We're privileged to honor four extraordinary educators with this year's Dance Teacher Awards in August at our New York Dance Teacher Summit. The awardees include Julie Kent, Djana Bell, Rhonda Miller, Sue Samuels and Stephanie Kersten.

While dance teachers across the board often find themselves educating parents about the importance of dance and the arts in their children's lives, Djana Bell and her staff at Norma's Academy of Dance in Fairburn, Georgia, have to go one step further. They must teach parents that a dance career is even possible for students of color. "It has started to get better with role models like Misty Copeland, Michaela DePrince and Alison Stroming, who are showing little black girls that they can do this," says Bell. "It's our challenge to help them understand it can happen to them, as well. But that mind-set also has to start with the parents."


Bell has been tackling this challenge for the past three decades. While a sophomore dance major at Florida State University, she learned her mother, the original owner of Norma's, had suffered a fatal heart attack. "I was forced to come home, to decide if I wanted to maintain her business or continue college," she says. "Well, 32 years later, I'm still here."

It wasn't an easy choice. "My mom started the studio in 1972, and it was the first African-American-owned studio in Atlanta. She passed away in May 1985—recital season. Costumes had been ordered; the venue was rented. Parents had spent money. After talking things over with my grandmother—who was the studio's office manager and ballet class pianist—I said, 'This is my mom's legacy, what she was passionate about.' And I just kept going. I did a lot of soul searching after the concert, but I never turned back."

In Bell's hands, Norma's has changed significantly. "My mom operated more of a conservatory for dance, theater, music," Bell says. "I streamlined it to just dance." Today, 125 students are enrolled full-time, and Bell and her six faculty members teach ballet, jazz, modern, hip hop and tap. A small advanced ensemble performs in the community. Alumni have performed with such companies as Dallas Black Dance Theatre and Philadanco, and Bell's students frequently attend summer programs, including Dance Theatre of Harlem Summer Intensive and The Ailey School.

"We don't compete, though we do attend one convention a year—Tremaine—for the workshops," says Bell. "My studio isn't for everyone, I'll admit it." She calls herself a "stickler for old-school dance etiquette," and she's eager for her dancers to pursue dance outside of the confines of her studio. "I want them to have an understanding of the bigger picture," she says.

Sometimes that means bringing the bigger picture directly to her students. In 2016, Bell invited DePrince to lead a master class at Norma's—and DePrince, who was visiting her parents in the area, agreed. "I made all my students buy her book and read it beforehand, and she signed them after class," Bell says. "Afterward, Michaela remarked how professional my students were—they were dressed, prepared and ready to dance. It was such a great experience for them."

Dance News
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Dancers are resilient by nature. As our community responds to COVID-19, that spirit is being tested. Dance Teacher acknowledges the tremendous challenges you face for your teaching practice and for your schools as you bring your offerings online, and the resulting financial impact on your businesses.

Perhaps we can take hope from the knowledge of how we've managed adversity in the past. I'm thinking of the dance community in New Orleans after Hurricane Katrina. I'm thinking of 9/11 and how that changed the world. I'm thinking of the courageous Jarrah Myles who kept her students safe when the Paradise wildfire destroyed their homes. I'm thinking of Jana Monson who rebuilt her studio after a devastating fire. I'm thinking of Gina Gibney who stepped in to save space for dance in New York City when the beloved Dance New Amsterdam closed.

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Create a Watch Party! Here are four free offerings from New York City's most celebrated arts organizations to share with your students and their families.

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“Keeping agile" has taken on a whole new meaning for every studio owner and dance instructor since the COVID-19 pandemic temporarily shuttered studio doors for safety's sake in March. Now is the time to show parents how you bring normalcy and positivity to their children's lives so you can retain tuition revenue until your doors reopen for business as usual.

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Business leader Misty Lown convened (remotely) more than 700 dance studio owners to create an action plan in response to COVID-19 studio closures. ICYMI, here are the takeaways:

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When dancer Katherine Disenhof found out her company, NW Dance Project, would be shutting down indefinitely due to the coronavirus pandemic (on Friday the 13th, no less), she immediately went in search of ways to stay connected and in shape.

At that point, a few virtual class opportunities had emerged, so Disenhof decided to aggregate them on an Instagram account called Dancing Alone Together.

