By Chelsea Thomas.

At 17 years old, Ohio native Dwight Rhoden was playing the clarinet, flute and drums in his high school’s band. He had never taken a dance class and didn’t even know what the word “choreography” meant. He admits that while he was “good at social dancing” he was clueless to any real technique.

Rhoden even remembers the first time a friend suggested he take a dance class. “One day in high school I entered a dance contest at a local club. I didn’t have any formal training but I would just make up these elaborate steps and routines. My friend, who was actually a dancer, looked at me and said, ‘You know, you’re pretty good. Why don’t you take some real ballet and modern classes? See what you think. You really seem to love to dance.’” And as Rhoden explains, the rest is history.

Now the Co-Founding Artistic Director and Resident Choreographer of Complexions Contemporary Ballet, a celebrated and internationally-touring company hitting its 20th anniversary next year, Rhoden has established a remarkable and wide-ranging career. After beginning dance training late at 18 years old, he went on to successfully perform with Dayton Contemporary Dance Company, Les Ballet Jazz De Montreal and as a principal dancer with Alvin Ailey American Dance Theater.

As an accomplished dancer, Rhoden even appeared in numerous television specials, documentaries and commercials throughout the United States, Canada and Europe and was a featured performer on many PBS “Great Performances” specials.

Complexions Contemporary Ballet performs Rhoden’s ‘Mercy’. Photo by Sharen Bradford

Yet, Rhoden admits that those first few years as a young dancer were hard as many people thought it was impossible to begin training so late and make it as a professional. He recalls, “There were a lot of naysayers… even my family thought I had no chance. They told me not to get my heart set on it.”

However, that time of persistence, grit and determination only sharpened Rhoden. He would “eat, drink and sleep dance” and push himself harder. He says, “I never really thought about what I couldn’t do, only what I could. And I didn’t sit around listening to people tell me what I couldn’t do. I just didn’t set limits for myself, and I still don’t… That is why I am where I am now. It was 100 percent dedication and not looking back. I immersed myself in the art form.”

With that kind of perseverance, Rhoden blazed his career path to where he is now. Named “one of the most sought out choreographers of the day” by The New York Times, Rhoden has created works for numerous companies, including The Joffrey Ballet, Miami City Ballet, New York City Ballet, North Carolina Dance Theatre, Arizona Ballet, Aspen Santa Fe Ballet Company, BalletMet, Dance Theater of Harlem, Pennsylvania Ballet, Philadanco, Marinsky Ballet (Kirov) and Washington Ballet, amongst many others. Rhoden has also directed and choreographed for TV, film, theater and live performances, including So You Think You Can Dance, E! Entertainment’s Tribute to Style and Cirque Du Soleil’s Zumanity. Plus, among many other famous entertainers, Rhoden has worked with high-profile artists such as Prince, Lenny Kravitz, Kelly Clarkson, Nina Simone, U2 and Patrick Swayze.

Yet even with the multitude of companies, dancers and performers he has worked with, Rhoden says his crowning joy is Complexions Contemporary Ballet.

Dancers of Complexions Contemporary Ballet. Photos by Jae Man Joo.

“When Complexions came on the dance scene in 1994, I really feel like we changed the landscape of what contemporary ballet is. We were one of the first companies in both New York and the United States that was really trying to integrate on all levels,” says Rhoden.

The company got started almost by accident, Rhoden recalls. After leaving Alvin Ailey American Dance Theater with fellow company member Desmond Richardson, the two created a choreographic variety show that brought together a lot of their dance friends who were performing in assorted companies.

“For the initial project, we just wanted the dancers to come from all different aspects of dance. So we decided to call the project Complexions and get a theater… During the tech rehearsal Desmond and I sat down and watched what was happening on the stage and we looked at each other and said, ‘We’ve got to do something with this. This has to go beyond these performances.’ So right then and there Desmond and I decided to start a company. That was the beginning of the idea,” he remembers.

Nearly 20 years later, the company has become widely considered as “America’s Original Multicultural Dance Company” and is celebrated for its pioneering spirit. Rhoden says it feels a bit unbelievable to have come so far.

“I really feel nostalgic. I’m grateful that I’ve had the chance to have this opportunity with our company. It’s not an easy thing to start a company from scratch – it’s truly challenging. But I look back and there have been so many rewards along the way. I think I have learned so much.”

Dwight Rhoden working with Wendy Whelan and Desmond Richardson. Photo by Jae Man Joo.

And there truly is much to be proud of. In addition to helping to build a universal brand that continues to challenge traditional ideas, Rhoden has choreographed more than 80 original works for the company that have been presented on five continents and in over 20 countries – including the US, Canada, South America, Mexico, Europe, Asia, Poland, Australia, New Zealand, Russia, The Baltic Region, Egypt, Israel and the Middle East.

As a choreographer, one of Rhoden biggest inspirations and passions is engaging and challenging dancers. He takes pride in being called “a dancer’s choreographer.”

“I am one of those choreographers who is 100 percent inspired by the dancers in front of me. I love taking the talents they already have and the talents they are discovering and building something for them to shine with,” he says.

Desmond Richardson says, “Dwight has trained so many amazing dancers and that’s his gift. In the industry many of the formidable dancers call him the ‘dancer’s choreographer’ because of the way he challenges your aesthetic, and because of his range. He can do anything from street dance to the classical. I don’t think there are many choreographers like him with his range. To work with Dwight is to let your passion flow, to be on edge, and to be educated in the unknown.” 

