A: My own classes are 44 minutes long, but, oh, what I could do with just five more minutes! I’ve come to realize that being an effective dance educator means being an efficient one. One way to do this is to have your demonstrations, along with your lectures, prerecorded—that way, you know exactly how long they are. If you do most of your projection from your computer, you can create a screen-capture video of what is being displayed on your monitor while you lecture. This will also allow you to put your lessons online. (For those interested in utilizing the flipped classroom, see March DT or dance-teacher.com—this is a great tool.)
So, how do you make a screen-capture video? If you have a Mac, you can do it with QuickTime, which is automatically loaded on your computer. Within QuickTime, just click on the File menu and choose screen recording. You can select with or without audio. For Windows users, Microsoft has a Screen Recorder utility that you can download. It, too, is easy to use. There are plenty of free third-party software options if you would like a little more functionality. Screencast-O-Matic is a great one for both PC and Mac users. The free version allows you up to 15 minutes of recording, and you can save your video in numerous formats, including as an FLV—which SMART Board users can embed in their Notebook pages. What I like best about Screencast-O-Matic is that it lets you frame just the part of the screen you need. Note that if you use Notebook with your SMART Board, it, too, has similar screen capture capability, but it is only for use in the software.
Barry Blumenfeld teaches at the Friends Seminary in New York City. He is an adjunct professor at New York University and on faculty of the Dance Education Laboratory of the 92nd Street Y.
Starting this Saturday, the Children's Museum of Manhattan on the Upper West Side will have an interactive dance exhibit called "Let's Dance!" Basically every facet of dance is featured in the exhibit: kids can explore lighting design with a special child-friendly lighting box; choreograph with the use of props, signs and costumes; create accompaniment with percussion instruments; manipulate posable figures; see incredible dance photography and video; and, best of all, interact with the dance portal, where they can watch, learn and interact with professional and student dance companies like Alvin Ailey American Dance Theater, Dancing Classrooms, Mark Morris Dance Group and Martha Graham Dance Company. Whew. That's a LOT of great stuff.
Kathleen Kelbe, Pembroke School of Performing Arts | Pembroke, MA
Total budget: $100,000
Project timeline: 3 months (ongoing)
Kelbe expanded from 1,600 to 6,000 square feet. She used Rosco's SubFloor and Adagio vinyl and broke her extensive renovation into three phases.
Ellen Marshall, Off Broadway Dance Center | Fulton, NY
Total budget: $60,000
Project timeline: 3 months
Marshall renovated a Methodist church into a 4,000-square-foot studio, with Stagestep Flooring Solutions' marbleized gray Timestep in her two studios.
Diana Griffin, Fusion Dance Company | Palm Harbor, FL
Total budget: $40,000
Project timeline: 45 days
From restaurant to studio! The checkerboard ceilings were a restaurant leftover that Griffin decided to keep. Her O'Mara sprung floors were self-installed in her 7,000-square-foot space.
Barclay Gibbs, Dance Conservatory of Maryland | Bel Air, MD
Total budget: $10,000
Project timeline: 2 days
Gibbs chose Gerstung Floor Systems' AirBase 600 for her 2,000-square-foot studio. This semi-permanent flooring will travel with her, should she change locations in the future.
Nigel Burgoine, Ballet Theatre of Toledo | Toledo, OH
Total budget: $4,000
Project timeline: 1 day
In her work as director of physical therapy for New York City Ballet, Marika Molnar relies on tools like bands, balls and Pilates equipment to rehabilitate and strengthen dancers. She says there's a place for such tools in daily dance classes, as well. Resistance and stability tools can help students develop strength and even break bad habits. "Say someone is compensating because of a weakness or restriction—that's what they're always going to do," she says, even after a teacher corrects them repeatedly. "If you give them something that makes things a little unfamiliar, their brain has to participate more. It becomes not only a physical exercise but a cognitive one." The dancer learns in a new way, and improves.
Molnar has collaborated with Pilates expert Joan Breibart and PTs at Westside Dance Physical Therapy to create a series of tools and exercises with dancers' training and recovery needs in mind. Here, she shares three of her favorites.
Christy Wolverton had a student who often either missed class or seemed to be sick. "When you're in our pre-professional company, attendance is huge," says Wolverton, owner and director of Dance Industry Performing Arts Center in Plano, Texas. She tried to be patient with the dancer and communicate with her parents to get a better idea of what was going on at home. "When she was diagnosed with a serious illness," she says, "we were relieved that we didn't come down on her for something that wasn't her fault."
Laura Glenn can still remember the excitement she felt watching the Limón Dance Company perform at Central Park in the summer of 1962. "I turned to the person next to me and whispered, 'He's going to be my teacher!'" she says. Two weeks later, she started as a Juilliard freshman, where she indeed studied under the legendary José Limón before joining his company in her second year.