1. Which dance company inspired Lang as a young child?
2. How old was Lang when she was accepted into Martha Graham’s Company?
3. Graham created _____ roles for Lang, including Deaths and Entrances and Appalachian Spring.
4. Name the pop star who studied with Lang.
5. What served as inspiration for almost half of Lang’s 60 works?
6. Which choreographic work brought her unanimous critical acclaim, and what role did she dance?
7. Like her mentor, Lang was the _____ of her company and her work mostly featured _____ characters.
8. Did Graham and Lang have a good relationship, after Lang left the company to establish The Pearl Lang Dance Theater in 1952 because Graham wasn’t willing to bill another choreographer on her stage?
9. How many principal roles, originally created and performed by Graham, including Clytemnestra and Herodiade, did Lang perform after Graham retired from the stage?
10. True or False: When Lang yelled “Thieves! Robbers! Liars! Criminals!” in her classroom, she was referring to a dancer’s lackluster performance of triplets across the floor.
BONUS: How long did Pearl Lang carry on Martha Graham’s technique, and what was different about her movement?
1. The Isadora Duncan Dance Company; 2. 19; 3. Nine; 4. Madonna; 5. Jewish themes; 6. Shirah; a biblical princess; 7. Star; female; 8. Yes; 9. Seven; 10. True; BONUS: Three decades; her movement quality and dancing was more lyrical and rounded and she had an analytical approach to movement
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.