Finding age-appropriate hip-hop music can be a struggle. Choreographer Afaliah Tribune addresses this common dilemma for hip-hop teachers by making her own original tracks on GarageBand. "I love experimenting with live music, and my students think it's fun, too," says Tribune, who is an adjunct professor of dance at New York University. "There are so many ways we can open up our work when we experiment with sound."
Karen Hildebrand (center) with 2019 DT Awardee Marisa Hamamoto and members of Infinite Flow. Photo by Joe Toreno
Every year in our summer issue, we honor four dance educators for their outstanding contributions to the field. Recipients have included studio owners, professors, program directors, K–12 teachers and more, whose specialties run the gamut of dance genres.
We need your help to identify this year's best in the profession. Do you have a colleague or mentor who deserves to be recognized as a leader and role model?
Photo by Jenny Studios, courtesy of Utah Dance Artists
Running a dance school used to involve a seemingly endless stream of paperwork. But thanks to the advent of software tailored specifically for dance studios' needs, those hours formerly spent pushing papers can now be put to better use.
"Nobody opens a dance studio because they want to do administrative work," says Brett Stuckey, who leads Akada Software's support team. "It's our job to get you out of the office and back into your classroom."
We talked to Stuckey about how a studio software program can streamline operations, so you can put your energy toward your students.
Barbara Bashaw in Thompson Hall of Columbia Teachers College. Photo by Kyle Froman
Barbara Bashaw has always been a pioneer. Since kicking off her career in education by building a dance program from the ground up at an elementary school in Brooklyn, she's gone on to become an inspiring force in teacher training. Now, as director of the new doctoral program in dance education at Columbia University's renowned Teachers College and as executive director of the even newer Arnhold Institute for Dance Education Research, Policy & Leadership, she's in a position to effect change nationwide.
"The study of dance education is a young field," Bashaw says. "Music and visual arts are far ahead of us, in terms of the research that has been done, as well as the foothold they have in education. Anywhere education is being discussed, we want to put dance on the table—and that means developing researchers and championing research that will push public policy." In a climate where arts education feels both more endangered and more necessary than ever, Bashaw is ready to blaze a trail.
"It was very hard for a dancer to get quality medical care," he remembers. What's more, he adds, "at the time, dance medicine was based on primarily anecdotal information rather than being based on studies." Seeing the incredible gaps, Rose set out to create a medical facility that was designed specifically to treat dancers and would provide care on a sliding scale.
It's time to talkseriously about safety in dance education. As the physical and psychological demands put on student dancers escalates—thanks to competitions, social media and ever-evolving choreography—there is a pressing need to consider how we can successfully safeguard young dancers.
Martha Graham Dance Company created The EVE Project to mark the upcoming 100th anniversary of U.S. women's right to vote. The female-focused initiative includes new works, as well as the company's classic repertoire highlighting Martha Graham's heroines and antiheroines. In April, the company is showing the newly reconstructed Circe, Graham's 1963 interpretation of the Greek myth, at New York City Center. Dancing the role of Circe is company member So Young An. Here, she shares thoughts on The EVE Project and how she's approaching her role in Circe, the 57-year-old work that invites audiences to consider pressing conversations about womanhood.
Instead of letting 1920s stereotypes of black dancers define her, Josephine Baker used her image to propel herself to stardom and eventually challenged social perceptions of black women. Photos courtesy of Dance Magazine archives
In honor of Black History Month, here are some of the most influential and inspiring black dancers who paved the way for future generations.
Q: I'm having such a love-hate relationship with mirrors right now. They can be distracting, as well as cause emotional distress for my students. At the same time, they're a really useful tool. I know some teachers remove theirs altogether. Is this something you recommend?
Susan Pilarre has been closely tied to the School of American Ballet for nearly her entire life.
From her first class there at age 11 through her 16-year career with its affiliated company, New York City Ballet, Pilarre learned directly from the great choreographerGeorge Balanchine, absorbing the details of his unique style. Sensing her innate understanding of his principles, Balanchine encouraged her to teach; she joined SAB's permanent faculty in 1986. Since then, she has become recognized as an authority on Balanchine's teachings, instilling SAB and NYCB's distinctive speed, clarity and energy into generations of dancers.
Here, Pilarre shares how the specifics that Balanchine insisted upon in class contribute to the strength, beauty and musicality that define his style—and dispels common misconceptions.
To celebrate Valentine's Day in the most dance-centric way possible, we sat down with five powerhouse dance-teaching couples to talk about their love stories. What do they admire about each other? What are their couple goals and their teaching philosophies, and how do they make their relationships work, especially when they work together? Get ready to swoon!
Watching through the studio windows—or even from the sidelines in a Mommy and Me class—can surely make parents wonder what exactly our little tykes are getting out of weekly ballet lessons. After all, they're repeating the same things class after class. Are they bored? Are they progressing? Why are they doing that again?