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Hofstra Professor Robin Becker Brings a Dance of Reconciliation to Vietnam

Robin Becker Dance toured Vietnam with Into Sunlight. Photo by John Maniaci, courtesy of Becker

A group of dancers charges across the stage, a frantic flock of bodies running to the building intensity of drumbeats. Suddenly, the stage is transformed into a virtual battlefield: The dancers duck, dive to the floor and cover their heads, launching their bodies through space. Later, they come together downstage center and stand in a final moment of unity to face the audience, as if in defiance of the horrors they've just endured.

These images are from choreographer Robin Becker's Into Sunlight—an evening-length work about war. In September 2015, Becker and her cast of 16 dancers toured Into Sunlight through Vietnam for 10 days. Though she had reservations about how the work would be received in Vietnam, Becker hoped it would be a healing experience. The tour coincided with the anniversary of renewed diplomatic relations between the U.S. and Vietnam.


A Citizen Artist

“I tend to take on big topics," says Becker. “I believe in an artist being relevant to their time. I heard Yo-Yo Ma describe himself as a 'citizen artist.' I love that phrase."

When she isn't making work for her contemporary dance company, Robin Becker Dance, Becker teaches at Hofstra University in Hempstead, New York. A dance educator for 40 years, she teaches technique classes, choreography courses and a somatic practice called Continuum Movement. She has balanced her roles as an educator and artistic director successfully for 29 years, setting 30 works on her company to date.

Out of Darkness, Into Sunlight

Her impetus to create Into Sunlight came in 2003 when the U.S. went to war with Iraq. “I was so heartbroken," she says. “I felt that I needed to make a statement." She found inspiration in David Maraniss' book They Marched Into Sunlight: War and Peace, Vietnam and America, October 1967, about a devastating ambush of a U.S. battalion and a student protest at the University of Wisconsin–Madison. The book's insight into the experiences of the survivors and the deceased's family members deeply affected Becker.

“I became aware that many of my students had no idea that wars were going on, nor were they very interested at the time," says Becker. “Because of the educator in me, I wanted them to become more conscious." She selected a group of Hofstra students to dance alongside her company members and got to work creating Into Sunlight.

From West to East

After reaching out to Maraniss, who was eager to help get the project off the ground, Becker and her company were able to meet with some of the people featured in his book. The author even arranged for Into Sunlight to premiere at UW–Madison in 2011. It was RBD executive director Gloria Hage who saw the healing potential of Into Sunlight and felt that it should be performed in Vietnam. Since 2015 marked the 20th anniversary of renewed diplomatic relations between the U.S. and Vietnam, it seemed the ideal time to embark on a tour of the country. A Vietnamese artist Hage knew connected Robin Becker Dance with Vietnamese modern company Together Higher, and the two companies decided on a joint tour through three cities to promote healing and reconciliation between their respective nations.

In September, Becker and her company set out on a 10-day tour through Hanoi, Ha Long Bay and Ho Chi Minh City. Becker also taught a master class at Vietnam Dance College. “It's a platitude that dance is the universal language, but my experience teaching there, especially with such a language barrier, was the deeper truth of that," she says. “It was such a beautiful experience to feel the common bond of movement and how clear a language it really is."

Becker (in blue) surrounded by students of Vietnam Dance College. Photo by Ron Honsa, courtesy of Becker

The Power of Dance

The response to Into Sunlight was phenomenal—the shows in Vietnam were completely sold out. “Seeing young people trying to embody a historical experience that is still continuing today really touched a lot of people," says Becker. Perhaps most rewarding, though, were the discussions that arose. Performances at UW–Madison, Hofstra University, and, later, the United States Military Academy at West Point and Vanderbilt University were followed by talkback sessions with the company, audiences and Maraniss. “They were opportunities for veterans to give voice to their experiences," says Becker.

As for the future of the work, “my hope is that this would be universal," she says. At press conferences in Vietnam, Becker was occasionally met with resistance by reporters. “They often grilled me about, 'Why are you coming to Vietnam with this piece about war? Do you only think about war when you think about Vietnam?'" she says. “I would just explain to them that I didn't set out to do a work about Vietnam. I set out to do a work about war and conflict in the world." She hopes to bring the piece to other countries, and a documentary film about Into Sunlight is in the works, set for release sometime this year.

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Valentina Bagala and Rafael Savino held their studio's very first registration at a Subway. "We didn't even have an office," says Bagala, who heads the artistic side of Ascendance Studio in Doral, Florida. "This lady called us over the phone, and we said, 'OK, we can take your registration. Would you mind meeting us at the Subway that's downstairs from our studio?'"

