By Kristy Johnson.

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

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

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

Can you tell us how The Squared Division came about?

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

Taylor Swift with Antony Ginandjar of The Squared Division

How well do you think you complement each other?

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

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

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

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

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

What is it like working with Ke$ha?

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

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

Ke$ha and Antony Ginandjar

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

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

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

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

Do you ever feel pressure living in LA?

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

Kylie Minoque with Ashley Evans and Antony Ginandjar

How important is teaching to you?

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

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

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

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

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

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

By Stephanie Wolf.

Ever since she was a little girl and saw her older sister in dance class, Anne-Tyler Harshbarger wanted to be a ballerina. She went on to achieve this dream through illustrious careers with Houston Ballet and Atlanta Ballet, performing a wide range of classical and contemporary repertoire. But, Harshbarger couldn’t be defined solely by her balletic aspirations. There was a different, creative energy brewing in her, which would eventually evolve into Harshbarger’s diva of the nightclub alter ego, DJ Anne-Tyler. Now, the former ballerina is making a name for herself in the Los Angeles and international DJ scene.

At sixteen, Harshbarger attended her first rave in North Carolina. “I was blown away by the unbelievable vibe the music created. There was a sense of unity and acceptance and love through dance that I had never felt before…this world was a non-judgmental one where I could explore movement in a safe place.” She was instantly hooked to the music and dance of the “underground party” world. “Collecting music became an obsession. Eventually, I got my own decks and the rest is history.”

Anne-Tyler Harshburger in Atlanta Ballet’s ‘Nutcracker’. Photo by Charlie McCullers, courtesy of Atlanta Ballet.

Her first DJ gig had her spinning vinyls in a derelict Atlanta warehouse for a designers’ showcase. “I prepared for hours for it,” says Harshbarger. It was a memorable night, which sent her on a new and exciting journey. From there, in conjunction with her career as a featured dancer with the Atlanta Ballet, Harshbarger found more success in the Atlanta DJ scene. Juggling two careers had its challenges, but that didn’t deter Harshbarger from pursuing both of her passions. “At times it was exhausting,” she says. “But the love of what I was doing kept me full of energy. I needed the variety and contrast of both classical and electronic to feel inspired.”

In May 2011, Harshbarger officially left Atlanta Ballet to focus on her budding DJ-ing career. As she transitioned, she noticed many similarities between the two professions. “They are both about letting go and expressing your true self, taking risks, overcoming fear, and connecting with an audience. Dancers and musicians are vessels through which the power of music flows.”

Anne-Tyler Harshburger performs with Atlanta Ballet. Photo by Charlie McCullers courtesy of Atlanta Ballet.

Like ballet, being a professional DJ isn’t the most conventional career trajectory, begging the question: how does one become a professional DJ? “A lot of it was being at the right place at the right time,” Harshbarger says in regards to the initial years of getting her career up and running. But, ultimately, she achieved success through her raw talent, gusto for music and movement, and diligence. “Word of my enthusiasm and talent traveled fast…I believe a big part of it was simply my desire to do it. When I want something, I make it happen.”

While the DJ scene has primarily been a “man’s world”, female DJs are starting to gain fame and recognition. Harshbarger feels grateful to be a part of this burgeoning demographic, but she doesn’t “preoccupy [herself] with gender” and pursue this passion solely to make a social statement. “I have faced both adversity and advantage as a lady DJ. Most important is talent. The music always comes first in my book.”

DJ Anne-Tyler likes to shake things up with her musical repertoire and often allows the ambience and vibe of a party to influence her mixes. “I started with house music and it will always be my fave to spin,” she explains. “But these days I play everything: techno, drum n’ bass, chill out, lounge, nu disco, 80’s, 90’s, indie rock, hip hop, R&B, pop remixes, dub step – you name it.”

Now, DJ Anne-Tyler is a mainstay in the LA nightclub world. She spins five nights a week at Los Angeles clubs like Supperclub, W Hotel Hollywood, Palihouse, Katana, and Caffe Roma, among others. Word of her skills has also taken her to a number of other U.S. and international cities. “In 2013 I’m very excited to return to my stomping grounds of Houston and Atlanta. Also on the agenda for the new year are Amsterdam, Berlin, London, Tel Aviv and Ibiza.”