Rhoden is so passionate about working with dancers that he says: “If I was never able to choreograph another ballet, I would still want to work in the studios with the dancers.”

Complexions Contemporary Ballet presents Rhoden’s ‘The Curve’. Photo by Bill Hebert.

Still, Rhoden is looking to the future with new, big dreams. Even while taking the time to celebrate his career and recent 50th birthday, he is not slowing down. With many projects in the works he keeps plunging forward. One of his upcoming projects is creating his own full-length Rite of Spring.

“I’ve always wanted to tackle the Rite of Spring so for next season I will be working on a two-piano version for Complexions. It will be premiered in Seoul, South Korea as part of a festival with seven other companies from around the world, which are all doing different versions of Rite of Spring. I will really start working on it in late July and early August.”

Also for his company, Rhoden is going to premiere a new Stevie Wonder ballet next season, saying, “Everyone can connect with some Stevie Wonder song from sometime along his career.” Furthermore, he will continue to choreograph for SYTYCD and the North Carolina Dance Theatre (where he is resident choreographer), and be directing Richardson’s solo show, which will feature Richardson dancing with a few guest stars. “I think that will be very exciting. We are hoping that will kickoff by the top of 2014, at the latest,” he says.

Somewhat secretively, Rhoden also revealed that he is currently working on a “very exciting Broadway project.” It comes out of one of his previously choreographed ballets and is in the works to go to Broadway next year.

One goal Rhoden and Richardson have for this year is to find Complexions a permanent home. Rhoden said they are scouting locations in New York City and elsewhere. Ironically, the company has had offices but not an actual studio space to call their own.

“Our education programs are very strong components of what we do – with Summer Intensives in three cities now – NYC, Detroit and Dallas. The programs are extremely competitive to get into and we simply can’t do all that we want to because of the lack of our own space,” Rhoden explains.

Complexions dancers. Photo by James Houston

“We have our feelers out in various parts of the country and have made some inroads in a few places. We have been nomads for nearly 20 years without a space of our own [and] Desmond and I are hot and heavy on the pursuit to have a permanent space.”

He says that there seems to be desire for Complexions to offer dancers training in the style of the company year-round. For that reason he is excited about finding a home where the company and school can continue to evolve. Moreover, Rhoden mentioned that Richardson and he have developed their own contemporary ballet technique through Complexions that is actually in the process of being trademarked.

“It’s basically taken classical ballet and added the torso. It encourages the movement of the upper body and is a very physical and athletic way of training. It will prepare dancers for anything off center,” he says.

Overall, when dually reflecting back on his momentous career and his formidable future, Rhoden sees one trend – hard work and diligence. He says that while many dreams are outstanding – like perhaps working with American Ballet Theatre’s Misty Copeland, producing some film shorts, being an “on-camera host to talk about art, dance and the creative process,” amongst other possibilities – he knows that success  only comes if you refuse to give up.

“When I look back, I see that there was no guarantee that I could ever have a career as a dancer starting so late and having absolutely no training. There was certainly no guarantee that I would reach the level of some of the companies I danced with. I look at that and think of what a huge testament it is to hard work and diligence,” he says.

“It goes back to something I really believe – that if you have the passion for something that you really love and you stay true and focused to it, there is no way you will not be able to accomplish the things in your heart. That kind of belief and energy is powerful. “

For more information on Rhoden and his upcoming projects, visit www.dwightrhoden.com. For more information on Complexions Contemporary Ballet and its 2013-2014 season, visit www.complexionsdance.org.

Photo (top): Dwight Rhoden © Jae Man Joo Photography

By Kristy Johnson.

Lauren Gottlieb has gone from So You Think You Can Dance to the silver screen, and doesn’t seem to be slowing down anytime soon! Scoring a role in India’s first 3D dance film, Any Body Can Dance, Lauren is fulfilling her dreams of becoming an actress.

While in India at the premiere of the box office hit ABCD, Dance Informa caught up with the talented actress and dancer. Lauren filled us in on the difficulties in filming a Bollywood movie, career highlights such as working with Tom Cruise at the MTV Awards, and what the future may hold.

Congratulations on your role in Any Body Can Dance!

Thank you! I have been waiting for this moment my whole life. I started out my career in TV, but always had my heart set on film. The fact that my first lead role as an actress was also a dance film is just one of those things I call ‘fate’. As it’s India’s first 3D dance film it’s also a part of history, and I couldn’t be more thankful for such a wonderful life experience. The film released with smashing box office numbers and broke the record for being the highest grossing film-opening weekend with a non-star cast in the history of Indian cinema. A very proud moment in my life!

Can you tell us about the character you play?

I play ‘Rhea’, an Indian girl who comes from an upper class family and is a trained contemporary and ballet dancer. After an altercation with her teacher ‘Jehangir’ (Kay Kay Menon) she decides to follow her sir, ‘Vishnu’ (Prabhudeva), to a more underground urban dance crew in the slums. All in all, it’s a story about the underdogs rising to the top, and something I think the whole cast can relate to. Through hard work and dedication we all paved our way from nothing to seeing ourselves on the silver screen.

