographs for shapes and I see choreography in everything. I could walk down the street and take choreography from cars. You know, patterns in which cars drive. Choreography is movement so I kind of just look at life and everything around me as inspiration. As far as people? There are plenty that I look up to.

Tell us about your work with Canada’s Got Talent.

I just finished producing Canada’s Got Talent. It’s been an awesome experience, producing and being the creative director for the show.

With Hellcats, the American cheerleading comedy-drama TV series, did you find any difficulty in incorporating dance styles with acrobatic cheer movements?

No, because my background is in gymnastics and Capoeira. I thought, ‘finally I get to do this’ (laughs). I really wanted to break down cheerleading and do movements that were illegal [in competitive cheer]. It was actually a joy to do. I didn’t find it a challenge at all. It was great!

What’s next for you?

I have a Disney Channel movie coming out for Halloween. I’m also working on a musical called Stage Fright, and I’m just finishing a documentary up too. I’m too busy! I’m getting more into directing now so there’s another transition in my life.

To find out more about Paul Becker visit Facebook.com/paulbeckerchoreographer or follow him: @paulbecker79

Photo: Paul Becker by Leecherry Photography

Helen Hayes Theatre, New York, NYC
July 10 2012

By Belinda Adams.

Rock of Ages has enjoyed much hype recently thanks to the movie release, so to see the musical version on Broadway was a real experience.

The small theatre was decked out like an 80s’ rock party and made me feel like I was part of the show from the moment I walked down the aisle to my seat.  I could feel the audience’s excitement building even before the first chord was strummed and once the lights went up and the music started I felt like I was part of the LA music scene.  There were even drinks being served during the show to get the audience into the 80s’ party theme.

Each of the characters played their personalities well on stage and were believable as either the protesting hippie or the wannabe rock star.  Although the lead characters were fantastic, it was Genson Blimline as ‘Lonny’ who really captured my attention.  With his witty narration and quirkiness he was a real crowd pleaser.   Also a favorite for the eager audience was Cody Scott Lancaster who played ‘Franz’, the son of German industrial entrepreneur Hertz.  His happy, gay personality and innocent delivery of comical one liners had the audience in stitches of laughter.  Overall, the lead actors were well rehearsed and 100% into their characters.  Their voices were flawless whether they were hitting the highest note or forming a harmony.

There were only a couple of downsides to the performance.  The ensemble, which consisted mainly of four girls, had some trouble staying together in their choreography and patterning and seemed a little flat in their overall performance.  Also, the venue that they chose (Helen Hayes Theatre) was rather small for the production.  There were a number of times when they could have done with a bigger stage to really show off the staging.  All that being said, it was a great production with what space they had.

Rock of Ages is a very entertaining musical that will be pleasing crowds on Broadway for many years to come.  It is an adult musical that brings you back to all the 80s’ hits that we remember and even grew up with. I definitely left the theater singing “Don’t stop believing, hold on to that feeling!”

Photos by Paul Kolnik

By Emily Yewell Volin.

Dancers lead curious lives – and no time of year allows for full dance immersion quite like summer time.  It’s the time of year when young dancers typically have time to participate in summer intensives and workshops, where it’s customary to spend 8-12 hours a day studying what they love – dance.  So, what about the weeks between workshops or during family vacation time?  How can a dancer stay fit, broaden his/her artistry, and stay prepared for auditions?  Here are a few ideas to inspire summer growth in body, mind, and career preparedness.

Cross Train
Summer breaks provide terrific opportunity for a dancer to hone his/her overall fitness.  Dance training is largely non-aerobic and a dancer needs to build his/her cardiovascular fitness and master technique.  Summer is a great time to add some aerobic activity into your training regime.  Swimming, fitness walking, jumping rope, biking, climbing stairs, and in-line or roller skating are just a few of the fun activities that can help increase cardiovascular strength.