This won’t be Harshbarger’s first time DJ-ing in Ibiza, Spain, the world’s electronic music Mecca. In the summer of 2008, she was a resident DJ at the city’s hot nightclub, Amnesia. She continues to go back each summer, expanding the scope of her international fan base and challenging herself as a maestro of the turntable. Her life of mixing music and beat juggling for the world’s hottest clubs and parties keeps her on the move a lot, but she doesn’t mind the go-go-go lifestyle. “I love to travel. It is very exciting for me to go on these adventures.”

Photo by Havana Club, ATLnightlife.com

Dancing is still very much a part of Harshbarger’s life and, likely, will always be in some capacity. “I still go out dancing a lot, I dance in my apartment all the time, and I do barre on my terrace sometimes.” She adds, “Since I’ve been in LA I’ve taught private lessons and have some master classes coming up. I also produce an event every Friday in Beverly Hills where I dance and create the costumes. It’s a Euro-style performance art house music scene.”

When she’s in Hollywood she isn’t holding back. Harshbarger has found many other artistic outlets such as acting, modeling, and building her new clothing line. She’s graced the pages of magazines like MODE, Jezebel, and The Atlantan; and her film and television credentials range from established shows like The Walking Dead, Drop Dead Diva, and What Not to Wear, to commercials and music videos.

The future is looking prosperous for DJ Anne-Tyler. On November 30 she was seen as a DJ in the world premier of the motion picture horror flick The Collection. She is also the brains behind ENJOYMUSIC ENJOYLIFE, a “whimsical lifestyle brand created for DJs, musicians, and music lovers.” Find out more about it at enjoymusic.com. Through her mash-up of beats and her graceful moves, DJ Anne-Tyler hopes to inspire others to chase their dreams.

Top photo: Anne-Tyler Harshbarger by Jonah Hooper

By Deborah Searle

Los Angeles draws talent from across the globe. The lights of Hollywood seem to have an irresistible pull for many dancers. But is it all bright lights and fame? Dance Informa got the dish from three LA based artists; Jim Keith, Alex Little and KC Monnie.

What can dancers expect when they get to LA?

KC: It’s going to take some time to get to know people. There are dancers that have been here for years already and have found their niche, and that niche might be the same as your specialty. I believe that the dancer that works hard and keeps persistent will succeed in whatever he or she wants in LA, but it just takes time.

Alex: One thing is for sure – expect an industry that is ever changing, moving and flourishing. That is what is so great about LA, but it can also be disappointing if you move with expectations of LA as being a specific way. Most dancers move here for great training and the more ‘commercial’ side of dance. However, don’t close your eyes to other facets of dance and performance art that are happening all over this illustrious city. There are all kinds of dance companies, stage work and theater opportunities as well as other genres of performance like aerial, burlesque, musical theater and break dancing. It is out there and happening!

Jim: A lot of dancers and fierce competition. The average dance agency represents anywhere between 700 – 1000 dancers and 15-120 choreographers at any given time. There are six dance agencies in LA, so do the math. There is probably 1-3 dancers not represented for everyone that is. That’s A LOT of dancers!

KC Monnie

Who should move to LA? What type of dancer?

KC: Dancers who want to work commercially should move to LA. LA is movie, commercials, and TV orientated. I just got back from New York and the dancing is very different on both coasts. In NY you have a yearlong contract doing the same show on Broadway everyday. In LA we book a job, rehearse, and film it all in a week or two. Then it’s on to the next job. So I would say that LA is a faster pace and requires quick pick up skills. I’ve been on jobs where we have had to change the entire number five minutes before we filmed it because the director decided that he didn’t like it. It can be a little stressful at times but very thrilling.

Alex: I have been here for a decade now and I can honestly say that LA has a place for every kind of dancer. You may have to search for it, but it is there.  But LA is much more geared toward commercial dance than the Broadway stage. If you are looking to do more industrial, commercial, TV work you are in the right place! But remember, that there are things for everyone if you want to live here.

Jim: I don’t think there is necessarily a specific type of dancer, but you do need to know that things like your look/image, who you know and how well you can perform will be key factors to whether or not you will actually book work. Who you know is very important. With the market being as saturated as it is it’s essential to know the key players in the dance industry if you want success.

