In the spirit of trying to imagine a whole #daywithoutawoman, can you fathom the history of dance without all the incredible women we know and love? No, we can't either. Here are five women who revolutionized dance as we know it today.


Martha Graham

Dance Magazine archives

One of the most influential choreographers of the 20th century, Martha Graham (1894–1991) helped lead the American modern-dance revolution, breaking from the traditions of classical ballet, as well as the romantic style of earlier modern-dance pioneers.

These movements and vocabulary terms are among the many contributions Graham gave to the artform:

  • CONTRACTION: The percussive action of exhale; it's a curved lower spine and rounded pelvis—initiated from the pelvis.
  • RELEASE: The action of inhale. Initiated with the pelvis, it's an extended lower back and elongated spine.
  • INNER LANDSCAPE: “The soul of man." It was Graham's fundamental quest to express the human psyche.

Agnes de Mille

De Mille in her most famous role: the Cowgirl in RodeoDance Magazine archives

Famous for choreographing Oklahoma!, Carousel and Brigadoon, Agnes de Mille forever changed the face of Broadway dance. She was the first to create movement that added to the story's emotional impact, rather than simply inserting standard chorus-girl routines between each scene, as was the convention of the time. De Mille's movement actually helped move the plot along.

Repeatedly told that her body type was all wrong for dance—de Mille was short and voluptuous—she instead earned her English degree at the University of California at Los Angeles, while choreographing solos for student productions on the side. #Loveyourself

Isadora Duncan

Duncan, circa 1903Dance Magazine archives

Arguably the most important American-born dance artist of the early 20th century, Duncan forged her style against ballet's codified technique and its aristocratic lineage. Renouncing typical female dancing roles—such as the coquette, femme fatale and tragic victim of love—the trailblazer expanded women's possibilities, onstage and off, and helped lay the foundation for American modern dance. To think, where would dance be without Isadora?!

Josephine Baker

Provocative costumes, onstage antics and a real joie de vivreDance Magazine archives

If you're a Beyoncé fan, then you need to give thanks to the original Queen Bee: Josephine Baker. Her big break came in 1925, when she was recruited for a new, all-black variety show in Paris called La Revue Nègre. In it, she danced suggestively while nearly nude in a tribal costume. She became an instant hit and the show's poster girl. After hugely successful runs at the famous Parisian music hall, Folies Bergère, Baker tried her luck in French movies. She starred in Zouzou (1934) and Princesse Tam-Tam (1935), both big hits.

Twyla Tharp

Twyla Tharp. Photo by Marc van Borstel, courtesy of Dance Magazine

After studying with Martha Graham and Merce Cunningham, Tharp went on to join Paul Taylor Dance Company in 1963. In 1965 she formed her own company, Twyla Tharp Dance, and since then she has choreographed groundbreaking performances for dozens of dance companies and Broadway shows, including the 2002 hit, Movin' Out, for which she was awarded a Tony for Best Choreographer.

She famously said, "Art is the only way to run away without leaving home."


Dance Teachers Trending
Photo by Kyle Froman

Darla Hoover was at Central Pennsylvania Youth Ballet's studios running a rehearsal in 2014 with director Marcia Dale Weary. Hoover had just returned the day before from staging a ballet in St. Petersburg, Russia. Jet-lagged, she mixed up her words when giving a correction.

Weary took Hoover's hand and gently said, "Honey, you work too hard."

Hoover, and the students, had a good laugh.

"Are you kidding me?" Hoover replied. "You're the one who made this monster. There is no off switch!"

Weary founded CPYB in 1955, and it quickly became an internationally known school that has produced countless principal dancers. Famous for her high standards and tough work ethic, Weary instilled those qualities in Hoover, who served as associate artistic director at CPYB under Weary, as artistic director at Ballet Academy East's pre-professional division in New York City and as a répétiteur for the Balanchine Trust.

Hoover took over as artistic director at CPYB in the spring this year after Weary died suddenly, and while she's committed to continuing Weary's legacy, students have begun to see some of Hoover's vision as well.

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Studio Success with Just for Kix
Bill Johnson, Courtesy Just for Kix

Cindy Clough, executive director of Just For Kix, has been called the Queen of Fundraising by colleagues. A studio owner and high school dance coach with over four decades of experience, Clough is known for her smart and successful fundraising ideas.

Now, Just For Kix has created a new online tool to help everyone tackle their fundraising goals, whether you're raising money for uniforms, extra classes, or to cover the cost of travel for your dance team's next convention.