She launched the account that Monday, and by mid-week she'd also created a website. Now, just a few weeks later, Dancing Alone Together has 22K followers—and virtual classes are more than just a growing trend, but a phenomenon that has reshaped the dance world at an unprecedented speed.

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Update March 31, 2020: This article was first published in Dance Teacher, February 2009.

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Standing ramrod straight at age 69, Burmann embodies the authority and skills he acquired during an extensive global career. He was a corps member of the Pennsylvania Ballet and New York City Ballet, a Frankfurt Ballet principal dancer, Stuttgart and Geneva company principal and ballet master, and ballet master for The Washington Ballet and Le Ballet du Nord, among others. After he retired from dancing in 1977, Burmann took up guest teaching and is still in great demand at prestigious American and European companies and schools: This year he will teach in Florence and Milan, Italy.

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Elizabeth Ahearn never imagined that she'd teach her first online ballet class in her kitchen. Adding to the surreality of the situation: Rather than give her corrections, her student, the director of distance learning at Goucher College, had tips for Ahearn: Turn the volume up, and move a little to the left.

Ahearn, chair of the dance department at Goucher, is among thousands of dance professors learning to teach online in the midst of the coronavirus pandemic. The internet may be exploding with resources for virtual classes, from top dancers teaching barre to free warm-ups courtesy of the Merce Cunningham Foundation, but in academia, teachers face many restraints. Copyright laws, federal privacy regulations, varying tech platforms and grading rubrics all make teaching dance online a challenge.

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Talia Bailes never imagined that her ballet training and her interest in early learning would collide. But Bailes, a senior studying global and public health sciences at Cornell University, now runs a successful non-profit called Ballet & Books, which combines dancing with the important but sometimes laborious activity of learning to read. And she has a trip to South America to thank.

In 2015, before starting at Cornell, Bailes took a gap year and headed to Ecuador with the organization Global Citizen Year to teach English to more than 750 students. But Bailes, who grew up training at a dance school outside Cincinnati, Ohio, also spent time teaching them ballet and learning their indigenous dances. "The culture in Ecuador was much more rooted in dance and music rather than literacy," she recalls. Bailes was struck by the difference in education and the way that children were able to develop and grow socially through dance. "It left me thinking, what if dance could be truly integrated into the way that we approach education?"

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Love electronic music? Calming notes of a piano? Smooth, rich trumpet? Want music in clear meters of 3, or in 7? This week is the ideal time to check out musician Michael Wall's abundant website soundformovement.com. I myself have enjoyed getting to experience his music over the past five years—whether to use in a teen class, older-movers class or for my own MFA thesis choreography.

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On Wednesday, March 18, I was supposed to return to Juilliard and teach Pilates after a two-week spring break. Instead, I rolled a mat onto my bedroom floor, logged in to Zoom and was greeted by a gallery of 50 small-screen images of young ambitious dancers, trying to make the best of a strange situation. As I began class, I applied our new catchphrase: "Please mute yourself," then asked students to use various hand gestures to let me know how they are coping and how much space they have for movement. I asked dancers to write one or two things they wanted to address in the sidebar, and then we began to move.

This is our new normal. In the midst of grave Covid-19 concerns, dance professors across the country faced university closures and requirements to relocate their courses to the virtual sphere. Online education poses very specific and substantial challenges to dance faculty, but they are finding ways to persist by learning new methods of communication, discovering untapped pedagogical tools, expanding their professional networks, developing helpful new resources and unearthing old ones.

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As Broadway goes dark and performances are canceled across the country, the financial repercussions of a global pandemic have gone from hypothetical to very real. This is especially true in the dance community, where many institutions are nonprofits or small businesses operating on thin margins, and performers rely on gigs that are being canceled. It's a scary and uncertain time.

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The effects of COVID-19 on college dancers might have been devastating. Performances were canceled, seniors trying to savor every last moment together were left without a graduation ceremony, students were encouraged to go home, and at each moment, a question has sounded: How can a student learn how to become a better performer when they are not allowed to perform?

Here at Indiana University's Jacobs School of Music, the ballet department rallied quickly and adapted its programming, choosing to see this hiatus as an opportunity to encourage reflection and self-improvement.

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