DanceMotion USA sends Trey McIntyre Project on an Asian tour

With a contemporary ballet company based in Boise, Idaho, and work inspired by topics such as the fields of the heartland and rebuilding New Orleans, choreographer Trey McIntyre is a classic slice of Americana. In 2009, he made a piece about Glacier National Park, The Sun Road, that Dance Magazine reviewer Theodore Bale called, “One of the most truly American ballets I’ve seen in years.”

Since its 2005 launch, Trey McIntyre Project has performed in Europe and South America, but this summer, the group will make its debut in Asia as part of the DanceMotion USA project (see story on page 13). Venturing to China, South Korea, the Philippines and Vietnam, TMP will present three of McIntyre’s works: In Dreams, set to songs by Roy Orbison; Leatherwing Bat, an ode to childhood with music by Peter, Paul and Mary; and (serious), a trio for two men and one woman clad in business attire.

In addition to performing, TMP will conduct outreach activities with surrounding communities, and McIntyre will select one international company to tour the U.S. in the program’s first true exchange. Dance Teacher talked to him about his expectations for the company’s summer abroad.

Dance Teacher: What do you hope to convey about your company and American contemporary dance?

Trey McIntyre: Being from Kansas, the work I make is influenced by that sense of the Great Plains—wide open space and connection to the ground and your neighbors. The works we’re bringing are very representative of that. We have an earnestness—a feeling of “We can do it! We can make it!”—and I think that optimism, openness and generosity are deeply American things.

DT: What will you be looking for when choosing an international company to come to the U.S.?

TM: I’m looking for a company that’s an extreme contrast to what we do. Maybe a company that’s more traditional or rooted in folk dance. But I don’t want to plan too much. I want to stay open and see the connection when I get there and not miss an opportunity.

DT: Your company has traveled the world. Why did you pick Idaho as a home base?

TM: I had a friend here who wanted to present us, and we developed a momentum with the community very quickly. There were a lot of funding temptations to base the company in New York or San Francisco, but it was hard to justify going to an area that well-served. There are so many complaints about the arts not being appreciated in small communities––and why would they be, unless people there are being exposed to a high level of them on a regular basis? Could we move into a community and create the same kind of loyalty the football team has? We have––the city has really embraced us.

DT: What do you think makes your work accessible to a wide audience, both in the U.S. and overseas?

TM: I make sure I’m being an effective communicator and bringing people along for the ride. I want people to be able to have an experience the first time they see it, but continue to find more if they watch it 10 times. My goal with any work is to speak from a place of honesty, and I start by examining what that truth is for myself. I think it provides a portal for any audience member to find pieces of themselves in the work.

DT: What has influenced your career the most? 

TM: I remember seeing a Murray Louis performance in Wichita when I was 12. It was modern dance, and I didn’t know what that was. I was so confused by the show and felt uncomfortable. But what stuck with me was the question and answer afterward. I realized how participatory dance is. The audience is what completes it. At that moment, dance opened up for me.

When we go to schools, the kids want to see what the dancers can do, but a dialogue is most effective. Once a kid asked, “My parents don’t want me to dance. Have you had that experience?” Our main message to young people is that you set your own path and you can have a future that fulfills you. Outreach opportunities give kids an accessible role model. DT

 

Photo by the Bisou Consortium

The Conversation
Dance Teachers Trending
Photo courtesy of Hightower

The beloved "So You Think You Can Dance" alum and former Emmy-nominated "Dancing with the Stars" pro Chelsie Hightower discovered her passion for ballroom at a young age. She showed a natural ability for the Latin style, but she mastered the necessary versatility by studying jazz, ballet and other forms of dance. "Every style of dance builds on each other," she says, "and the more music you're exposed to, the more your rhythm and coordination is built."

Keep reading... Show less
Studio Success with Just for Kix
Bill Johnson, Courtesy Just for Kix

Running a dance studio is a feat in itself. But adding a competition team into the mix brings a whole new set of challenges. Not only are you focusing on giving your dancers the best training possible, but you're navigating the fast-paced competition and convention circuit. Winning is one goal, but you also want to create an environment that's fun, educational and inspiring for young artists. We asked Cindy Clough, executive director of Just For Kix and a studio owner with over 40 years of experience, for her advice on building a healthy dance team culture:

Keep reading... Show less
Just for fun
Via Instagram

Happy Father's Day to all of the dance dads in the world! Whether you're professional dancers, dance teachers, dance directors or simply just dance supporters, you are a key ingredient to what makes the dance world such a happy, thriving place, and we love you!

To celebrate, here are our four favorite Instagram dance dads. Prepare to say "Awwwwwwwweeeeeee!!!!!!"

You're welcome!

