March 2015


A New Breed

by Karen Hildebrand

On Top of the World

How Nick DeMoura became one of the most sought-after choreographers in Hollywood

Nurturing the Gift

Training the new breed of hypertalented young dancers

Blossom Leilani Crawford

How I teach Pilates for dancers

Fashion

Ballet slippers and pointe shoes

Face to Face

A conversation with dance writer Claudia La Rocco

Teachers’ Tools

Up close with Lirena Branitski

Robyn Mineko Williams

Music to inspire choreography

Finding Your Om

Reap the benefits of meditation.

John Bubbles

The father of rhythm tap

Let’s Go, Team!

5 team-building activities for your competition dancers

Leading a Double Life

Three college grads explain how double majoring shaped their careers.

From “Ho Hum” to “Aha!”

Making bold changes to the way you run your studio" target="_blank">Buy this issue!

  • A New Breed

     I distinctly remember having a lively intermission conversation at a Youth America Grand Prix gala performance several years ago. ... More »

  • On Top of the World

    How Nick DeMoura went from “the little cute boy in the crew” to become one of the most ... More »

  • Nurturing the Gift

    When hypertalented ballet competitors achieve acclaim at a very young age, what is left for them to master? A ... More »

  • Blossom Leilani Crawford

    How I teach Pilates for dancers

    “Kathy Grant used to say, ‘Let your fingers do the walking,’ like the Yellow ... More »

  • Final Pose

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Music
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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Teachers Trending
Courtesy Lovely Leaps

After the birth of her daughter in 2018, engineer Lisa McCabe had reservations about returning to the workforce full-time. And while she wanted to stay home with the new baby, she wasn't ready to stop contributing financially to her family (after all, she'd had a successful career designing cables for government drones). So, when she got a call that September from an area preschool to lead its dance program, she saw an opportunity.

The invitation to teach wasn't completely out of the blue. McCabe had grown up dancing in Southern California and had a great reputation from serving as her church's dance teacher and team coach the previous three years (stopping only to take a break as a new mother). She agreed to teach ballet and jazz at the preschool on Fridays and from there created an age-appropriate class based on her own training in the Cecchetti and RAD methods. It was a success: In three months, class enrollment went from six to 24 students, and just one year later, McCabe's blossoming Lovely Leaps brand had contracts with eight preschools and three additional teachers.

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News
Courtesy Shake the Ground

Dance competitions were among the first events to be shut down when the COVID-19 pandemic exploded in the U.S. in mid-March, and they've been among the last able to restart.

So much of the traditional structure of the competition—large groups of dancers and parents from dozens of different studios; a new city every week—simply won't work in our new pandemic world.

How, then, have competitions been getting by, and what does the future look like?

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