Now, five years later, Ascendance is thriving, with a growing competitive team, a 5,000-square-foot space and 300 students—one of whom is the same dancer who was registered in that Subway. Today, registration mostly happens online, as do many of Ascendance's processes—attendance, billing, e-mail marketing campaigns—thanks to Savino, who heads the studio's marketing, finances and administration. To what do Bagala and Savino credit their impressive growth? Digital advertising. Despite working in an industry where many still rely on old-school methods of operation—manual registration, tuition paid in person by cash or check, fliers handed out in parking lots—they took the plunge to modernize their advertising strategy and found it a game changer for their studio.

Slow, but consistent

Bagala and Savino admit Ascendance got off to a rocky start. They rented space from a fitness studio for three months. "We didn't get the best schedule," says Bagala, who could only rent the space by the hour when it wasn't being used. Still, she managed to amass 25 students. Eventually, she found a small, 550-square-foot space of her own in a shopping center. "I remember for our first classes, we would have people who were supposed to show up but didn't," says Savino. "If we had one student in class, we had to teach to that student. That happened multiple times."

When two more spaces became available in the same shopping center, the couple grabbed them, despite the inconvenience of the units not being connected. "You had to step outside," says Bagala. "It wasn't very comfortable."

"The fliers weren't working."

With more space came more responsibility—to increase enrollment. They had been passing out fliers at nearby schools, but that approach, Savino says, "became unscalable. That's when I started looking at digital advertising." He didn't have much money to spend on it—his budget was $5/day—but he began looking into advertising on Google. He also enrolled in a local digital marketing course at nearby Miami-Dade College. "That gave me strategy," he says.

His most successful venture has been with Google's AdWords. With this advertising strategy, business owners create a search ad. (Search ads appear above Google search results when people look for local services the business offers.) The Ascendance search ad, for example, includes the studio website and phone number, plus: "Dance classes for kids. All ages and styles. Try a free class today." Then, you choose keywords—the words or phrases potential customers might type into their browser—and set a daily budget for how much you'd like to "bid" on each keyword. You're charged only if users click your link. During his first AdWords campaign, Savino often bid less than $1 on keywords like "ballet classes," "hip-hop classes," "jazz" and "dance studio."

How much you bid affects in what order your search ad appears among other businesses. But a business with more money to spend on keywords won't automatically see their ad pop up first. Multiple factors—keyword bidding price, how long a user stays on your website, your click-through rate—determine what's called your quality score. And it's your quality score, ultimately, that decides in what order your ad appears on Google.

"For example, let's say there's a huge competitor who's bidding $10 a keyword, while I'm only bidding $1," says Savino. "Google is tracking everything. If users stay on my website for a while and don't click the back button to get back to the search page, Google knows my website is relevant and a good experience." That increases his quality score and gives his search ad odds a boost.

Experimenting, wisely

Savino ran his initial AdWords campaign for about a month in 2013, starting in mid-September—prime back-to-school time. Each week, he wound up getting 10-plus interested customers. He offered each a free trial class. Of that weekly number, more than 80 percent enrolled in classes. By the time the campaign was over, Ascendance had 45 new students. And it all cost him less than $150. Though he risked spending more than his daily allotted $5, he knew it would pay off in increased enrollment.

As they became more comfortable with AdWords, the couple experimented. Bagala asked her mom what words she would use to search if, for example, she were looking for ballet classes for a 5-year-old. Her responses became part of their strategy: "ballet classes in Doral," "dance classes in Doral," "dance studio in Doral." They also interviewed parents of new students, asking 'How did you hear about us?' "If they said, 'Google,'" says Savino, "we'd ask if they remembered what they typed."

Now his daily budget is $20, though he's careful to time campaigns with high-enrollment periods. "During back-to-school season, August and September, I know a lot of people are going to be looking for classes," he says. "But I also know that January is another high-enrollment period—that's when we see an uptick in our baby program. Those moms are operating on a calendar year, not a studio year."

When Google came to town

Last spring, Google itself took an interest in Ascendance, and it featured Savino and Bagala in a national video campaign as a small-business case study. Of particular interest was the studio's dual advertising campaigns: one in English and one in Spanish. Savino and Bagala are bilingual, and their community is largely Spanish-speaking—so they capitalized on that. "Since we were advertising in Spanish," says Savino, "those people were sure that they were going to come through our door and someone would be here who would speak their language."

Of course, digital advertising can only take a studio so far. You have to follow through with a great product—and that, Savino says, is Valentina's greatest contribution to the business. "At the end of the day, if the product isn't good, people are simply going to leave," he says. "She's the heartbeat of the studio."

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