The Center for Arts in Education has announced its 2013 Fellows for the National Artist Teacher Fellowship grant. Dance teachers make quite the respectable appearance—four were chosen: Christopher Alloways-Ramsey of Boston Arts Academy in Massachusetts; Nicole Mathis-Berman of Art Theatre Entertainment School in California; Sonia Plumb of Greater Hartford Academy of the Arts in Connecticut; and Gina Bolles Sorensen of Coronado School of the Arts in California.
The deadline for 2014 fellowship applications, as we’ve blogged about once before, is swiftly approaching—they’re due this coming Monday, November 18. The 2013 dance fellows submitted projects for their applications as varied as attending the Bates Dance Festival in Maine to collaborating with a mentor on a piece about aging of performance artists. So let your imagination run wild as to how you'd like to use your award! Each award is $5,500 and can be used toward tuition, room and board, travel, mentor fees, purchase of materials—even childcare! Bonus: A separate grant of $1,500 is awarded to the fellow’s school for use in post-fellowship activities. See bostonartsacademy.org/center/natf to apply.
Photo by Dave Oleary, courtesy of Gina Bolles Sorensen
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.