Bouder in Divertimento No. 15
The athletic and spirited New York City Ballet principal, Ashley Bouder, began training at the Central Pennsylvania Youth Ballet and continued her studies at the School of American Ballet after attending the summer program.
This summer, Bouder will lead the dance evening at the 2nd annual Buck Hill-Skytop Music Festival in Buckhill Falls, Pennsylvania, which includes lecture demonstrations for high school students in the area. Bouder says her CPYB teacher, Marcia Dale Weary, inspired an early interest in outreach.
"Marcia took us into schools to do lecture demonstrations. I remember doing Balanchine work for elementary students! Because of Marcia, I always thought outreach was so cool and wished that dancers would come to my school so that my friends could understand what I was devoting so much time to.
I believe that every artist has the obligation and the responsibility to pass on their art form. I jumped at the opportunity to get involved with this festival. It's in my home state. Our goal is to educate the audience about the connection between music and dance and how they're integral to one another."
Photo by Paul Kolnick, courtesy of New York City Ballet.
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.