Seek New Experiences and Notice Everyday Ones
Dancers are artists as well as technicians and choreographers rely upon your ability to evoke emotions and/or characters in every piece you perform. One of the best ways to train your body and mind to call upon these qualities is to begin noticing the world around you through a dancer’s eyes.  Everything you do and experience elicits a postural reaction in the body.  Notice these reactions and draw upon them during future class and rehearsals.

Volunteer
Dancing is hard work and it is easy to lose sight of the qualities that first drew you into it.  Arrange to teach a class or perform for a group of people who would not otherwise have exposure to dance this summer.  You may be surprised by how excited the opportunity to dance makes people.  It is likely their enthusiasm will be infectious.

Headshot
Summer is a great time to update your headshot.  Just be sure you have not spent too much time in the sun before the shoot and that you do not have visible tan lines during the session.

Bio/Résumé/Demo Reel
Dancers are artists, technicians and business people.  Make some time to update your résumé, biography, and demo reel this summer.  Chances are you have new accomplishments since your last did an update and there’s never time to do your best revisions when rushed by a sudden need for the materials.

Journal
Reflection and goal setting are vital to your progress as a dancer.  Begin journaling about your short and long-term goals and, if you already have a class-corrections or rehearsal journal, review your past goals and corrections.  Reflect upon how much you have improved and seek to address areas still in need of improvement.

Read about dance
Reading about those who came before us in the world of dance and learning from their career paths informs our own choices and goals.  Dance Informa has a wealth of inspiring interviews and advice columns. Just type a topic or artist’s name into the top search bar and see what you can find.

Watch dance
Live performances, online sources, movies – it doesn’t matter where you find dance; watch it.  You will learn from the styles you do enjoy and you’ll learn from those you do not.  Work toward establishing your own aesthetic and be open-minded.

Open Studio
Or, open living room!  Invite some dancing friends to join you and give each other a barre or class.  Some studio directors have designated ‘open-studio’ days when students are allowed to work in a studio by themselves, while the owner is on the premises.  If your studio is not available during the summer months, clear the living room furniture, use some chair or sofa backs as a barre and dance.

Choreograph
All these dance-related activities may leave you with something choreographic to say.  Play with your ideas.  Be direct about what is inspiring you and try to plan and/or create a work to communicate your ideas.  You may develop a short phrase or an entire piece.

Write a thank you note
Recall a person who has supported or inspired you as a dancer.  This person may be a teacher, family member, friend, or someone you have never met.  Write a note, either email or hand-written, and deliver it.  Recognizing the people who have supported your dancing will inspire them and you.

Top photo: Dancers of Move Through Life Dance Company. Photo by Raw Studio

How much do you know about George Balanchine, one of the 20th century’s most famous choreographers?

By Rain Francis.

1. George Balanchine was born in which country?

a) USA

b) Germany

c) Russia

d) Poland

2. With which composer would you MOST associate Balanchine?

a) Tchaikovsky

b) Stravinsky

c) Ravel

d) Gerhswin

3. Which of the following is NOT represented in Balanchine’s Jewels?

a) Sapphires

b) Rubies

c) Emeralds

d) Diamonds

4. Which group of dancers was Concerto Barocco choreographed on?

a) New York City Ballet

b) Ballet Russe de Monte Carlo

c) Julliard School of Dance

d) School of American Ballet

5. How many times did Balanchine marry?

a) none

b) twice

c) four times

d) five times

6. Which dancer created the lead role in The Prodigal Son?

a) Serge Lifar

b) Vaslav Nijinksy

c) Leonide Massine

d) Mikhail Baryshnikov

7. Which ballerina created the role of the Sugar Plum Fairy in Balanchine’s The Nutcracker ?

a) Maria Tallchief

b) Suzanne Farrell

c) Gelsey Kirkland

d) Patricia McBride

8. Which was the first ballet Balanchine choreographed in America?

a) Tchaikovsky Pas de Deux

b) Serenade

c) Agon

d) Apollo

9. Which of the following Greek muses is NOT present in the ballet Apollo?

a) Terpsichore, muse of dance

b) Caliope, muse of epic poetry

c) Clio, muse of history

d) Polyhymnia, muse of mime or hymns

10. Theme and Variations is choreographed to a score by which composer?

a) Stravinsky

b) Prokofiev

c) Satie

d) Tchaikovsky

ANSWERS: 1 – c; 2 – b; 3 – a; 4 – d; 5 – d; 6 – a; 7 – a; 8 – b; 9 – c; 10 – d

Photo: English National Ballet. Thomas Edur and Agnes Oaks performing Balanchine’s Apollo. Photo by Patrick Baldwin.