Lauren Gottlieb of Bollywood film ‘Any Body Can Dance’. Photos courtesy of Lauren Gottlieb and Anderson Group PR.

How was it working on an Indian film? Would you like to shoot again in India?

It was a huge risk taking this project on. I had to move from Hollywood to Bollywood and jump right into a new culture and lifestyle, and film my first movie not in my language. It was all so foreign to me and such a challenge to learn my Hindi dialogues so quickly, that at times I didn’t know if it was possible. I really turned to God to help keep me on track. I had an amazing Hindi coach, Kishor Sadhwani, and together we combined my Hindi script in my left hand and the English version in my right.

Now after having months of experience living in India and learning more and more of the language everyday, I could only imagine my next Hindi film being ten times easier than the first. A huge part of my heart is in India and now I have a big platform as an actress and dancer. I’m excited for my next project in Bollywood!

You must feel grateful to So You Think You Can Dance for providing you with amazing opportunities.

I have always been extremely grateful for all the opportunities the show has brought me. It did wonders for me, the other contestants, and dance in general. Instead of dancing behind artists, we were the solo artists and our names were in lights. From there it gave me a platform to pursue other passions I had with acting, choreographing and teaching. The show has also played in 100 plus countries around the world, which is exactly how Bollywood found me!

What was it like choreographing for Tom Cruise at the MTV Awards?

Working with Tom taught me a lot! He showed me you could be extremely talented and successful, and still treat everyone with respect. He’s a very gracious man. What was also unexpected was how open he was with learning from me. I was assisting Tyce Diorio on the project, but when Tyce couldn’t make it, Tom was still all ears and worked harder than most so he could give the best performance possible.

Congratulations on being featured in Glee. Is the show as much fun as it looks?

Glee is terribly fun to work on! The choreographer, Zach Woodlee, is a dream. The rehearsals are a mixture of extreme intensity and downright silliness. We are either sweating it out or laughing our butts off, but usually we are doing both at the same time. I was in the pilot episode and most of the first season dancing with the hit rival crew ‘Vocal Adrenaline’. It was exciting to see a show go from the first episode where no one knew about it, to being a hit that everyone couldn’t stop talking about.

What’s next for you?

I’m at a huge crossroad not only in my career, but also in my personal life. I have accomplished so much as a dancer performing on stage, film, TV and movies. I now have a great platform as an actress, which is a direction I had always hoped my career would take. The life crossroad is Hollywood or Bollywood? I always let my intuition guide me. You’ll have to wait and see what the next step will be!

By Stephanie Wolf.

We love it, we hate it, we love to hate on it…Dance is popping up all over the television stratosphere and everyone has plenty to say about it. This spring is chock full of dance-centric programming. Here are some of this season’s offerings, proving that America is thirsting to see more dance on the boob tube.

So You Think You Can Dance

Last summer, America picked ballet dancers Chehon Wespi-Tschopp and Eliana Girard as their Season 9 winners. Now, auditions are already underway for the tenth season of Fox’s reality competition So You Think You Can Dance. Dancers from around the country and a variety of different dance backgrounds are leaving it all on the stage in the hopes that they’ll be crowned “America’s Favorite Dancer”.

Season 10 returns to the small screen this summer.

Dance Moms

Now in its third season, the reality series Dance Moms is still going strong. Abby Lee Miller’s style of ‘tough love’ teaching isn’t for everyone, but the ratings are showing that viewers come back for more of her antics each week. The series follows the drama and dance happening at Miller’s competitive dance school in Pittsburgh, PA. It even inspired a spin-off series, set in Miami at Victor Smalley and Angel Armas’ Stars Dance Studio.

Dance Moms airs on Lifetime Tuesdays at 9/8c.

Cyrus Spencer and Melanie Moore dance in Season 9 of SYTYCD. ©2012 FOX Broadcasting Co. Photo by Mike Yarish

Breaking Pointe

Breaking Pointe premiered last May on the CW Network and, despite low ratings, returns this summer for a second season. It’s a reality series that promises to provide an inside glimpse into the elite world of professional ballet, highlighting Salt Lake City’s Ballet West.

The first season was heavier on the drama rather than the dancing, but Season 2 is rumored to deliver new ‘characters’ and more insight into the rigors of a professional ballet career.

Dancing with the Stars

ABC’s smash hit reality series Dancing with the Stars returns for its sixteenth season Monday, March 18, 2013. The network has yet to announce which TV personalities, celebrities, athletes and singers/musicians will be dancing for America’s votes this season—you can actually visit the website and contribute your thoughts on who you think should have a chance at the big disco ball.

Recently, the show has expanded its dance genres to reach beyond the ballroom staples with styles like Bollywood, ‘Freestyle’, the Hustle, Jazz and even Bhangra; thus giving the show a more SYTYCD-esque feel.

Bunheads

With witty writing by Amy Sherman-Palladino and quick dialogue delivery from Broadway veteran Sutton Foster, ABC Family’s Bunheads is a surprisingly funny and interesting show. Sherman-Palladino builds an odd, insular world in Paradise, CA, where the residents are a little loopy: your ballet teacher might accidently spray you with mace, the whole town comes out for trivia night and the local barista takes hours to make your latte. You’ll see many familiar faces from Sherman-Palladino’s previous quick-witted series, Gilmore Girls. The series doles out plenty of snarky lines that are often pulled from pop culture, politics, and literature as well as well choreographed dance sequences. ABC Family just aired its “Winter Finale”, but all the episodes can be seen online at http://beta.abcfamily.go.com/shows/bunheads.

