The House That Homer Built

Chicago Multi-Cultural Dance Center's founder Homer Hans Bryant has been nurturing and supporting dancers since 1990.

2008 Music Guide

More than 25 music distributors offer selections for class and recital

The Dos and Don'ts of Hip Hop

Teacher Pat-Y-O shows how to get the hip-hop look right.

Get Your Groove On

Choreographers Napoleon & Tabitha D'umo share their favorite hip-hop tracks.

Team Dynamics

Solutions for minimizing conflict and creating a cohesive competition team

Cover to Cover

Nine new dance titles

Ask the Experts

Performing background checks and the right time to start competition

Performance Planner: All You Need Is Love

For your next recital, put L-O-V-E center stage.

Asadata Dafora

A pioneer of African-based dance in the U.S.

Three K–12 dance teachers share tips for keeping classrooms in check.

Discipline Dilemmas

Studio owners weigh in on the best ways to make students behave.

Fuel Your Teaching

Simple steps to nourish your mind and body for a full day of teaching

Where the Heart Is

Creating an inviting studio environment will keep dancers and their families coming back for more.

The Floor Factor

Key questions you should ask to make sure you choose a safe, comfortable and long-lasting floor surface

Building a Dance Library

Enhance our students' education by creating a studio resource library.

Dancer Health

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.

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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.

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Dancer Health
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.

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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.

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Teachers & Role Models
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."

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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.)

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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.

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