Keep reading... Show less
Sponsored by Insure Fitness
AdobeStock, Courtesy Insure Fitness Group

As a teacher at a studio, you've more than likely developed long-lasting relationships with some of your students and parents. The idea that you could be sued by one of them might seem impossible to imagine, but Insure Fitness Group's Gianna Michalsen warns against relaxing into that mindset. "People say, 'Why do I need insurance? I've been working with these people for 10 years—we're friends,'" she says. "But no one ever takes into account how bad an injury can be. Despite how good your relationship is, people will sue you because of the toll an injury takes on their life."

You'll benefit most from an insurance policy that caters to the specifics of teaching dance at one or several studios. Here's what to look for:

Keep reading... Show less
Studio Owners
Getty Images

If you're a studio owner, the thought of raising your rates most likely makes you cringe. Despite ever-increasing overhead expenses you can't avoid—rent, salaries, insurance—you're probably wary of alienating your customers, losing students or inviting confrontation if you increase the price of your tuition or registration and recital fees. DT spoke with three veteran studio owners who suggest it's time to get past that. Here's how to give your business the revenue boost it needs and the value justification it (and you) deserve.

Keep reading... Show less
Sponsored by World Class Vacations
David Galindo Photography

New York City is a dream destination for many dancers. However aspiring Broadway stars don't have to wait until they're pros to experience all the city has to offer. With Dance the World Broadway, students can get a taste of the Big Apple—plus hone their dance skills and make lasting memories.

Here's why Dance the World Broadway is the best way for students to experience NYC:

Keep reading... Show less
Dance Teachers Trending
Margie Gillis (left); photo by Kyle Froman

Margie Gillis dances the human experience. Undulating naked in a field of billowing grass in Lessons from Nature 4, or whirling in a sweep of lilac fabric in her signature work Slipstream, her movement is free of flashy technique and tricks, but driven and defined by emotion. "There's a central philosophy in my work about what the experience of being human is," says Gillis, whose movement style is an alchemy of Isadora Duncan's uninhibited self-expression and Paul Taylor's musicality, blended with elements of dance theater into something utterly unique and immediately accessible. "I want an authenticity," she says. "I want to touch my audiences profoundly and deeply."

Keep reading... Show less
Dance Teacher Tips
Getty Images

Teaching arabesque can be a challenge for educators and students alike. Differences in body types, flexibility and strength can leave dancers feeling dejected about the possibility of improving this essential position.

To help each of us in our quest for establishing beautiful arabesques in our students without bringing them to tears, we caught up with University of Utah ballet teacher Jennie Creer-King. After her professional career dancing with Ballet West and Oregon Ballet Theater and her years of teaching at the studio and college levels, she's become a bit of an arabesque expert.

Here she shares five important tips for increasing the height of your students' arabesques.

Keep reading... Show less
Dance Teacher Tips
Photo by Jennifer Kleinman, courtesy of Danell Hathaway

It's high school dance concert season, which means a lot of you K–12 teachers are likely feeling a bit overwhelmed. The long nights of editing music, rounding up costumes and printing programs are upon you, and we salute you. You do great work, and if you just hang on a little while longer, you'll be able to bathe in the applause that comes after the final Saturday night curtain.

To give you a bit of inspiration for your upcoming performances, we talked with Olympus High School dance teacher Danell Hathaway, who just wrapped her school's latest dance company concert. The Salt Lake City–based K–12 teacher shares her six pieces of advice for knocking your show out of the park.

Keep reading... Show less
Getty Images

Q: I'm looking to create some summer rituals and traditions at my studio. What are some of the things you do?

A: Creating fun and engaging moments for your students, staff and families can have a positive impact on your studio culture. Whether it's a big event or a small gesture, we've found that traditions build connection, boost morale and create strong bonds. I reached out to a variety of studio owners to gather some ideas for you to try this summer. Here's what they had to say.

Keep reading... Show less
Dance Teacher Tips
Sam Williams and Jaxon Willard after competition at RADIX. Photo courtesy of Williams

Self-choreographed solos are becoming increasingly popular on the competition circuit these days, leading dance teachers to incorporate more creative mentoring into their rehearsal and class schedules. In this new world of developing both technical training and choreographic prowess, finding the right balance of assisting without totally hijacking a student's choreographic process can be difficult.

To help, we caught up with a teacher who's already braved these waters by assisting "World of Dance" phenom Jaxon Willard with his viral audition solos. Center Stage Performing Arts Studio company director Sam Williams from Orem, Utah, shares her sage wisdom below.

Check it out!

Keep reading... Show less
Studio Owners
Getty Images

Dance studios are run by creative people with busy schedules, who have a love-hate relationship with props and sequins. The results of all this glitter and glam? General mass chaos in every drawer, costume closet and prop corner of the studio. Let's be honest, not many dance teachers are particularly known for their tidiness. The ability to get 21 dancers to spot in total synchronization? Absolutely! The stamina to run 10 solos, 5 group numbers, 2 ballet classes and 1 jazz class in one day? Of course! The emotional maturity to navigate a minefield of angry parents and hormonal teenagers? You know it!

Keeping the studio tidy? Well...that's another story.

Keep reading... Show less

mailbox

Get DanceTeacher in your inbox