From improved aerobic capacity to better reactivity, cross-training can to do wonders for dancers' health and performance. But with the abundance of exercise programs available, how do you get your dancers on the right routine?
Sebastian Grubb, a San Francisco–based fitness trainer and professional dancer, shares three questions to ask as you consider different cross-training options.
Many parents discourage their teenagers from majoring in dance because of fear that their child will become a struggling artist in an unforgiving city, only to end their career in injury. But a dance degree can lead to other corners of the profession, such as marketing, physical therapy and arts administration. "Parents always say their children need something to fall back on," says Daniel Lewis, former dean of the dance division at New World School of the Arts. "They only see the stage time, applause and flowers. But there's choreographing, teaching, PR—the careers are endless."
Others are more concerned with disappointment. "Your daughter doesn't have to be a major ballerina with ABT to be successful," says Lewis. "If she wants to be a dancer, she'll find the work. There's a certain amount of training you have to achieve before you even get accepted into a good college, so if you have the talent, and the drive, you can make it."
As mentors, teachers can be monumentally influential on students' college decision processes. Read on to hear from three dance majors who feel grateful they chose this path—and share their words with your students!
When Kelly Berick began teaching high school students at Ohio's Firestone Community Learning Center within Akron Public Schools 21 years ago, she was newly engaged, newly licensed to teach K–12 dance and thrilled to land what she considered the perfect job. Her enthusiasm quickly soured, however, when after two weeks of teaching she called a local studio to introduce herself. "The owner told me her students didn't like me, didn't like what I was doing and were going to quit my program," she says. Her class of seven became a class of three.
Jacqulyn Buglisi has a flair for drama. To encourage the students in her intermediate and advanced Graham classes at The Ailey School to open their sternums in a high release, she tells them to stretch “like a flower came out of your heart." When attempting to convey the weight of a hand gesture, she explains that they must “pull the hem of heaven from the sky." During the extensive warm-up sequence, she reminds them that this is no time for complacency: “We don't do positions. We dance the series." Despite her penchant for the Graham dramatics, Buglisi is equally quick to curb any excess of melodrama in her students. “No Swan Lake with the arms," she admonishes one whose wrists are limply crossed.
Robert Roldan may have stolen our hearts on Season 7 of "So You Think You Can Dance"—but it seems his heart was stolen long before that by none other than Emmy Award–winning choreographer Mandy Moore.
As his first jazz teacher at Bobbie's School of Performing Arts in Thousand Oaks, California, Moore taught him everything he knows about dancing. Now, as an all-star on this season of "So You Think You Can Dance," Roldan's applying those invaluable lessons with partner Taylor Sieve.
"What Mandy has always taught me is that you need to feel the emotion and intention of the pieces you perform, as a human, before you can apply it to your dancing. The week that Taylor and I performed Mandy's piece, I used the entire two hours of private rehearsal time to talk about what the piece was about and how we could connect to it. I believe that doing this was ultimately more valuable than any time we could have spent cleaning details and making the piece perfect. Mandy taught me this at a young age, and I try to apply it to Taylor as much as I possibly can when I teach her. People won't connect to how high your leg is or what crazy tricks you can do. They want to feel something. And when you feel it, they feel it."
Watch Roldan on "So You Think You Can Dance" tonight on FOX.
In 1965, Zena Rommett was asked to teach her unique Floor-Barre method at the American Ballet Center by ballet legend Robert Joffrey. Her gentle-yet-effective technique inspired countless professional dancers over the years, who became faithful followers as a supplement to their dance training. From choreographer Lar Lubovitch to Tommy Tune, Patrick Swayze and Judith Jamison, many swear by the benefits of the technique. Rommett taught it until she was 90.
The summer after Rommett's death, her daughter Camille made her debut on the faculty of our Dance Teacher Summit. She describes teaching to a packed convention room as "a very humbling experience." Despite students often telling her she sounds similar to her mother, she's learned it's not about filling her mother's shoes, but keeping her mother's legacy—and the integrity of the technique—alive.