Editor's Note: Building the Future

Sheryl Murakami is living the dream of countless young competition dancers across the country. Ever since the day Beyoncé’s creative team selected Murakami’s demo tape from what must have been a sea of submissions, she has been working with some of the biggest stars in the music video world.

But she didn’t come out of nowhere to nab this celebrity gig. In our cover feature, "Just Dance," writer Jen Jones Donatelli tells how the former comp kid worked her signature sultry moves at the front of Broadway Dance Center classes and performing in rock clubs all over New York before she got her first big break. Her success is as much about courage and persistence as it is about talent.

Every time young dancers get on the competition stage, they’re learning about courage and persistence. They’re building their future—even if it doesn’t include dance.

If you are among those who question whether competition is a good idea, you might be interested in a new book by Harvard scholar Hilary Levey Friedman (see Recommended). Friedman studied teens who compete in dance, soccer and chess and concluded that competition expands the horizons of young people. Those who participate in a win-or-lose culture tend to set their life goals higher than others.

Though it may seem as if Nationals just ended, it’s time to begin preparing for the new season, and this, our annual Competition Issue, has plenty of advice and information to offer, including the “2013 Guide to Competitions,” for your easy reference in the months ahead.

The editors hosted lunch for the 2013 DT Awardees during the Dance Teacher Summit.

Of course, you don’t have to lead a competition team to understand that dance is a competitive field. Every month Dance Teacher shares inspiration and advice to keep you at the top of your game. This month, for instance, studio owners can sharpen their pencils over a cash-flow statement ("Profits Are Up, So Why Can’t I Pay the Bills?”). In Technique, Banu Ogan demonstrates a classic Cunningham step that can inform any style you teach. And History: Lesson Plan is about how Vaganova—never a stellar performer herself—codified a style that became a fundamental ballet training all over the world.

Speaking of inspiration, we’re still on an adrenaline high after the Dance Teacher Summit in August. We had a great time mingling with all those who joined us in NYC to bring the pages of the magazine to life. Mark your calendar for next year, August 1–3, 2014. Until then, Dance Teacher can help you stay connected. Join us on Facebook, Twitter and at dance-teacher.com.

Photo by Matthew Murphy

Health & Body
Getty Images

Talar compression syndrome means there is some impingement happening in the posterior portion of the ankle joint. Other medical personnel might call your problem os trigonum syndrome or posterior ankle impingement syndrome or posterior tibiotalar compression syndrome. No matter what they name it—it means you are having trouble moving your ankle through pointing and flexing.

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News
Scott Robbins, Courtesy IABD

The International Association of Blacks in Dance is digitizing recordings of significant, at-risk dance works, master classes, panels and more by Black dancers and choreographers from 1988 to 2010. The project is the result of a $50,000 Recordings at Risk grant from the Council on Library and Information Resources.

"This really is a long time coming," says IABD president and CEO Denise Saunders Thompson of what IABD is calling the Preserving the Legacy and History of Black Dance in America program. "And it's really just the beginning stages of pulling together the many, many contributions of Black dance artists who are a part of the IABD network." Thompson says IABD is already working to secure funding to digitize even more work.

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Studio Owners
The Dance Concept staff in the midst of their costume pickup event. Photo courtesy of Dance Concept

Year-end recitals are an important milestone for dancers to demonstrate what they've learned throughout the year. Not to mention the revenue boost they bring—often 15 to 20 percent of a studio's yearly budget. But how do you hold a spring recital when you're not able to rehearse in person, much less gather en masse at a theater?

"I struggled with the decision for a month, but it hit me that a virtual recital was the one thing that would give our kids a sense of closure and happiness after a few months on Zoom," says Lisa Kaplan Barbash, owner of TDS Dance Company in Stoughton, MA. She's one of countless studio owners who faced the challenges of social distancing while needing to provide some sort of end-of-year performance experience that had already been paid for through tuition and costume fees.

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