March 2007

Three's Company

Brenda Way, KT Nelson and Kimi Okada, co-directors of San Francisco's ODC Dance Commons, talk about 35 years of nurturing an artists' community.

Notable Instruction

How to use dance notation in the classroom to foster better body awareness and boost creativity

Teaching Anatomy

Integrate anatomical principles into your classes to help students stay injury-free.

Cardio Rx

A strong cardiovascular system can boost endurance and strength.

Pushing the Limits

Challenge your students while safeguarding their health.

Healthy Habits

10 strategies for a lifetime of wholesome eating

Face to Face: Rennie Harris

The hip-hop advocate celebrates the 15th anniversary of his Philadelphia-based company, Rennie Harris Puremovement.

Performance Planner: Rhymin' Time

Create a medley of dances based on everyone's favorite nursery rhymes.

Helen Tamiris

Modern dance pioneer and esteemed musical theater choreographer

Physics 101

Clarify mechanics of motion to help your dancers develop their technique.

A Community of Learners

Learn how educators are working to offer accredited dance programs at community colleges around the country.

A Family Affair

Three K-12 teachers share strategies for getting parents involved in their children's dance education.

Ask the Experts

Answers to your questions on dance education certification and finding good yoga teachers

Accounting for Success

The ins and outs of hiring an accountant


Layeelah Muhammad, courtesy DAYPC

This summer's outcry to fully see and celebrate Black lives was a wake-up call to dance organizations.

And while many dance education programs are newly inspired to incorporate social justice into their curriculums, four in the San Francisco Bay area have been elevating marginalized youth and focusing on social change for decades.

GIRLFLY, Grrrl Brigade, The Alphabet Rockers and Destiny Arts Youth Performance Company fuse dance with education around race, gender, climate change and more, empowering young artists to become leaders in their communities. Here's how they do it.

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Teacher Voices
Getty Images

I often teach ballet over Zoom in the evenings, shortly after sunset. Without the natural light coming from my living room window, I drag a table lamp next to my portable barre so that the computer's camera can see me clearly enough. I prop the laptop on a chair taken from the kitchen and then spend the next few hours running back and forth between the computer screen of Zoom tiles and my makeshift dance floor.

Much of this setup is the result of my attempts to recreate the most important aspects of an in-person dance studio: I have a barre, a floor and as much space as I can reasonably give myself within a small apartment. I do not, however, have a mirror, and neither do most of my students.

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Allie Burke, courtesy Lo Cascio

If you'd hear it on the radio, you won't hear it in Anthony Lo Cascio's tap classes.

"If I play a song that my kids know, I'm kind of disappointed in myself," he says. "I either want to be on the cutting edge or playing the classics."

He finds that most of today's trendy tracks lack the depth needed for tap, and that there's a disconnect between kids and popular music. "They have trouble finding the beat compared to older genres," he says.

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