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

By Stephanie Wolf.

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

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

Michael Nunn and William Trevitt

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

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

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

Dancers audition for the company.

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

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

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

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

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

Part 1: Getting Insured.

By Stephanie Wolf.

A dancer’s ability to work and earn income is dependent on optimal health and physical condition. Therefore, proper healthcare is essential for longevity in the dance profession. But, unfortunately, many American dancers are under or uninsured due to the rising costs of healthcare and the complexity of applying for an insurance plan. Finding affordable health insurance is a dizzying feat, especially for freelance dancers who lack the option of obtaining insurance through their employers. The Internet is inundated with information and the nation’s capital is all a buzz with talk of healthcare reform, but what does it all mean?

Many dancers fall into the 10 to 11% of Americans who get their insurance through the individual healthcare market and dancers are amongst the highest percentage of uninsured artists. High premiums make it challenging to find the right plan. Additionally, because of the intense physicality of the dance profession, many dancers have difficulty getting approved for a plan because of a pre-existing condition. Organizations such as the Actor’s Fund, Media Bistro, TEIGIT, the Freelancer’s Union, and other artist-based unions provide tools and resources for healthcare options, playing a role in ensuring the health of American artists.

The Actor’s Fund (AF) is at the forefront of this cause – helping more than 400,000 performers every year gain access to healthcare – and gears a lot of their services towards dancers. Since 1998, AF has worked with dancers, and now has several comprehensive online tools and one-to-one counseling options to help dancers continue to perform at their best. One tool is the Artists’ Health Insurance Resource Center (AHIRC), which provides listings for workshops, counseling, and an online database of plans, subsidized healthcare, and government programs for each state. Spearheading these programs is AF’s Director of Healthcare Services James Brown who has an extensive background in health insurance and is a healthcare regulator in New Jersey.

Currently, AF is conducting a large dancer healthcare initiative through a grant from the Doris Duke Foundation. The project involves workshops and seminars in 10 dance-centric cities around the country: Manhattan, Los Angeles, San Francisco, San Diego, Chicago, Washington DC, Houston, Seattle, Philadelphia, and Minneapolis/St. Paul. Brown will conduct the workshops and engage with both dancers and people who run dance organizations in conversations about the laws and availability of health insurance in each of their corresponding cities. AF is also working on creating webinars for those that can’t attend the workshops.

On the individual level, Brown will address dancers’ questions and concerns about finding affordable health insurance. Understanding that health insurance is “a local business,” he’ll give details on the laws, availability, and costs surrounding individual plans. Brown will also discuss affordable or free healthcare options available in each city, such as clinics and pharmaceutical programs.

For those in managerial positions, Brown will break down the Small Business Health Insurance Subsidy, which is part of the Affordable Care Act – also known as Obama Care. “This is an opportune time for dance organizations,” says Brown of the healthcare reform, because it might give small dance companies the ability to afford coverage for their dancers. This piece of legislation offers small businesses and arts organizations, who pay at least 50% of their employee’s health insurance costs, the chance to receive a subsidy from the government to help cover the extra expense. Brown will walk arts administrators through the eligibility factors, the protocol of applying, and what aspects need to be discussed with an accountant.

On a regular basis, AF also conducts individual healthcare counseling. Dancers can access these services by either calling the fund at 1-800-798-8447 ext. 280 or e-mailing Brown at jbrown@actorfund.org. Brown will discuss individual coverage options, as well as coverage for spouses, partners, or family members.

