It was the morning of November 8, 2018, and Jarrah Myles' first-period choreography students were in last-minute rehearsals for their fall dance concert that evening. "All of a sudden my students' phones started ringing like crazy," says Myles, a teacher at Inspire School of Arts and Sciences, a Chico, California, high school whose dance and theater programs Myles helped establish in 2010. "And once they answered, I saw these tragic faces staring back at me."


That morning they learned the Camp Fire—California's deadliest, most destructive fire—had broken out in Paradise, the next town over, and families were desperate to get in touch with their children and make plans to evacuate as needed. Within an hour, Myles had canceled the show, and in her words, "our dance studio turned into a safe haven. We turned on Disney movies, got yummy snacks and made sure everyone stayed close."

Though Myles considers it one of her most traumatic experiences, the months that followed opened her eyes to the tremendous power of the arts. "Through everything, I saw all these young people who were incredibly passionate about the arts," she says. "They had lost their homes, their churches, their dance studios—all of their familiar places. And what became most important to them was continuing doing what they loved. For many of my students, that was dancing."

Soon after the fire, Myles, who is also the assistant director of Chico Community Ballet and teaches at Chico Creek Dance Centre, was driving home on a route she had taken every day as a teenager—when it hit her: "The studio I'd grown up in had burned down."

A Chico native, Myles had trained at a studio in Paradise before graduating with dual degrees in musical theater and business from California State University, Chico, and then studying dance education and administration at New York University's Steinhardt School of Education. "It had been 20-plus years since I'd danced in that space—and it hadn't been a dance studio in years—but the building still felt like a part of me. And it was just gone. And that's what my young dancers were experiencing."

Wanting to help, and to build on the momentum of her students' passion for dance after the fire, Myles took the lead on a new project: Art Strong Butte County, an effort driven by students.

"Its mission is to facilitate arts programs or arts events that students of any age and from anywhere in Butte County can participate in. If someone has a project, we can help fund it. Or if someone has an event, we can help find a venue to present the work."

Myles and her students built a website and social-media sites, filed nonprofit paperwork and established a GoFundMe page to source funds from out of the area. Its first big initiative helped fund a multischool choir concert, and at press time, Myles was looking forward to hosting more events in late summer/early fall. "It's been incredibly hard to find space to perform," says Myles. "A lot of the theaters that had shut down in the area are just opening their doors again—and they're booked solid. Studios are closed. So Art Strong Butte County is about connecting people who need space to those who have it, connecting people who have resources to those who don't. We can be that liaison."

One successful example of Art Strong facilitation is that Dance Evolution, a studio in Paradise that burned down, rehearses at Inspire two nights a week, allowing the school to continue in some fashion, while the owner works to relocate the studio to North Chico.

For Myles and her students, things are just beginning to reach a new normal. A quarter of the school's population lost their homes—including 12 of Myles' 24 dance company members. And on March 14, Myles' classes finally got to perform their fall concert. "It was incredible," says Myles. "I've never seen students dance with such passion, and it brought closure after months. They're doing well, and many are figuring it out. Some students have said 'I need to step back,' and others have really jumped in tenfold. And it's sparked such amazing conversations about healing and what that looks like for different people. Both choices are OK. My students are learning how to be passionate and compassionate at the same time."

Mark Your Calendar

Join us in Long Beach, CA, July 26–28, or in NYC, August 1–3, for our 2019 Dance Teacher Summit.

Dance Teachers Trending
"Music is magical," says Black. "It just transforms kids." Photo courtesy of Black

After 31 years of teaching, Kim Black has mastered how to reach young dancers. Between a studio and private school, she teaches 34 classes per week in Burlington, North Carolina: That's 238 kids from ages 2 to 6 years old. "You have to make them fall in love with dance," says Black. The music, she says, cues this engagement.

Keep reading...
Dance Teacher Tips
Photo by Lindsay Thomas, courtesy of PNB School

Naomi Glass, teacher at Pacific Northwest Ballet School, knows firsthand the advantages and challenges of hypermobility. As a young dancer, she was told to keep her hyperextended knees in a straight position far from her full range of motion. "It felt too bent to me," she says. "But once I was able to access my inner thighs and rotators, I found strength and stability and could still use the line that I wanted."

Hypermobility occurs when joints exceed the normal range of motion. Dancers can have hypermobility in specific joints, like their knees, or they can have generalized laxity throughout their bodies (which is often measured using the Beighton system—see below). While this condition may enable students to create beautiful aesthetic lines, it can also increase risk for injury. Help dancers gain the strength they need to stay healthy while making the most of their hypermobility.

Keep reading...
Dance Teacher Tips
Getty Images

I love this level. I see it as the true origin of a student's dance journey. Intermediate students have bought in, caught the fever, chosen to move beyond inquiry about dance to investment in dance. They are yearning to advance past their beginner training and label.

As teachers, we begin to set more stringent expectations for them to commit to class, take ownership of their learning, and comprehend more terminology and skills. Yet, they are still a bit disheveled in their movement and engagement. They still sometimes forget their dance pants and confuse upstage with downstage. Some of them are still, well, terrified.

Keep reading...
Site Network

2019's movies featured some truly fantastic dancing, thanks to the hard work of many talented choreographers. But you won't see any of those brilliant artists recognized at the Academy Awards. And we're (still) not OK with that.

So we're taking matters into our own jazz hands.

On February 7—just before the Oscars ceremony—we'll present a Dance Spirit award for the best movie choreography of 2019. With your help, we've narrowed the field to seven choreographers, artists whose moves electrified some of the most critically-acclaimed films of the year.