Dance Academy

This teen-oriented, scripted Australian drama can be caught this spring on TeenNick or you can catch up with all of the seasons on Netflix. The show is about Australian teenaged dancers attending the prestigious National Academy of Dance. The characters come from varying backgrounds and dance experience, making an eclectic group of individuals that become quick friends. A guilty pleasure for sure, the show has an abundance of dancing to counteract the romantic and friendship entanglements. The cast and crew just wrapped on filming the third season, which is set to premiere in Australia in mid-2013.

Photo (top): Tom Green dancing as ‘Sammy’ in Dance Academy Season 2. Photo courtesy of ABC TV Australia.

By Tara Sheena.

The Dragon House Crew started with humble beginnings and has now grown into a 23-member, hard-hitting, dynamically charged, group of hip hop dancers. Dance Informa’s Tara Sheena spoke with three of its star members, Tasha Allen (Baby T), Kenneth Paryo, and Boris Penton (Top Knoch).

How did the crew begin? Who are the founding members and why did they decide to start this crew?

Tasha Allen: Dragon House was created by Julius ‘ iGlide’. He moved a bunch of his dancing friends into his three bedroom apartment that he shared with two of his best friends Tasha (Baby T) and Bryan (Chibi) Gaynor.

Dragon House performs in the Season 9 finale of So You Think You Can Dance. ©2012 FOX Broadcasting Co. Photo by Adam Rose

Where did the name Dragon House come from?

Tasha: It was officially named “Dragon House” by two of the original members, Freakshow and Glitch [Glitch, a.k.a Cyrus Spencer, was a Top 4 dancer in the recent Season 9 of So You Think You Can Dance]. The original members are NonStop, Chibi, iGlide, Freakshow, and Glitch. As time went on, the crew increased in size and the powerhouse of a crew we have today is now one of the most well known dance crews around.

How do you describe your signature style to people who are not familiar with it?

Kenneth Paryo: My style is musicality. I love to point out parts in music that most people don’t realize are there, or parts that make people say, “I wouldn’t have even thought to dance to that”. I also like highlighting key lyrics in music (if any) to make the experience entertaining for whoever is watching.

Boris ‘Top Knoch’ Penton: I started to branch out more into waving and tutting as I grew older.  From just dancing around for some years I eventually got more into popping and animation as people may have seen on So You Think You Can Dance. As a unique individual with a unique style of dance it is my priority to spread the art of dance to the world as much as I can. I enjoy spreading the gift that God gave me to inspire dancers or people that don’t even dance.

Original Dragon House member Bryan (Chibi) Gaynor

How have others come in to the crew? Or, has it remained mostly the same since the start?

Tasha: Basically, we consider ourselves a family and when Dragon House started we gathered our dance family and started a movement. Currently there are 23 members in Dragon House and we are consistently growing. Dragon House features Remote Kontrol, who was featured on So You Think You Can Dance, as well as Marquese ‘Nonstop’ Scott, who has the extreme viral video, Pumped up Kicks, on YouTube.

Who inspires you as a dancer and/or choreographer?

Boris: I was first inspired by Michael Jackson when I was in elementary school. From there I started moon walking and gliding around the house all the time.

Kenneth: Most of my dance inspirations are within my crew, such as Nonstop and Droid for creativity. But outside of them, I am definitely inspired by Kite from Japan.

Dragon House

Why is it important for you to get your crew and style out there for people to see?

Kenneth: I believe Atlanta has some of the most talented/creative dancers in the world, and we (Dragon House) are helping the world to see that as we gain more fame.

What’s next for the crew? What are your hopes for the future?

Boris: A few years from now I see our crew doing some big things and touching and moving peoples hearts.

Follow Dragon House on Twitter @TheDragonHouse and Facebook at www.facebook.com/Dragonhousedance. Check out their website for videos and exclusive info at http://dragonhousecrew.com.

Top photo: Cyrus Spencer, known as ‘Glitch’.
Photos by Jason Locklear.

The dancers of So You Think You Can Dance Season 9 are currently on tour across the US.  With a grueling schedule of travel and performances it can be a challenge for the dancers to look their best. Here the girls of the tour, Season 9 Winner Eliana, and finalists Lindsay, Witney, Tiffany and Audrey share their beauty tips from the road.

ELIANA
West Palm Beach, Florida
Age: 21

What is your go-to look on tour?
“My go-to-look is a smokey eye with the color palate based off of a metallic dark green. The color makes brown eyes pop more than just black and grey. For stage makeup, go for the dark look, but offstage, it’s best to give your skin a rest.”

What are your go-to beauty products?
“Kiehl’s products for my skin – I use the facial wash, toner and moisturizer. My curly hair tends to be on the dry side so leave-in conditioner is a must-have, as well as a gentle mousse. I recommend Fredric Fekkai and Paul Mitchell products.”

Top Advice
“As long as you feel beautiful it radiates naturally.”

TIFFANY
Plantation, Florida
Age: 19

What is your go-to look on tour?
“My go-to look is natural and bright. One thing I really focus on is making my eyes look bright for the audience in the back of the room. Make sure that the middle of your face is light and the outside has the bronzer blush.”