Clough shared a few of her best fundraising tips, including everything you need to know about the new tool:

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Dance Teacher Tips
Jessica Kubat (center) with her studio staff. Photo by Vincent Alongi, courtesy of Kubat

Jessica Kubat's path to becoming a studio owner wasn't typical or glamorous or the product of a family business, handed down. When she opened MJ's House of Dance in Lindenhurst, New York, this past summer, she had just turned 40, was a mom of three, and had worked at two different studios long-term. Over the last two and a half years, she'd painstakingly saved up $25,000 and had gone to the Small Business Development Center at a local college on Long Island for help creating her business plan. Her area was moderately saturated with studios, so she spent considerable time planning what would set her school apart—live musical accompaniment, for one—and hired a marketing director nine months before the business even opened. It was a methodical, careful approach—Kubat calls it "the old-fashioned way"—to opening a studio, and it's paid off: She started summer classes with 75 students and is well on her way to reaching her first-year enrollment goal of 250 dancers. "When I turned 40, I decided that it was time to do something bigger," says Kubat. "I always wanted to own a studio—it was just never financially available to me."

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Sponsored by NYCDA
Ailey II artistic director Troy Powell teaching an Ailey Workshop at NYCDA. Courtesy NYCDA

Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.

"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."

Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.

Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:

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Dance Teachers Trending
From left: Daniel Novikov, Alla Novikova and Mishella Vishnevskiy at Blackpool 2018. Photo by NYC Digital Media, courtesy of Alla Novikova

Alla Novikova began her dance training at a ballroom studio called Edelweiss in Saratov, Russia, when she was 9 years old. She was immediately recognized for her natural talent and work ethic, placing third at the Russian Open just three months after beginning ballroom lessons. The lessons she learned at Edelweiss shaped her career and provided the foundation she needed to open her own ballroom studio: Work hard to prove that you're good enough to be here, and give honor to the experiences that brought you to where you are today.

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Dance Teacher Tips
Getty Images

Professions across the globe hold yearly conferences, and the dance industry is certainly no exception. Annual conferences exist for dance teachers, dance medicine professionals, dance educators and more. Taking the time out to attend them can be well worth your while for a number of different reasons. Let's take a closer look at four of them.

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Dance Teacher Tips
Father-daughter dance. Photo by Lisa Lee, courtesy of Dance Academy USA

Your year-end recital is your studio's pot of gold at the end of the rainbow. Not only is it the time for your dancers to celebrate what they've accomplished during the year, it's your opportunity to demonstrate to parents firsthand the value of a dance education. A successful recital can also grant your school an influential role in the local community. Whether a prominent conservatory or a small-town studio, and whether your dancers win competitions or take classes once a week, your year-end recital is the chance for your dancers—and your program—to shine.

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Dance Teacher Tips
Getty Images

Q: How do you approach gender when teaching in 2019? When I was training, male dancers were encouraged to make their movement masculine, while female dancers were encouraged to keep their movement feminine. Today, gender has become much more fluid, and the line between masculine and feminine performance has blurred. How does that impact the way we should be teaching?

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Dance News
Photo courtesy of Z Artists Group

New York City–based pre-professional training troupe Z Artists Group, along with dancers from eight professional companies in the city, are joining together to combat gun violence with, "DANCERS DEMAND ACTION," a performance aligning art with activism at The Joyce Theater, this Monday, November 11, at 7:30 pm.

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Dance Teachers Trending
Photo courtesy of Infinite Flow

Last week, 2019 DT Awardee Marisa Hamamoto and her partner Piotr Iwanicki brought their boundary-breaking work to the "Good Morning America" stage in a segment highlighting her inclusive dance company Infinite Flow.

Infinite Flow is a Los Angeles–based wheelchair ballroom dance company (the first of its kind in the U.S.) that incorporates an equal number of disabled and nondisabled dancers, as well as a range of styles like hip hop, contemporary and other partner dances.

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Dance Teachers Trending

Since she was hired in 2006 to create a dance program at Washington & Lee University in Virginia, Jenefer Davies has operated as, essentially, a one-woman show. She's the only full-time faculty member (with regular adjunct support). Over the last 13 years, she has created a thriving program along with a performance company—at a school with fewer than 2,500 students—by drawing on her admittedly rare strength: aerial dance.

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Site Network

Savion Glover is one of the biggest names in the dance world, and perhaps the biggest in the tap world. The trailblazing hoofer's hard-hitting, rhythmically intricate style has fundamentally altered the tap landscape.

Glover is also a master teacher. But during his many years on the scene, he's never appeared regularly at a major dance convention. That is, until this season: Glover is now teaching at JUMP Dance Convention, scheduled to appear at approximately 15 more cities on its 2019–2020 tour.

We talked with JUMP director Mike Minery, himself a gifted hoofer, about working with a living legend—and how Glover is already changing the convention class game.

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