Remember when you attended your first convention? And how exciting (and scary!) it was to take class from a famous teacher? Today, many of the dancers your students emulate from television and the concert stage also teach at dance conventions. What an opportunity it is, for instance, to take class from DT cover girl Brooke Lipton, who makes casting decisions for the hit TV show, “Glee.” In “Red Hot,” L.A.-based writer Victoria Looseleaf tells how Lipton made a career for herself in the tough professional environment of Hollywood, and she shares the positive influence Lipton has on young dancers as a teacher for The PULSE On Tour and Hollywood Connection.

 

Conventions can open doors for your dancers—all your dancers, not just those with commercial aspirations. We get excited about the glamour and ambition, but let’s not forget the powerful educational foundation of these events. In this issue, Dance Teacher focuses on what it takes to teach in that setting (“Mastering the Master Class”) and how your students can benefit (“High Five with Cris Judd”)—including the 2012 Convention Guide for easy reference to contact details and other essentials.

 

How are you celebrating the holidays at your studio? In “Holidays in Every Way,” writer Nancy Wozny spoke to studio directors about how they reflect the varying demographic interests of their communities. Do you do something unique? Let us know by liking us on Facebook and joining the discussion about ways to make your studio inviting to everyone. And do have a look at “Goods” to see our holiday gift suggestions for the dancers on your list.

 

While The Nutcracker may be consuming your life this month, the new year is right around the corner. If you’re one of the many who resolve to diet or exercise with renewed vigor on January 2, be sure to read “My Personal Fitness Plan,” where three busy teachers share their health and fitness routines. They impressed us, and we hope they will inspire you.

 

Here’s to a fulfilling holiday season and fruitful new year.

The Feldenkrais Method is a somatic technique created by Moshe Feldenkrais in the 1950s. The method has two parts: hands-on sessions with a Feldenkrais teacher (Functional Integration) or group classes comprised of verbal cues (Awareness Through Movement).

Mary Armentrout, a dance teacher, choreographer and Feldenkrais practitioner, shares three ways that this somatic practice can bolster your students' training.

Keep reading... Show less
Your Studio

Oversexualizing young kids has been a hot topic among dance teachers in recent years. It's arguably the most controversial topic teachers and studio owners are faced with. Deciding which choreography, music or costumes are appropriate—or not—isn't always black and white and can be easily overlooked. Is showing the midriff too much for minis? Is this choreography too provocative? Is this popular song too suggestive for a competition piece? The questions can seem endless with no clear objective answers. Until now.

Keep reading... Show less
To make dancers stronger and less injury-prone, Burns Wilson suggest adding floor barre or conditioning classes. Photo courtesy of Burns Wilson

With a career spanning 30-plus years in the dance field, Anneliese Burns Wilson has cultivated a unique perspective on health and injury prevention for dancers. From teaching ballet to teaching anatomy, she then founded ABC for Dance, which publishes dance-teaching materials. Now through research for her next book, which will focus on training the female adolescent dancer, she's delving even deeper into topics many dance teachers have overlooked.

Keep reading... Show less
Erdmann (left) on set for "Hairspray Live" (courtesy of Erdmann)

When Wicked ensemble member Kelli Erdman was training at Westlake Dance Center in Seattle, Washington, her teacher Kirsten Cooper taught her that focussed transitions would be pivotal to her success as a dancer. Now as a professional, she applies this advice to her daily performances, asserting that she will never let the details of her dancing get blurry.

Keep reading... Show less
Khobdeh dancing Taylor's Speaking In Tongues. Photo courtesy of PTDC

For Parisa Khobdeh, music does more than set the tone for a piece—it's enabled her to connect with movement. And once she joined Paul Taylor Dance Company in 2003, Taylor's body of work deepened this connection. "His choreography showed me the music, the architecture and the space," she says. "I now see the music."

Keep reading... Show less
Dance Buzz

We haven't been able to stop watching Lil' Mushroom since she popped and locked her way into Ellen's heart last week. We know you've got a long night of teaching ahead, and this is the dance inspiration you need to get you through. Check it out and tell us what you think about her killer moves over on our Facebook page! (She starts blowing minds at about 2:16.)

Keep reading... Show less
How-To

Because the chassé is often neglected during the execution of this traveling step, Judy Rice asks her students to do a minimum of a six-inch chassé before transitioning into the pas de bourrée. She encourages dancers to pay close attention to their shoulders and hips in effacé, too. "Kids tend to open it up. They look like they're fencing," she says. "You don't want that." Both shoulders and hip bones should be facing the corner.

Keep reading... Show less

Sponsored

Videos

Sponsored

mailbox

Get DanceTeacher in your inbox

Win It!

Sponsored