What are your go-to beauty products?
“For performing I use MAC eye shadow and MAC foundation, blush and bronzer. For my everyday look I use Maybelline liquid eyeliner and mascara. Lip gloss from Ofra is the finishing touch.”

Top Advice
“Be nice to your face and hair so they will be nice to you!”

LINDSAY
Provo, Utah
Age: 18

Do you have any tips for long lasting make-up while performing on tour?
“To help my makeup last longer, I use moisturizer mixed with foundation to give my makeup a strong base that will hold all night.”

What are your go-to beauty products?
“My go-to products for stage makeup are MAC moisturizer and foundation. I also love my MAC Fluidline liquid eyeliner in Blacktrack. For everyday makeup, I use MAC Give Me Sun! bronzer with some MAC Dainty blush and their sheer Frou lipstick.”

Top Advice
“Wash your face every night and keep it moisturized.”

WITNEY
American Fork, Utah
Age: 18

What are your go-to beauty products?
“I always wash my face with Clinique face scrub. It’s honestly the best wash ever invented! I love it because it leaves your face feeling refreshed and zit-free, which is amazing! As far as make-up – before I put any on my face, I use MAC primer which keeps the makeup on all night. Even when I sweat, my makeup stays on and looks like it did when I first put it on. It’s brilliant!”

What is your go-to look on tour?
“When I’m performing on stage I like to make my look dramatic, but natural. For eye shadow, I always put a brown on the lid, a maroon for the crease, and a white just below the eyebrow with a thin, solid line for eyeliner on top. Add blush, a red lip and I’m ready to go!”

Top Advice
“You don’t need a lot of makeup. The more simple it is, the more you will pop. Simplicity is the key to a healthy, and glowing face. Wash your face daily, and moisturize afterwards. You won’t be disappointed.”

AUDREY
Edmond, OK
Age: 18

Do you have any tips for long lasting make-up while performing on tour?
“I like to use a really good base. Primer is always good to use to keep your makeup on and I also keep tissues handy to blot my face throughout the show.”

Top Advice
“When dancing on tour you have to remember that your hair and skin need off days too! So when you have a day off totally take advantage of keeping your skin and hair clean!”

Photos: 2012 Fox Broadcasting Co. Mathieu Young/FOX. Top photo by Adam Rose/FOX.

By Kristy Johnson.

When you think of Christopher Scott, more comes to mind than just a choreographer – he’s a dance innovator and storyteller. This can be seen in his choreography for the latest in the Step Up franchise, Revolution.

A familiar face on screen, Chris has lent his hand to Fox’s hit dance competition series, So You Think You Can Dance, for which he received his first Emmy nomination at this year’s awards.

Dance Informa caught up with Chris to chat about the success of Step Up Revolution.

How was the experience of choreographing for Step Up Revolution?

I started off my role in the franchise as the character ‘Hair’ in Step Up 2: The Streets. So being behind the camera five years later was a little surreal! It made the experience extremely special. Not to mention getting to create routines with some of the most incredible dancers in the world, all while working under supervising choreographer Jamal Sims, who just happens to be one of my mentors, director Scott Speer, who set an endless idea of what we could do in this film, and executive producer Adam Shankman, who has been such a big part of bringing dancers to the forefront as he’s a dancer himself. And three months in Miami! Basically it was a dream job!

Christopher Scott. Photos by Gabriel Goldberg

Which parts of the choreography did you have a hand in?

I was in charge of choreographing the ‘Office Plaza Mob’, with 65 dancers in suits shutting down an office building in a display of protest. I also had a part in the ‘Museum Mob’. Jamal Sims gave me the piece to choreograph with the Hoberman Spheres (expanding 3D spheres) featuring Twitch. Then we all came together for the finale where I was in charge of Adam Sevani’s section with the riot shields, the b-boy section and Madd Chadd’s robotic police officer section.

How inspiring was it to be in Miami?

Miami is a really inspiring place for art! It has such a strong culture that being there really influenced the outcome of the choreography in some ways.

Is the Miami dance scene very different to LA?

I actually know a lot of dancers in LA from Miami, so I felt very at home there. I have to say though, some of the best b-boys in the world come from Miami! They call it ‘Flava Florida’ and if you have ever seen Skill Methodz crew, Flipside Kings or other Miami crews, you might know what I’m talking about.

Some dance movies don’t always do so well at the box office. Why do you think the Step Up franchise is always such a great success?

I think the fact that it was a franchise built by dancers and people who genuinely love dance. The executive producer Adam Shankman, and Anne Fletcher who directed the first installment, have had an amazing dance and choreography career of their own. Then comes along Jon M. Chu, who directed the second and third installments. He put so much care into making sure the dance was authentic and shot in a way not to distract from the dancers but to enhance them. He also just happens to be an amazing storyteller and I think he plays a huge role in the success of the franchise.

How important has the Step Up series been for hip-hop culture?

I think it has been extremely important! There’s a whole generation of kids out there that haven’t seen Beat Street or Breakin. The Step Up movies have given that generation a dose of what I got growing up. Step Up 3D actually opened with a montage that spoke about hip-hop. The franchise has done a great job of showing that style to the masses in a really great way. For some people it might still just be a bunch of people spinning on their heads, but I know personally that it has inspired kids to train in these dance styles and respect them as art.

