1. Who was Talley Beatty’s first dance teacher?
2. Beatty’s choreographic genius was transforming experiences of _____ _____into brilliant physical expressions of the _____ _____.
3. True or False: Beatty rejected ballet for Afro-Caribbean and modern dance.
4. What is the name of the first dance that Beatty created for his company?
5. What part of that work has been deemed a masterpiece?
6. Name the artist who said, “If you haven’t studied at least four techniques, you’ll never get through one of Beatty’s ballets.”
7. Which company preserves the most of Beatty’s works?
8. According to New York Times senior dance critic Anna Kisselgoff, Beatty was “one of America’s _____ and most _____ choreographers.”
9. True or False: Beatty was a perfectionist taskmaster who was known for his temper.
10. Explain the signature elements found in a Beatty piece.
1. Katherine Dunham; 2. Social injustice; human spirit; 3. False; 4. Southern Landscape; 5. “Mourner’s Bench”; 6. Judith Jamison; 7. Alvin Ailey American Dance Theater; 8. Best; underrated; 9. True; 10. Observations of the harshness of life, and the absence of specific plot or characters.
Photo courtesy of the Dance Magazine Archives.
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.