Keep reading...
Dance Teachers Trending
Kathryn Alter (left). Photo by Alexis Ziemski

In every class Kathryn Alter teaches, two things are immediately evident: how thoughtfully she chooses her words, and how much glee she gets from dancing the movement and style of modern choreographer José Limón. At the 2019 Limón summer workshop at Kent State University, Alter demonstrated a turning triplet with her arms fully outstretched, a smile stretching easily across her face. "It should be as if…" She paused to think of the perfect analogy that would help the dancers find the necessary circularity of the movement. "As if you live in a doughnut!" she finished, grinning broadly. The dancers gathered around her laughed—her smile and love for something as foundational as a triplet was contagious.

Keep reading...
Dance Teacher Tips
Melanie George (right). Photo by Grace Corapi, courtesy of George

Teachers from coast to coast are pushing students to move outside the constraints of popular music. There is a consensus that the earlier you introduce varied musical forms, the more adept and adaptable a dancer's musicality will be.

New York–based jazz scholar and teacher Melanie George notices that many students' relationships to music can be reductive: They may think exclusively about lyrics or accents. But jazz, for example, is about swinging: an embodied comprehension of instrumentation that only comes with musical acuity. "Students are ready for this specificity, even if we aren't giving it to them," she says. When her students understand that there is a technique to listening, it becomes less about going forward, and more about going deeper into the sound and into their bodies.

Keep reading...
Site Network
Gene Kelly and Leslie Caron in a scene from An American in Paris. Courtesy Fathom Events.

If you loved Christopher Wheeldon's An American in Paris on Broadway, you can now see the 1951 Oscar-winning movie it's based on in all its Technicolor glory. Fathom Events will present MGM's An American in Paris, starring Gene Kelly and French ballerina Leslie Caron, and with music by George and Ira Gershwin, in select theaters nationwide January 19 and 22.

Keep reading...
Instagram
Photo by Rachel Papo

Alicia Graf Mack's journey to become director of The Juilliard School's Dance Division—the youngest person to hold the position, and the first woman of color—was anything but a straight line. Yes, she's danced with prestigious companies: Dance Theatre of Harlem, Alvin Ailey American Dance Theater, Complexions Contemporary Ballet and Alonzo King LINES Ballet. But Mack also has a BA in history from Columbia University and an MA in nonprofit management from Washington University in St. Louis; she pursued both degrees during breaks in her performing career, taken to recover from injuries and autoimmune disease flare-ups.

As an undergrad, she briefly interned at JPMorgan Chase in marketing and philanthropic giving, and she later made arts administration central to her graduate work, assuming that she'd eventually take an administrative role with a dance organization.

Keep reading...
Dance Teachers Trending
Morrissey (left). Photo courtesy of Interlochen Center for the Arts

When Joseph Morrissey first took the helm of the dance division at Interlochen Center for the Arts, a boarding high school in Interlochen, Michigan, he found a fully established pre-professional program with space to grow. And his vision was big, with plans to stage the kind of ambitious repertory he'd experienced during his dance career. But the realities quickly set in. During his first year in 2015, the department was denied by the George Balanchine Trust to license any Balanchine ballets—the dancers were not quite ready.

This early disappointment didn't derail Morrissey. In just four years, he has not only raised Interlochen's training standards, he's staged ambitious full-length ballets and been granted the rights to works by Merce Cunningham, Agnes de Mille and, yes, Balanchine. Guest artists regularly visit, and he's initiated major plans to expand the dance department building. Morrissey is only 37, but it should come as no surprise that he's done so much so fast—his entire life's journey has prepared him to be an artistic leader.

Keep reading...
Dance Teacher Tips
Valerie Amiss with students. Photo by Tracie Van Auken, courtesy of Pennsylvania Ballet

Jared Nelson, artistic director of California Ballet, demonstrates a tight fifth position as he talks to his class about the importance of rotating from the hips. "Having a visual image helped me as a dancer, so I try to demonstrate as much as possible," he says. "But I am also very conscious of word choice. Every dancer is different, and you have to phrase things in a language they will understand."

Teachers should always be aware of how they communicate with their students, including how they choose language for different individuals, classes or situations. Using the right terminology in early stages of training will ensure that students learn the proper names of steps. This foundation is crucial, particularly when so much of the classical vocabulary has been substituted by nicknames and phrases. (Think "lame duck" or "step-up turn" in place of piqué en dehors.) But good use of language also means using imagery and positive reinforcement to ensure the right kind of messaging. What teachers say in the studio could make the difference between dancers who listen—and ones who really hear.

Keep reading...
Site Network
Dance Theatre of Harlem's Derek Brockington and Da'Von Doane in Claudia Schreier's Passage. Photo by Brian Callan, courtesy of DTH

Back to your routine after the holidays, but still looking for something to watch? Then this new PBS documentary titled Dancing on the Shoulders of Giants is for you. The hour-long film tracks the creation of two dance pieces: Claudia Schreier's Passage for Dance Theatre of Harlem, and Sir Richard Alston's Arrived featuring students of Norfolk's Governor's School for the Arts. Both works were co-commissioned by the American Evolution 2019 Commemoration and the Virginia Arts Festival last May, in recognition of the 400th anniversary of the first arrival of Africans to English North America and the history of slavery that followed.

Keep reading...
Instagram
Getty Images

Q: My tween is begging me to go to a faraway summer intensive, claiming "all my friends are going." How do I know if she's ready?

A: It can feel like a rite of passage for serious dancers to attend an intensive at a major ballet school. They dance all day and often explore the area's surroundings or attend performances on weekends. But living away from home, having a roommate and living the "dorm life" can be a challenge.

Keep reading...

mailbox

Get DanceTeacher in your inbox