Congratulations on receiving an Emmy nomination for this year’s awards. You must feel grateful to shows like So You Think You Can Dance and Dancing With The Stars for giving dance the recognition it deserves in the media.

Absolutely! They have created a place for dancers to be the stars. I am still amazed when I’m with Twitch and someone asks him for his autograph. He’s getting recognition for being brilliant at an art form, which hasn’t happened much since the Gene Kelly days. These shows have also given someone like me a place to tell stories through movement to a huge audience on a weekly basis, and has given us the opportunity to inspire a whole other generation of dancers who are going to continue to push the boundaries of dance in the future. So yes, I’m extremely grateful for shows like So You Think You Can Dance, Dancing With The Stars and America’s Best Dance Crew.

What’s next for you?

I’m currently working on some projects for Jon M. Chu’s new dance lifestyle channel on YouTube called DS2DIO. I have been directing various episodes of a show we have in the US called Studio City, which features some of the best freestylers in the world dancing in a very specific location to them.

Photos by Gabriel Goldberg.

By Stephanie Wolf.

Most of America recognizes Stacey Tookey as an Emmy Award-nominated choreographer on So You Think You Can Dance. But before her moment in television’s limelight, Tookey had an illustrious performance career with Mia Michaels’ R.A.W., Parsons Dance Project, Ballet British Columbia, and Celine Dion’s Las Vegas show A New Day, among others. Because of these experiences, she recognizes how special it is to work full time dance contracts—nothing can replace the feeling of dancing and focusing solely on one’s trade all day.

A show like So You Think You Can Dance has given dance enormous pop culture exposure. However, many young dancers think this type of exposure is the only way to succeed in the profession. This fall, Tookey launches her own contemporary dance company, Still Motion. Her mission is to address this dance conundrum, providing a secure, safe environment for emerging artists, as well as a channel for her choreography.

Amidst a difficult economy with limited funds for the arts, Tookey knew starting a new dance company would be a test of her will and determination. But an undying passion for the art form and the dancers who have inspired her throughout her career guide her through any challenges and obstacles. “It’s one of those things I’ve always wanted to do,” she says. “It’s never the perfect time to [start a company], but I just decided this is it.”

Photos by Michael J Moore

To find talent for her new troupe, Stacey held closed auditions in Los Angeles back in August. After an outstanding turnout of 95 dancers from across the nation, she narrowed the group to 16 female and 14 male “high caliber” movers. She caught the audition on film and used the footage to make her final decision.

Choosing only ten dancers from such a remarkable crop of talent wasn’t an easy task, especially since Tookey was looking for more than sound technical ability.  “[It's] not enough to just pick phenomenal dancers…[I need] ten dancers that really mold together and inspire what you want to do,” she explained. Dancers with excellent work ethic and professionalism lend well to a safe, nurturing artistic environment to create within.

Still Motion is a full-time contract of four to five full rehearsal days per week. Each day begins with company class, ranging from ballet or modern to Gyrokinesis, and prepares the dancers for the specific day’s “creative process”. Tookey notes the artistic nourishment that comes with “having a concentrated time when you can focus on bettering yourself as a dancer…[and] the chance to sweat all day.” For a dancer, there is no substitute for either of these.

The choreographer describes her troupe’s aesthetic as a “fusion of commercial and concert contemporary dance.” She aims to show “all different sides of the word ‘contemporary’…I want people to laugh…[and] feel emotions.” Additionally, she plans to bring in various guest artists from a broad range of dance backgrounds—including Jason Parsons, Frankie Avina, and Peter Chu—in order to broaden both her dancers and audience’s perspectives.

For the company’s debut performances in November, Stacey plans to showcase deeply personal work that truly captures life’s triumphs and tribulations. “You have moments in your life that change you, that shape you, that inspire you, that crush you…whatever they may be…I want to bring those moments to life and tell a story.” It’s a thoughtful demonstration of art reflecting life, taking “memories ingrained in [her] mind…and turn[ing] them into movement.”

Rehearsals for the debut show, Moments Defined, started in late September and the company shines on the Nate Holden Theater stage in LA November 9 and 10. But Tookey believes this is only the beginning for her rising troupe. She wants to keep the momentum of the company moving forward. “You have to keep pushing the limits and having these goals,” she says. Some of her goals include having a full season with several LA shows and multiple tours each year. She envisions an artistic outlet that is completely her own, which she can “keep throwing passion into,” as well as enabling her to continue to work with intelligent, passionate dancers “in close proximity over an extended period of time.”

As Still Motion grows, she plans to incorporate the work of outside choreographers into the repertoire, welcoming any opportunity to push her dancers. “It’s about learning and sharing.” Something she’s doing a bit of herself. While she does have a production and artistic team of highly skilled individuals, Tookey confesses to being a bit of a “control freak”, and is involved in all aspects of the endeavor. “It’s my baby and I want it to be perfect.” So she’s learning a lot in a short amount of time; the crash course in producing a show only fuels her on more.

Despite her ambitions for Still Motion, the eager dancer/choreographer continues to pursue her other projects. Recently, Tookey finished out Season 9 of So You Think You Can Dance as a choreographer and has been in Toronto filming a guest spot on a television series. In addition, she continues to teach, is choreographing a brand new musical in Toronto, and—in collaboration with her husband, Gene Gabriel—Tookey writes and produces a web series about five young dancers trying to make it in New York called Chasing 8s.