However, many dancers simply can’t afford insurance. For these individuals there are a number of free or sliding scale based healthcare facilities throughout the country. Dancers residing in Manhattan can receive treatment at the Al Hirschfeld Clinic, an AF run clinic in Midtown. The facility is New York’s only completely free clinic and administers healthcare services for anyone in the performing arts or entertainment industry who “has done a certain amount of work over the past two years.” Dr. James Spears, a doctor and professor with NY Presbyterian Hospital, is the full-time medical director and the clinic has a network of specialists through a program called Broadway Docs. There are a number of similar clinics throughout the country, including the Cleveland Free Clinic, San Francisco Community Consortium, and the Performing Arts Clinic in Los Angeles.

AF also offers a variety of other services for socio-economic issues that come with being a performing artist. Recently, the fund collaborated with Broadway and television star Bebe Neuwirth for a program called Dancers’ Resources – helping dancers cope with being injured and the recovery process.

The information is overwhelming, but the reassuring aspect is that there are organizations and individuals striving to give dancers the healthcare they deserve. Nevertheless, it’s crucial for dancers to stay informed on healthcare changes currently being debated in Washington. The evolution of Obama Care can, and likely will, greatly impact the dance community. Starting in January 2014, the laws and guidelines surrounding healthcare in this country will change drastically, especially if the Supreme Court rules in favor of a major mandate in the Affordable Care Act. Thus, the ‘game,’ as we know it, will change.

Get informed about Obama Care and the future of American healthcare in part 2 of “Healthcare for Dancers” – out in June’s issue!

Resources to get insured or access to affordable healthcare:

• The Actor’s Fund: actorsfund.org
• Dancers’ Health Insurance Research Center: dhirc.org
• Artists’ Health Insurance Research Center: ahirc.org
• The Freelancers Union: freelancersunion.org
• Media Bistro: mediabistro.org
• TEIGIT: teigit.com
• Health Pass (for small business owners or sole proprietors): healthpass.com
• Needy Meds (free and low-cost medications): needymeds.org
• Some major retailers offer inexpensive medication, such as Target and Wal-Mart
• The National Mental Health Service Locator: store.sarnhsa.gov/mhlocator
• The Performing Arts Clinic in LA: brighamandwomens.org/Departments_and_Services/neurology/services/PerformingArtsClinic.aspx
• The Free Medical Clinic of Greater Cleveland: thefreeclinic.org/
• The San Francisco Community Clinic Consortium: sfccc.org

Top image © Andre Blais | Dreamstime.com

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

We always hear about the importance of what you eat, but could when you eat be just as important?

By Emily C. Harrison MS, RD, LD.

What’s the secret for dancing stronger, improving body composition, building muscle, having more endurance, and improving performance? Energy Balance.  Backed by sound science, the concept of energy balance is all about timing healthy meals and snacks to work for you.  Managing your energy balance can even play an important role in injury prevention.

What is Energy Balance?

Energy Balance is eating exactly the right amount of fuel for the activity you are about to do.   It is meeting and adjusting your body’s energy (calorie) needs as they change throughout the day depending on how hard you are working.   Let’s say you are going on a road trip….
Which option would you choose?

1. Ok car, I’m not going to give you any fuel now, but when we get there I’ll give you all the fuel you need?
2. Ok, car, I’m going to give you all the fuel you need for the trip now, but you have to figure out where to store it?
3. Or…Ok car, I’ll fuel you up now for the next 2-3 hours and then I’ll stop and fuel you up again when you need it?

Obviously, we should choose option 3, but all too often dancers choose option 1 or 2.  Providing enough calories from healthy foods at carefully planned intervals when dancing gives the body the fuel it needs to perform its best.  When athletes have enough fuel, preferably from carbohydrates, they have been shown to have higher jumps and more endurance. Also, when dancers eat regular healthy snacks they tend to not overeat later.   If a dancer gets extremely hungry because he or she hasn’t eaten in a while, he or she tends to overeat more than needed within a certain time frame and those extra calories get stored.  Some is stored as a much needed type of fuel called glycogen which is easy to access when dancing the next day, but some is converted to body fat.  This is why eating smaller more frequent meals not only leads to better performance but also to more muscle and less fat.   We all know that working in an aesthetic art form means that we have to be judicious about what we eat, but planning meals and snacks wisely throughout the day can actually lead to better, stronger muscles and lower body fat percentage.