Where should dancers train/take class?

KC: I am a big promoter of EDGE Performing Arts Center in Hollywood. I was on Scholarship there from 2007 to 2008, right after I graduated high school in Seattle, and the experiences I had were incredible. I learnt so much! Bill Prudich (Scholarship Director) is an amazing teacher and has been in the industry for years. EDGE has a wide variety of classes, whereas some studios in the greater LA area only focus on hip hop or ballet.

Alex:  I am a big believer in going anywhere and everywhere to get what you need. Right now I do most of my training at EDGE Performing Arts Center, but I know many dancers who currently train at Millennium Dance Complex, Debbie Reynolds, Debbie Allen’s, IDA and Westside School of Ballet, to name a few. Train wherever you can find classes and teachers that push you to be versatile and technically proficient in your genres. If you are auditioning with specific choreographers, follow them and take their classes!

Jim: EDGE Performing Arts Center I think has the strongest, most well rounded program for ‘working level’ dancers. They have great teachers as well.

Alex Little

Should dancers in LA get an agent?

KC: It can’t hurt to get an agent at the beginning. I feel that any audition experience is a good learning experience. You get to see how the business is run and how things are done. However, if you are working on your technique and training and you don’t feel up to par with the rest of those auditioning, then don’t let having an agent and auditions distract you from your learning. It can be hard to balance auditioning and taking class. You don’t want to let one aspect take over your life because you need both.

Alex: If you want to audition for jobs, then absolutely. Having an agent can only help you.

Jim: If you want to go to the major auditions then having an agent is essential. You can get your ‘feet wet’ without one, however. There are many open calls, especially for musical theater, but they are mostly lower paying and for small productions.

How long does it take to get work in LA?

KC: It is different for every single person. I was luckily on scholarship at EDGE during my first year out here and was just focusing on training. You are not allowed to audition or have an agent on scholarship because it distracts you from learning all that you can, so I didn’t have to feel pressured to work. But the week I finished the program I booked FAME the remake with Marguerite Derricks and was thrilled! All you can really do is show up to every audition and give your best. LA is a big casting call usually. Even though you dance well, you may not be what they are looking for, for that role.  Sometimes the choreographer loves you but the casting agent says ‘no’ – it happens all the time. Just move onto the next audition because there is nothing you can do if you came prepared and danced your best. Everybody auditioning with you is a good dancer, it’s just who is the best look for the part, which is why you go to every audition given to you by your agent!

Alex: It depends. Getting a job in our industry is not purely based on your talent. Type-casting will be involved as well. Now it is up to you to keep your skills in check so when the type-casting falls in your court or it doesn’t matter, you have a good shot. Beyond that, sometimes its luck, and sometimes it could take months or years.

Jim: For some dancers it’s right away and for others it takes some time. I always say that, on average, it takes a dancer at least five years to get a steady flow of stuff happening for them.

Is housing expensive and hard to find?

KC: Housing is not hard to find at all! I’ve lived here now for four years and moved every year I’ve been here. There are apartments, condos and houses for everyone and every price range. I have found that a lot of dancers live in North Hollywood. It’s a great city and close to everything and all the main dance studios in LA.

Alex: Los Angeles is one of the more expensive cities in the US, so relative to your hometown, it may be. When I moved here, I shared an apartment with a friend and that really helped with the rent. Housing is not hard to find though. There are great, cheaper neighborhoods, that are fairly safe and artsy too! Be prepared to spend approximately $700 (low!) – $1100, or a little more, for rent each month, unless you are 4 people to a 2 bedroom apartment!

What’s your advice for young dancers wanting to move to LA?

KC: Know who you are and be kind to everyone you meet. You never know who is in class or at a social function that could be your next boss or the assistant to the next choreographer you work for.

Alex: Keep training. If you have chosen LA as the place to start your career, then expect to work hard and train hard. This is for YOU and your passion. You are going to be amidst many others doing the exact same thing, and that is exciting. Use that energy as a positive motivation to keep you moving forward. Remember who you are and what you want, but definitely have an open mind and heart to new experiences and avenues that may present themselves. Remember that there is always something to be learnt in every experience, even the ‘bad ones’ like rejection.  See rejection as an opportunity to grow.

