“It’s not vernacular jazz dance,” says Boross. “It has a lot of ballet, modern and the footwork of tap mixed together.”

Bob Boross surveys the group of jazz students before him who are attempting to layer a complicated port de bras on top of a foot warm-up that requires one half of the body to be in parallel and the other in turnout. “You’re all thinking very hard,” he says. “Relax your faces a little bit.”

Boross understands his students’ struggle. This is his second day teaching Matt Mattox technique to dancers taking part in an intensive in New York City (sponsored by Jazz Choreography Enterprises), and most of them have never studied Mattox’s style of jazz. The technique’s strong ballet foundation, tricky isolations and difficult-to-coordinate arm and leg movements make it easy for students to tense up, rather than appear relaxed, as Mattox always famously did. “It’s about mastering your body,” says Boross, who often teaches the elements of a Mattox warm-up exercise in layers—feet first, then port de bras. “Getting that relaxed feeling—even though you’re doing strenuous things—is a very complex assignment.”

His own introduction to Mattox and his style was a baptism by fire, too. A latecomer to dance—Boross didn’t start until he was a teenager—he dropped in on a monthlong Mattox workshop at UCLA for the last 10 days and soon found himself working one-on-one with him. After decades of extensive study with Mattox, who passed away in 2013, Boross is now a freelance choreographer and teacher; he leads master classes throughout the U.S. and abroad. “It’s not vernacular jazz dance,” says Boross. “It has a lot of ballet, modern and the footwork of tap mixed together.” In fact, that’s why Mattox referred to it as “freestyle”(a term he borrowed from Eugene Loring)—because it encompasses several techniques.

As Boross circles the room, clapping to accent the technique’s tricky rhythms or adjust a student’s sacrum in a maddeningly articulate hip circle, he offers helpful imagery for the dancers to chew on. To encourage dynamics, he asks that they imagine their bodies are sports cars. “Think about how you would drive it,” he says. “I want to see you working hard and still enjoying your sports car.”

But Mattox’s codified warm-up exercises aren’t all tricky tendus and isolations. A particularly strenuous one requires the dancers to begin in a first-position grand plié and double-bounce into a grand second plié. (“I need someone with young, strong legs,” Boross jokes, asking a student to demonstrate as he explains.) It’s that diversity of movement which draws him to Mattox’s style. “It’s one technique that will satisfy a dancer’s needs—dancers have to do so many things these days,” says Boross. “It makes dancers responsive and employable and keeps you healthy.” DT

Bob Boross made his Broadway debut in the 1981 revival of Can-Can. He has an MA from the Gallatin School of New York University and has been a professor at Illinois State University, Western Kentucky University, Stephens College, Radford University, the University of California, Irvine, and Shenandoah University. He studied extensively with jazz legend Matt Mattox and wrote his master’s thesis on Mattox’s career. Boross’ writings have been published in the anthology Jazz Dance: A History of the Roots and Branches.

Skye Mattox is the granddaughter of Matt Mattox and has danced in the Broadway revivals of On the Town (2014) and West Side Story (2009).

Photos by Kyle Froman

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Most dancers are taught from a young age that no matter what happens onstage, the show must go on! Costume rips? Don't stop dancing. Forget the choreography? Don't stop dancing. Fall down? Get back up, but for the love of all things holy, don't stop dancing!

Anna White, teacher and studio director at Melinda Leigh Performing Arts Center in Mobile, Alabama, breaks down how she conveys this message to her students.

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This month's winner is a lyrical piece to "Wounded Animal" by Mary Lambert, performed at the Turn It Up Dance Challenge. Before setting the movement, Ashley Zelano, choreographer and artistic director at the Fierce Dance Academy in New Castle, Delaware, took a cautious approach with the 11 teenage dancers. The song describes the despair felt in a relationship where one party can't fully commit. But she understood that her teenage students might not relate to what inspires her as an adult.

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Photo by Nathalie Van Empel, courtesy of BYU CFAC

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His newest work premiered December 6–10 in New York City. This time, instead of choreographing on his core company of a handful of dancers, he created a work on all 24 of the Juilliard third-year dancers.

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Q: I'm looking to hire new instructors. How can I create a competitive job listing?

A: We've found the best way to attract qualified applicants for teaching positions at our studio is to be as specific as possible with our expectations, while communicating what makes our studio a great place to work.

Here's an example of a job description we've used when seeking teachers:

Lead Dance Instructor: Tap/Jazz/Contemporary; Choreography for Dance Teams.

Kathy Blake Dance Studios is seeking new instructors to join our faculty. Our performing arts school, located in the Souhegan Valley of New Hampshire, has an emphasis on excellence and love for the art of dance, with a student base aged 2 to adult. We pride ourselves on paying our teachers well, offering a professionally managed front office and fostering a sense of teamwork and collaboration among our staff.

We have an immediate opening for a dance instructor whose specialty is teaching intermediate to advanced tap, jazz and/or contemporary, as well as choreographing for competitive dance teams. We are seeking a creative, forward-thinking teacher who brings out the best in dancers. Schedule of 5 to 10-plus classes a week, based on availability. Position begins in August (or sooner, based on teacher availability). The school year runs from September through June. Pay is competitive and commensurate with experience and credentials.

Interested instructors: Please e-mail or reply to this ad with a current resumé and phone number, as well as what you love about teaching and what matters most to you in working for a dance studio.

Can't teach on our regular schedule? Please let us know if you'd like to be considered for our guest-artist master-class events.

Kathy Blake (Kathy Blake Dance Studios in Amherst, New Hampshire) and Suzanne Blake Gerety co-founded DanceStudioOwner.com.

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These four holiday dance videos are the break you need from the madness of the season. You'll laugh. You'll cry. You'll be recharged enough to dive back into another night of Nutcracker performances. (Yikes—hang in there guys!) Check 'em out, and share your favorite funny holiday dance videos with us on our Facebook page.

XOXO

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