As dance educators who practically live in the studio, we can sometimes forget that our chosen artform is a rather privileged activity. That’s why Dance Teacher loves to tell the stories of those who devote themselves to widening the circle. This month, for instance, we visit Toni and Uri Sands of TU Dance Center in St. Paul, Minnesota. The former Ailey performers pictured on the cover have made it their mission to identify children whose socioeconomic status is unlikely to lead them to the dance studio, let alone pre-professional-level training. The Sands’ experience demonstrates that even in cities where training opportunities are abundant, there is often room for more. Good news for dance!
Another way to enlarge the circle is by introducing children to dance at an early age. Movement activities can prime the brain for learning in school. And creative dance helps toddlers develop social skills. For those of you considering adding a pre-K program to your curriculum, “Building Brains and Bodies” offers some great advice. And in “Technique,” tapper Courtney Runft shows how to initiate your youngest future hoofers.
As you’re wrapping up your National Dance Week activities (April 26–May 5), you might find yourself asking if your efforts were worth the trouble. In “Event-Planning Toolbox,” three studio directors confirm that visibility is as valuable as profit. They discuss the details of effective event planning—not only the how and what, but the all-important why.
And just as NDW is a great time to show off your studio, so is National Tap Dance Day. This month in “History,” we celebrate Bill “Bojangles” Robinson, whose birthday we recognize every May 25. Post the quick lesson plan on your student bulletin board. Even if tap isn’t their thing, serious dancers know their history!
The Dance Teacher Summit is August 5–7. We’re gearing up for a great 2013 event, so mark your calendar and arrange for your annual trip to NYC now. The Summit is where the pages of Dance Teacher magazine come to life. I hope to see you there! danceteachersummit.com
Photo by Nathan Sayers
As the director of dance at Fred Astaire Dance Studio in Belmont, Massachusetts, Istvan Cserven organizes the biannual student showcases, prepares dancers for competition and trains new instructors. On top of all that, he teaches the upper-level technique classes. A former ballroom champion in Hungary, he is well-acquainted with both rhythm and smooth ballroom-dance styles.
In an event inspired by the words of President John F. Kennedy, The Washington Ballet will perform the world premier of WHO WHEN WHY this Saturday, June 24, at the Smithsonian American Art Museum's Kogod Courtyard.
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.