Jim: Make sure you have already established some connections with working choreographers or popular teachers out here first. This can be done through various conventions or master classes/workshops. Do your research before moving and ask questions. Make sure you are well versed in several dance styles so you can go to as many auditions as possible.

KC Monnie
Originally from Seattle, Washington, KC moved to LA after graduating high school in 2007. He trained and completed the EDGE Scholarship program in 2008. Since graduating from the scholarship program, he has most recently been seen as a principal dancer in the box office hit No Strings Attached and the remake of the movie Fame, choreographed by Marguerite Derricks. Other credits include, Assistant Choreographer for Easy A and 90210, dancing for Rihanna at the 2008 VMAs choreographed by Tina Landon, assisting Mandy Moore on numerous SYTYCD seasons, and being a part of LA’s critically acclaimed Indie rock ballet, The Question. He also can be seen on Dancing with the Stars, Macy’s stars of dance performance. KC is currently assisting teacher and choreographer, Jennifer Hamilton and has been lucky enough to work with choreographers such as Michael Rooney, Tony Testa, Kevin Stea, Miguel Zarate, Jaquel Knight, Kitty Mcnamee, and Mary Ann Lamb.

Alex Little
Alex Little, a native of Seattle, Washington, is now based in Los Angeles, where she is teaching at Edge Performing Arts Center in addition to the Young Americans College of Performing Arts. Alex performed and taught on three international tours with the Young Americans; two of which she directed. She has worked with renowned artists like Mandy Moore, Terry Beeman, Doug Caldwell, Mark Meismer, Adam Parson, Rhonda Miller, Jessica Hendricks, Nicole Harlan and Cody Green; as well as multi-Emmy award winning director/composer Mark Watters, Drama Desk & Emmy Award winner Michael Curry & Design, figure skaters Amber Corwin & Matt Evers, and more. For several years she has been a part of the Master faculty of the International dance festival DANCE EXCELLENCE!, and the Boulder Jazz Dance Workshop and in addition, she continues to perform on stages worldwide, in her seventh year with Interweave Dance Theater Company. Last year Alex was a guest dancer & aerialist with Revelations Co, and in the fall of 2010 she joined Terry Beeman’s Mental Head Circus, a prestigious aerial contemporary & burlesque dance company. www.alexlittledance.com

Jim Keith of The Movement / A Dance Management Company
Born and raised in Los Angeles, Jim is a true Hollywood kid. He has worked in Los Angeles as a performer (actor and dancer), choreographer, educator and talent representative for over a decade. In 2004 Jim was hired by DDO Artists Agency and was quickly appointed Director of their dance and choreography departments. Jim was responsible for placing dance and choreography talent in all facets of the entertainment industry including Film, TV, Commercials, Music Videos, Live Stage Tours and Industrials of various kinds.
The Movement / A Dance Management Company
The Movement is a dance management company committed to representing dancers, choreographers and dance educators by providing them with exceptional service, personalized attention, career guidance and industry connections that will create long term success for their current and future goals. www.MovementMGMT.com

Nationwide Casting Call

Do you dream of being a world-class dancer in the entertainment industry? Here’s Your Chance!
Superstar Choreographer and Creative Director Laurieann Gibson and the executive producers of Making The Band are casting Female Dancers Only for her new dance competition show on BET.

Laurieann Gibson is famous for her work with Lady Gaga, Making the Band, SYTYCD, The Pulse On Tour and more.
Read Dance Informa’s interview with Laurieann here.

Ms. ‘Boom Kack’ herself, Laurieann Gibson will share her hard-won expertise on how to succeed in the competitive world of dance with a hand-selected group of dancers. The winner of the competition will be awarded a $50,000 cash prize.

Get to one of the auditions! Go to www.BET.com/laurieanncasting  for details and updates.

Auditions are being held in three of the biggest markets in the country – Atlanta, New York and Los Angeles.
Atlanta – February 26
New York – March 2
Los Angeles – March 5

Rules & Guidelines:
The line for auditions opens at 6am
Auditions are 9am – 12pm
Audition spaces are limited and not everyone is guaranteed to be seen
Auditioners must be at least 18 years old