January 2017

Buy this issue!

  • A Fresh Start

    By Karen Hildebrand
  • Xiomara Reyes Lands Soft and Starts Running at The Washington School of Ballet

    By Candice Thompson
  • Janet Panetta: How I Teach Ballet for Contemporary Dancers

    By Rachel Caldwell
  • Ask the Experts: Follow-up for Potential New Students

    By Kathy Blake and Suzanne Blake Gerety
  • Face to Face: Stephen Petronio

    By Rachel Rizzuto
  • Teachers' Tools: Karen Mills Jennings

    By Rachel Caldwell
  • Music: Lydia Roberts Coco

    By Helen Rolfe
  • Health: Stop Eating Disorders Before They Start

    By Andrea Marks
  • History: Trisha Brown

    By Rachel Caldwell
  • Theory & Practice: 5 Considerations for a Hands-on Teaching Approach

    By Julie Diana
  • Higher Ed: Bala Sarasvati Sends Students Soaring at the University of Georgia

    By Rachel Caldwell
  • Studio Business: 10 Ways to Save $ on Master Classes

    Any savvy studio owner knows that bringing in guest artists is a good idea, whether for a two-hour master ...
Teachers Trending
Cynthia Oliver in her office. Photo by Natalie Fiol

When it comes to Cynthia Oliver's classes, you always bring your A game. (As her student for the last two and a half years in the MFA program at the University of Illinois at Urbana-Champaign, I feel uniquely equipped to make this statement.) You never skip the reading she assigns; you turn in not your first draft but your third or fourth for her end-of-semester research paper; and you always do the final combination of her technique class full-out, even if you're exhausted.

Oliver's arrival at UIUC 20 years ago jolted new life into the dance department. "It may seem odd to think of this now, but the whole concept of an artist-scholar was new when she first arrived," says Sara Hook, who also joined the UIUC dance faculty in 2000. "You were either a technique teacher or a theory/history teacher. Cynthia's had to very patiently educate all of us about the nature of her work, and I think that has increased our passion for the kind of excavation she brings to her research."

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Clockwise from top left: Courtesy Ford Foundation; Christian Peacock; Nathan James, Courtesy Gibson; David Gonsier, courtesy Marshall; Bill Zemanek, courtesy King; Josefina Santos, courtesy Brown; Jayme Thornton; Ian Douglas, courtesy American Realness

Since 1954, the Dance Magazine Awards have celebrated the living legends of our field—from Martha Graham to Misty Copeland to Alvin Ailey to Gene Kelly.

This year is no different. But for the first time ever, the Dance Magazine Awards will be presented virtually—which is good news for aspiring dancers (and their teachers!) everywhere. (Plus, there's a special student rate of $25.)

The Dance Magazine Awards aren't just a celebration of the people who shape the dance field—they're a unique educational opportunity and a chance for dancers to see their idols up close.

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Leap! Executive Director Drew Vamosi (Courtesy Leap!)

Since its inaugural season in 2012, Leap! National Dance Competition has been all about the little things.

"I wanted to have a 'boutique' competition. One where we went out to only one city every weekend, so I could be there myself, and we could really get to know the teachers and watch their kids progress from year to year," says Leap! executive director Drew Vamosi. According to Vamosi, thoughtful details make all the difference, especially during a global pandemic that's thrown many dancers' typical comp-season schedules for a loop. That's why Leap! prides itself on features like its professional-quality set design, as well as its one-of-a-kind leaping competition, where dancers can show off their best tricks for special cash and merchandise prizes.

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