Whether someone dances two hours a day or ten, in order to perform their best they have to provide exactly the right amount of fuel to their system at the right time.  Going for too long without eating can backfire by forcing the body to come up with fuel from somewhere. When running on empty, the body breaks down muscle tissue and converts it into a type of fuel that the muscles and brain can use.

There are several problems with the all too common dancer strategy of not eating before and during classes/rehearsals/shows and waiting until later to eat: The body lowers your metabolic rate to adjust, the body burns muscle for fuel and thus makes you weaker and more prone to injury.  The brain has a harder time concentrating with no fuel, so choreography is harder to pick up and ultimately you end up with a higher body fat percentage and less muscle. Eating a small snack would have been a much more efficient source of fuel.

Here are my top 10 energy balance tips.

1. Eat breakfast!
2. Have a 100-250 calorie morning snack especially if you have rehearsals
3. Provide some calories every 2-3 hours during your day
4. Eat smaller more frequent meals
5. Plan a 100-250 calorie afternoon snack around 3:00-4:00pm to stave off hunger
6. Eat a reasonable dinner with carbohydrate, protein, and some healthy fats
7. Do eat after dancing, but don’t overdo nighttime snacking
8. Hydrate, hydrate, hydrate all day
9. Sip on a sports drink if dancing for a long time and eating isn’t possible
10. Focus on fruits, veggies, and whole grains when meal/ snack planning – these carbs are good!

Pack a snack in your dance bag like a granola bar, banana, dried fruit, nuts, and whole grain crackers and peanut butter or make a wrap with hummus, veggies and rice. Make some pasta salad with whole grain pasta, black beans, tomatoes, corn, and red peppers – yum!  Planning is the key to making healthy food convenient.

Want to know more?
Here is some additional info:
Working muscles require calories in order to provide enough readily available energy in the form of adenosine triphosphate (ATP) and creatine phosphate (CP) particularly for the short, high intensity bursts of activity that we dancers do in class and in performance.  Longer bouts of exercise (Swan Lake for example) require the use of stored glycogen and fats. The body adjusts what it uses for energy based on the intensity of work and level of training. Providing calories before exercising preferably from carbohydrates, results in better performance and helps preserve muscle mass.  For longer shows, sipping on a sports drink or having a granola bar during intermission will help dancers finish strongly.

According to the American College of Sports Medicine, “Inadequate energy intakes can result in loss of muscle mass, menstrual dysfunction, loss or failure to gain bone density, an increased rate of fatigue, injury, and illness”.  Injuries or illness can greatly affect a dancer’s training.  Dancers can have fewer injuries and illnesses by managing their energy balance.

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

Top photo: © Ivan Mikhaylov | Dreamstime.com

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

By Emily Yewell Volin.

The Youth America Grand Prix (YAGP) is a prestigious annual ballet competition dedicated to student dancers ages 9-19, attracting approximately 5,000 competitors to its twelve US regional and four international competitions.  Of the 2012 competing dancers, 300 students from 26 countries advanced to the finals.  Dance Informa spoke with YAGP founder Larissa Saveliev just before the annual finals, which convened from April 22-26 in New York.  She shared that “more than ½ of the finalists leave NY with some sort of scholarship to pursue their dance education further.”

The Youth America Grand Prix has been receiving some deserved attention thanks to the award-winning ballet documentary First Position scheduled to come to cinemas in May 2012.  The documentary follows six young dancers as they balance the physical and emotional demands of competing in the Youth America Grand Prix with the similar inherent demands of adolescence.  As the movie suggest, the process is riveting and demanding.  Dancers competing in the YAGP are adjudicated on two performances; a classical piece selected from an approved list of repertoire, and an open piece intended to allow opportunity for the dancers to show themselves in a different style of dance. Some opt to forgo pointe shoes in favor of showcasing themselves in a modern piece while others select new classical choreography to showcase their performance range.  Saveliev explains, “right now you cannot find a company in the world who only does Swan Lake.  We try to prepare them for a future career and try to guide them in how to find a job and how to find scholarships.  You have to be versatile. It is an extremely important point we try to teach them.”

