Deeply Rooted Dance TheaterThe MacArthur Foundation’s International Connections Fund—which supports two-way artistic exchanges to benefit the Chicago arts—has awarded grants to 18 Chicago arts and culture organizations. Artistic exchanges will be happening in 16 different countries! What makes Chicago so special? The MacArthur Foundation is housed in Chicago, and it’s the home city of the organization’s founders, John D. and Catherine T. MacArthur.
The Chicago dance world makes a pretty respectable appearance in the list of awardees: Chicago Human Rhythm Project, Clinard Dance Theatre, Deeply Rooted Dance Theater and Same Planet Different World all received funding.
Chicago Human Rhythm Project, a tap performance and education organization, got $45,000 to conduct artistic residences in Chicago, Brazil and Argentina—including classes for kids.
Clinard Dance Theatre received $20,000 to do an exchange with contemporary dance company in India, so that each dance company can create a new piece.
Deeply Rooted Dance Theater was awarded $40,000 for a multi-year residency with a dance company in South Africa.
Same Planet Different World Dance Theatre got $47,000 to fund a collaboration with a dance company in Israel, for the development and premiere of a new piece.
After having spent a lifetime looking at ourselves in the mirror, constantly appraising, who of us wouldn't want to take a dance class in the dark? Two Australian dance students, Alice Glenn and Heidi Barrett, had the same thought in 2009 when they founded No Lights No Lycra, a global dance community that offers dancers and nondancers alike the chance to get their groove on in a dark space, where there's no light, no Lycra, no technique, no teacher and no steps to learn. It's just a place to lose yourself in the music and find your own dance mojo. The event became so popular that it spread past its Melbourne beginnings, first throughout Australia and now, globally.
Four incredible educators: Joanne Chapman, Claudio Muñoz, Pamela VanGilder and Kathleen Isaac foster their students' love of dance, whether instilling artistry, offering rigorous training or giving special needs students an outlet through movement.
When Jennie Somogyi retired from New York City Ballet, she found herself in high demand as a teacher. Parents called, texted and persisted. "I don't even know how some of them got my contact information," she says with a laugh. But Somogyi, who departed from NYCB in 2015 after a 22-year career, hadn't made any definitive plans for the next stage of her life. "I just like to see how things move me," she says. She discovered, though, that she enjoyed the process of giving private lessons and seeing the rapid progress students could make. Over time, she realized that teaching was something she wanted rather than needed.
Does your studio slow down when the weather warms up? If you don't offer a summer session, June through August can be a cash-flow challenge. One popular—and easy—strategy is to offer weeklong camps instead. We spoke to three professionals to learn how they make summer camp work.
This week Ballet Hispánico launched its first ChoreoLaB workshop, a summer intensive intended to better prepare aspiring professional dancers—with more than just excellent technique. Artistic director Eduardo Vilaro wanted to create a program that bridges the school and the company, to help dancers transitioning into the professional world and better hone their skills.