No matter what she does, Tookey pours 200% of herself into it. With such an intense love for dance and dancers, as well as a clear choreographic vision, Still Motion will likely impact the LA dance community greatly, ensuring artistic growth and longevity for itself. It’s an exciting time for Tookey and she’s ready to share her prosperity with the next generation of professional dancers.

To support Tookey in her mission, visit Still Motion’s Kickstarter at www.kickstarter.com/projects/stillmotion/still-motion-presents-moments-defined. And be sure to check out www.staceytookey.com for more information on Tookey and the company.

They stole our hearts and won the ninth season of So You Think You Can Dance. Find out a little more about winners Eliana Girard and Chehon Wespi-Tschopp, and what they plan for the future.

By Deborah Searle.

Chehon

Did you expect to do so well in the competition?

No, not at all. I took a chance auditioning. It was a big risk because I already had a very good job with Twyla Tharp’s touring Broadway show Come Fly Away. I was working in that for a year, and I just kind of wanted to do something new. I thought that it would be good exposure, but I just never anticipated making it so far.

What are your plans once the tour ends?

I think I’d like to come out to LA and try some commercial work. My dream is to pursue my passion to choreograph – that’s been something that has always interested me. It’s been hard to do because in the ballet world you don’t have that much exposure and people don’t take chances by giving young people an opportunity to choreograph. I was just hoping that the show could help me get exposure and through that build a name so maybe I could choreograph somewhere after the show or if the show’s still on, maybe come back sometime. I’d like to go into acting and I’d love to do some dance movies. I don’t think I’d want to join a ballet company again.

What do you plan to do with the prize money?

I think I will save the money because I’m sure, in the profession were in, that there’s going to be times when I need money on the side – for if I don’t book anything, or especially if I want to see my parents. It’s not cheap to get to Switzerland. Or also, if I choreograph something somewhere I can pay the dancers or buy some costumes, or whatever is needed.

What do you like to do outside of dance?

I enjoy being around the city. I like to just watch people and observe. It inspires me for if I choreograph or if I compose. I compose music a lot. But hobby wise, I like to snowboard when I’m in Switzerland. I always go with my brother. And I love to cook. I actually hate cooking from recipes, but I love doing my own things.

What was the biggest highlight of being on the show for you?

I think my most defining moment was when my mom was able to come out, because for some reason that week was the week that I really thought I would be going home.  It was after the week I did the hip hop and I was already in the bottom the week before, so I thought that would be my last week.  Having my mom come out was so special because she hasn’t seen me dance since I was a student.  I wanted to make this last show about enjoying it.  For some reason, that was my breakthrough moment.  It just came all together at the perfect time and perfect moment.

If there’s going to be another season of So You Think You Can Dance, would you like to return as an All Star?

Yes, I think I would like that, but even more so I’d love to submit my choreographic reels and possibly choreograph in the future someday.  That’s something I’m really passionate about.

Eliana

Did you expect to do so well in the competition?

Absolutely not. I came into the competition with no expectations. I honestly just take everything a day at a time and I was just really thankful to make it through each week.

What do you think made you stand out in the competition?

I don’t know, maybe the fact that I came in as a ballet dancer, because that is something that has not really been highlighted very much on So You Think? I don’t know? I just tried to be myself the whole time.

What are your plans after the tour?

So far I’m planning to do concert dance, because that’s something I haven’t had a chance to do yet. The quality of the movement is so incredible and I feel like there is so much more for me to learn. I really want to do concert dance in New York.

Is there a certain company you’d love to join?

Definitely! I would love to do a season with Complexions or Cedar Lake. I think I’m really hoping to eventually go to Europe. I’d like to dance with Béjart, Frankfurt Ballet or Nederlands Dans Theater.

In the final show Nigel Lythgoe said that Desmond Richardson would like to work with you in his company, Complexions Contemporary Ballet. What do you think of that?

When I heard that my jaw dropped.  Are you serious?  Because that’s definitely one of the companies I want to work with.  Chehon, Daniel, and I got to work with Desmond and Dwight in the first week and it was amazing.  They are such brilliant minds.

What do you plan to do with the prize money?

I’ll set some aside for rent because rent is very expensive. I will definitely be ‘bill smart’, but I’d like to give some to my mum because she’s helped me out so much and I just want to bless her back. Also, I’m going to buy a bird.  I’m a huge animal lover and I would like to have a bird.

What was the highlight of the show for you?

Honestly it is so hard to pick one because this whole experience has been a thousand times better than I ever imagined it to be. I think one particular highlight would probably be working with the choreographers. Coming into this I really wanted to work with Stacey Tookey, Sonya Tayeh, Travis Wall and Mia Michaels. Being able to work with them one-on-one has been just the biggest dream come true. I just wanted to learn and what better way than to have one-on-one time with these leading choreographers?!

Would you like to return as an All Star if there’s another season of  SYTYCD?

Absolutely, without a doubt.

Top photo: Adam Rose/FOX
Profile pictures: Mathieu Young/FOX ©2012 FOX Broadcasting Co.

By Katherine Moore.