Friedemann Vogel & Alicia Amatriain of Stuttgart Ballet perform at YAGP Gala 2012. Photo by Liza Voll

The YAGP is unique in its service to the youngest set of student ballet dancers and the rewards of competing last a lifetime.  Scholarships pair promising young dancers with premier training and have resulted in an impressive list of alumni.  Former YAGP award-winning dancers are performing in companies around the world, including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Alvin Ailey American Dance Theater, The Royal Ballet, The Hamburg Ballet, The Stuttgart Ballet and others.  Saveliev praises the integral YAGP networking opportunities for helping dancers find their career paths.  And, for the 9-12 year old dancers who are typically too young to leave the country or commit to professional dance, Larissa says YAGP provides them “goals so they can work towards something and tries to educate them about what’s gong on in the world of ballet right now.”  She adds, “We look at ourselves as a membership club.  If you compete once, you become a member for a lifetime.  Any service you need, you get it for the rest of your life.  We’ll be there to help them.”

Larissa has been true to these goals since she and Gennadi Saveliev founded the 501c(3) YAGP organization in 1999.  She is a former dancer with the Bolshoi Ballet who desired an “outlet to learn and get guidance as a teacher” after moving to NY in 1995. Competitions were very popular in Russia.  “You learn so much by seeing it. Teachers watch and see what other teachers are doing,” says Saveliev.   In the 1990s there was nothing in the United States that paralleled the Russian Competitions.  “That’s what gave me the idea to come up with something that would serve this need”, she expands. “We started very small and we worked very, very hard.”

Ballerina Assoluta, Natalia Makarova in honored by YAGP. Photo by Liza Voll

In honor of teaching and inspiring young and old, teacher and student, the YAGP competition includes feature performances.  This year the YAGP presented a tribute event honoring Ballerina Assoluta, Natalia Makarova. The performance celebrated Ms. Makarova’s contribution to the world of ballet by presenting some of her most memorable roles performed by today’s leading dancers, including performers from Stuttgart Ballet, NYCB, ABT, San Francisco Ballet, The Royal Ballet and more. Saveliev adds, “(Makarova) designed the program herself. It had a lot of archival video footage that had never been seen before and she told us about it and talked about her life and the choreographers she worked with.”

The YAGP’s focus on serving young dancers also extends to its historically sold-out culminating Gala performance.  Performed in the David H. Koch Theater at Lincoln Center, and heralded as “The highlight of the season” by Clive Barnes of the New York Post, the gala brings future stars and established stars of today onto the same stage.  “We try to bring all different kinds of choreography and styles to the Gala performance”, says Saveliev.  This year’s event was chaired by American Idol producer Nigel Lythgoe, Black Swan choreographer Benjamin Millepied and prima ballerina Susan Jaffe.  The performance was highlighted with world choreographic premiers by Dresden Ballet’s Jiří Bubenĺček, with an original score by Karen LeFrak, ABT’s Marcelo Gomes, with an original score by Ian Ng, and NYCB’s Justin Peck.  This program featured YAGP alumni who currently perform with over 50 international ballet companies. The opportunity for selected 2012 competition finalists (the stars of tomorrow) to share a concert with current premier dancers from around the world (the stars of today) is awe inspiring.

The Youth America Grand Prix is a crucial coming together of the ballet community – YAGP competitors, alumni, teachers, choreographers, composers, dance legends, enthusiasts, and the attending public.

For more information visit www.yagp.org

Top photo: Grand Defile, photo by Liza Voll

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

By Emily Yewell Volin.

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

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

Photo by Marc Monaghan

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

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

Photo by Marc Monaghan

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

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

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

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

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

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