#LetUsLessonPlanForYou: A Tap Irish and Improvs for Hoofers of All Levels

Because an Irish has four sounds, American Tap Dance Foundation teacher Tamii Sakurai uses it to teach swing rhythm versus straight rhythm. Whereas a straight rhythm has four evenly spaced sounds ("Da. Da. Da. Da."), swing rhythm groups the first and second sounds together and the third and fourth sounds together, accenting the second sound ("Da-DA! Da-da.").

We've pulled together a series of exercises designed to help all levels of tap students find their voice: Getting Started • Just heels: A great way to get newcomers started is to limit their step vocabulary. Chloé Arnold, who directs the DC Tap Fest in addition to her own company, Syncopated Ladies, suggests a traditional improvisation circle, in which dancers take turns performing, but there’s a catch: “I tell them for this first round, you’re going to only use your heels. Then the next round, only your toes.” The goal is to be as rhythmically creative as possible while using only one part of the foot, or one simple step, such as a shuffle or a cramp roll. “Starting small, with just two to four bars of music (or 8 to 16 counts) per dancer, helps students realize that improvisation is less about steps and more about music,” she says. Photo courtesy of Andrew Nemr Intermediate Students • Three and a break: Because standard tap choreography often includes a step repeated three times followed by a break, Arnold has her intermediate students create a phrase by improvising a step and repeating it three times, then creating a new step for the break. “The challenge becomes: Can you remember what you improvised? And how can you work that into a phrase?” This also helps students internalize what eight bars feels like and improves their musicality. Advanced Tappers • Make a duet: According to Andrew Nemr, director of the New York City–based tap company Cats Paying Dues, “the final frontier of improvisation is that of a relationship.” Improvised duets are harder than they look, and they help students realize that their choices are going to affect someone else. “It always starts as a complete mess but slowly dancers realize, ‘Oh! I can’t do everything I wanted to do because there’s not enough space, so how do I find a way to contribute to what’s going on?’” Don't miss a single issue of Dance Teacher.
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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Studio Owners
Courtesy Tonawanda Dance Arts

If you're considering starting a summer program this year, you're likely not alone. Summer camp and class options are a tried-and-true method for paying your overhead costs past June—and, done well, could be a vehicle for making up for lost 2020 profits.

Plus, they might take on extra appeal for your studio families this year. Those struggling financially due to the pandemic will be in search of an affordable local programming option rather than an expensive, out-of-town intensive. And with summer travel still likely in question this spring as July and August plans are being made, your studio's local summer training option remains a safe bet.

The keys to profitable summer programming? Figuring out what type of structure will appeal most to your studio clientele, keeping start-up costs low—and, ideally, converting new summer students into new year-round students.

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Dancer Diary
Claire, McAdams, courtesy Houston Ballet

Former Houston Ballet dancer Chun Wai Chan has always been destined for New York City Ballet.

While competing at Prix de Lausanne in 2010, he was offered summer program scholarships at both the School of American Ballet and Houston Ballet. However, because two of the competition's winners that year were Houston Ballet's Aaron Sharratt and Liao Xiang, dancers Chan idolized, he turned down SAB. He joined Houston Ballet II in 2010, the main company's corps de ballet in 2012, and was promoted to principal in 2017. Oozing confidence and technical prowess, Chan was a Houston favorite, and even landed himself a spot on Dance Magazine's "25 to Watch."

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