Dancers and their teachers have very special relationships. Often these relationships begin when dance students are young, impressionable and looking for guidance. A mentor’s influence on his or her students can completely alter the way dancers perform, how they live, and how the course of their careers will unfold. As students grow into professional dancers and possibly, teachers themselves, they often credit the enormous impact their mentors had on their life. Dance Informa has spoken with several professional dancers to find out who has helped them succeed.

Eric Bourne, who has danced for Parsons Dance since 2008, acknowledges the important role that Nicholas Villeneuve played in his career. According to Bourne, Villeneuve, the current Deputy Director of Ballet Hispanico’s school, saw something in Bourne when he met him as a freshman at a Toronto university. Consequently, Villeneuve offered him a scholarship to the Perry-Mansfield pre-professional summer program in Colorado.

Bourne shares, “Mr. Villenueve saw something in me when I, myself, didn’t see it at the time.” Later, when Bourne first moved to New York City, Villeneuve even offered him a place to live and invited him to take class with Ballet Hispanico, where Bourne continued to learn from his mentor.

“He taught through example how to express myself, to be vulnerable, to take risks, and approach the work with the greatest discipline; never allowing me to be mediocre,” says Bourne.

An emphasis on discipline is often common among teachers in the dance world, and it seems to strike a note with many students. Lauren Alzamora, a current Ballet Hispanico dancer, remembers the tough lessons she learned at the North Carolina School of the Arts from a former Balanchine dancer Melissa Hayden.

Dancer Christina Jane Robson. Photo by David Gonsier

“Dancers have to develop a thick skin at an early age in order to withstand the rigors of training for a career as a professional dancer; [Hayden] was determined to develop that resiliency and challenge it,” shares Alzamora.

Alzamora says that Hayden, now deceased, was prone to dramatic and eccentric ways of teaching, often yelling or leaving the room to make a point. But instead of driving students away, Alzamora says her passionate, “tough love” teaching methods created an infectious spirit that still lives on in her students today.

“I am convinced that she brought you to tears as a test, to see how much “fight” you had in you; she wanted to make sure that you were worth the investment, so to speak. She liked it when you had the gumption to stand up to her, “says Alzamora.

Indeed, it seems that many of the teachers who are most well-remembered are those who were demanding, yet dedicated in their approach. Christina Jane Robson, who dances for Seán Curran Company, Monica Bill Barnes & Company, and others, recognizes how much the late Kelly Wicke Davis, a professor at Roger Williams University, invested in Robson’s growth as a dancer.

“She stripped me down to bare basics, requiring I enroll in every single technique class offered in the catalogue,” Robson says. “In the studio she gave me impossible tasks and in doing so inspired a work ethic in me that keeps me striving towards the completion of those tasks to this day.”

Robson says that Davis’s support was unwavering in the development of Robson’s career path, and it was Davis who introduced her to Sean Curran, for whom she now dances.

Likewise, Daniel Harder had a similar experience with mentor Christopher Huggins, an Alvin Ailey dancer and teacher who took Harder under his wing. Huggins, among many things, guided Harder along the path towards eventually dancing for Alvin Ailey American Dance Theater.

Alvin Ailey American Dance Theater’s Ghrai DeVore and Daniel Harder in Christopher L. Huggins’ ‘Anointed’. Photo by Gert Krautbauer

Harder says, “He [Huggins] has single handedly changed my life as a dancer, and as a person…He’s shown me that life, on and offstage, is about being selfless. Giving to others is the true reward.”

Sometimes a dancer’s most significant teacher is simply one who inspires them with the work they do.  Walter Laird, an English former world Latin American Ballroom champion in the 1960s, had an enormous impact on Jason Gilkison, a choreographer and judge on So You Think You Can Dance, who’s known for his ballroom spectacular Burn The Floor. Gilkison says his style is directly influenced by the training he received by Laird’s generation of ballroom masters.

“Through Walter Laird, I learnt history; how steps and form was developed,  how ballroom was directly associated to popular social culture of the time,  and of course the beautiful art of leading a lady around the dance floor,” Gilkison explains.

Similarly, Elizabeth Keller of Trey McIntyre Project was forever inspired from her training with Violette Verdy, a French ballerina who spent most of her career at New York City Ballet under Balanchine.

“I was so star-struck the first day she walked into the studios because she was a true prima ballerina assoluta”, Kelly says. “She would whisper in my ear before a performance, ‘just breathe and just believe,’ followed by a few phrases in French that always sounded warm and delicious, like her class. I still tell myself to breathe and believe before every show!”

While dancers’ mentors are crucial to their development as performers, dancers’ greatest teachers can often be their peers. Jenna Reigel, who currently dances for Bill T. Jones/Arnie Zane Dance Company, acknowledges what she learned from colleague Shaneeka Harrell.  According to Reigel, Harrell moves with an “ineffable quality” of charisma and enthusiasm that Reigel once hoped she could acquire herself.

“Dancing alongside Harrell, I learned about patience and subtlety, grace and power. I used to approach movement like a predator…,” Reigel says.

Reigel explains that she eventually learned that Harrell’s magnetism as a dancer came from her ability to embrace herself and others. “She taught me to value myself for the things that were inherently unique to me,” Reigel shares. “So while I made my best attempt to learn to dance like her, Shaneeka was making her best attempt to convince me that I was a captivating dancer already, in my own right.”

Top photo: Dancer Jenna Reigel. Photo by Jim Davis