1. Name the famous jazz teacher who Alton encouraged to start teaching.
2. The Bolshoi-trained ballet dancer, Mikhail Mordkin taught Alton a beautiful _____ _____ _____ and an expansive use of the _____ _____.
3. Alton made which Hollywood star move effortlessly?
4. In his first gig as a film dance director, Alton nodded to what famous movie musical director/choreographer by shooting the performers from above in kaleidoscopic fashion?
5. Alton moved chorus dancing into a new era, by featuring _____ and _____ _____, and requiring the
chorus to be adept at both _____ and _____.
6. Unlike his younger contemporaries Agnes de Mille and Jack Cole, who labored to expand their choreographic vocabulary, Alton became known for what techniques?
7. What celebrated screen star did Alton discover and help develop his career?
8. True or False: Alton’s genius lay in his ability to elegantly incorporate many dance genres (ballet, tap, modern, ballroom) into one number.
9. Name three of Alton’s most notable works.
10. True or False: For a quarter of a century, Alton split his time between Broadway and Hollywood, creating dances for the stage and MGM productions.
1 Luigi; 2. Port de bras; upper body; 3. Judy Garland; 4. Busby Berkeley; 5. Soloists; small groups; tap; ballet; 6. Synthesizing dance material already popular at the time, and enabling performers to distill their personalities through their dancing.; 7. Gene Kelly; 8. True; 9. Cole Porter’s Anything Goes (1934), Panama Hattie (1940), Rodgers and Hart’s Pal Joey (1940), Easter Parade (1948), Show Boat (1951) and The Harvey Girls (1946), Till the Clouds Go By (1946), Ziegfeld Follies (1945) and/or Irving Berlin’s White Christmas (1954);10. True
Photo of Robert Alton dancing with Great Garbo in Two Faced Woman (MGM 1940), courtesy of Larry Billman/Academy of Dance on Film.
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.