February 2009

The Big Picture Man

Choreographer Tyce Diorio is bringing Broadway to

Hollywood—and he’s doing it his way.

Dream Weavers

Nine choreographers share how they transform their visions

into works of art.

Fashion

Flowing skirts and subtle details add an elegant touch to

these lyrical costumes.

Wilhelm Burmann

The legendary ballet master shares class corrections and

what it was like to work with Balanchine.

Emotional Flow

Cathy Roe lets DT in on her music choices for lyrical dance.

Performance Planner: California Dreamin'

Use this theme to warm up a winter show.

Smooth Sounds

Find out which music-editing software is right for you.

Beating Choreographer's Block

11 ways to escape a creativity rut

Guest Spot

Find out how a visit from a guest or teaching artist can

invigorate your classroom.

Crossing Cultures

Implement a study-abroad program through your school's

dance department.

Sir Frederick Ashton

Founding father of British ballet

A Team of Your Own

DT turned to three studio owners for time-tested advice on

how to start a competition team.

Making the (Up)grade

What to consider when planning your next studio renovation

Technique
Nan Melville, courtesy Genn

Not so long ago, it seemed that ballet dancers were always encouraged to pull up away from the floor. Ideas evolved, and more recently it has become common to hear teachers saying "Push down to go up," and variations on that concept.

Charla Genn, a New York City–based coach and dance rehabilitation specialist who teaches company class for Dance Theatre of Harlem, American Ballet Theatre and Ballet Hispánico, says that this causes its own problems.

"Often when we tell dancers to go down, they physically push down, or think they have to plié more," she says. These are misconceptions that keep dancers from, among other things, jumping to their full potential.

To help dancers learn to efficiently use what she calls "Mother Marley," Genn has developed these clever techniques and teaching tools.

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Teachers Trending
Alwin Courcy, courtesy Ballet des Amériques

Carole Alexis has been enduring the life-altering after-effects of COVID-19 since April 2020. For months on end, the Ballet des Amériques director struggled with fevers, tingling, dizziness and fatigue. Strange bruising showed up on her skin, along with the return of her (long dormant) asthma, plus word loss and stuttering.

"For three days I would experience relief from the fever—then, boom—it would come back worse than before," Alexis says. "I would go into a room and not know why I was there." Despite the remission of some symptoms, the fatigue and other debilitating side effects have endured to this day. Alexis is part of a tens-of-thousands-member club nobody wants to be part of—she is a COVID-19 long-hauler.

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Teachers Trending

Annika Abel Photography, courtesy Griffith

When the murder of George Floyd in Minneapolis last May catalyzed nationwide protests against systemic racism, the tap community resumed longstanding conversations about teaching a Black art form in the era of Black Lives Matter. As these dialogues unfolded on social media, veteran Dorrance Dance member Karida Griffith commented infrequently, finding it difficult to participate in a meaningful way.

"I had a hard time watching people have these conversations without historical context and knowledge," says Griffith, who now resides in her hometown of Portland, Oregon, after many years in New York City. "It was clear that there was so much information missing."

For example, she observed people discussing tap while demonstrating ignorance about Black culture. Or, posts that tried to impose upon tap the history or aesthetics of European dance forms.

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