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Moshé Feldenkrais

Moshé Feldenkrais always taught next to a model skeleton. Photo courtesy of Feldenkrais Institute, Tel Aviv, Israel

Although never a dancer, Moshé Feldenkrais (1904–1984) influenced many dancers and teachers around the world. The slow, luxurious movements of his Method help dancers understand their habits and better access their full expressive powers. Artists like Anna Halprin, Merrill Ashley and, more recently, Tom Rawe (formerly of Twyla Tharp) and Jimena Paz (formerly of Stephen Petronio Company) have been drawn to his work for its impact on creativity and injury prevention.


Perhaps no one somatic teacher has created as accessible a format for experiencing the mind-body connection. The Feldenkrais Method is now practiced worldwide by as many as 8,000 physical therapists, dancers of all disciplines, actors and the general public, and its inclusion in academic curricula is on the rise. John Graham, one of the first dancers to study with Feldenkrais, once wrote, “Dance was always there for me. Moshé made it more round, essential of itself."

Moshé Pinchas Feldenkrais was born on May 6, 1904, in Slavuta, in what is now Ukraine. At age 14, he left home on a six-month journey to Palestine as part of a youth movement. There he worked as a day laborer until returning to high school in 1923. To support himself he tutored math students, and after graduation he became a cartographer for the British survey office. In his 20s, Feldenkrais grew more interested in sports and martial arts. It wasn't until he suffered a critical knee injury during a soccer match in 1929 that he began his lifelong inquiry into the body-mind connection. These early experiments, wondering how he could improve the rest of his body to better support his knee, became the seeds for his now famous Method.

In 1930, Feldenkrais moved to Paris to study mechanical and electrical engineering, and he later earned a Doctor of Science in physics from the Collège de Sorbonne. While there, he worked closely with Nobel Prize–winner Irène Joliot-Curie in the early stages of nuclear research. Movement was never far from his thoughts, though. After meeting judo founder Jigoro Kano, Feldenkrais immersed himself in the technique, becoming one of the first Europeans to earn a black belt. During the 1940s, he relocated to London, where he continued to study judo, taught self-defense classes and worked as an inventor. He published his first book, Body and Mature Behavior, in 1949, following it with Higher Judo.

By this time, Feldenkrais had also begun teaching experimental classes and giving lectures on his innovative ideas. He eventually codified his method into two parts: Awareness Through Movement (ATM), a group movement experience, which consists of gentle movements designed to improve efficiency and function, and Functional Integration (FI), where practitioners work hands-on in a one-on-one setting. Both emphasize comfort, learning and ease, and they are done while the student is lying down, to reduce the work of the habitual postural muscles.

By 1954, Feldenkrais was making a living solely by teaching the Method in Tel Aviv. He held ATM classes in a studio on Alexander Yanai Street and taught FI lessons in an apartment occupied by his mother and brother. In 1967, he published his now widely read book, Awareness Through Movement. A year later, he held his first teacher-training program in Tel Aviv. These 12 students are now the senior teachers of his Method. By 1978, a groundswell of interest resulted in the first American training in San Francisco, but after falling ill during his second 235-student training at Hampshire College in Amherst, Massachusetts, in 1981, he stopped teaching. Feldenkrais died on July 1, 1984.

Dancers discovered the benefits of Feldenkrais' work when he toured the country teaching workshops during the early 1970s. The work's internally based sensing posed a radical way to think about movement. It countered the “learning by imitation" ingrained in most dance education. He was the first to use a roller, initially crafted in wood and later in foam, which can now be found in dance studios everywhere. His most famous lesson, The Pelvic Clock, has been incorporated into Pilates, yoga and dance classes to emphasize the fluidity of the lower back and pelvis.

Frank Wildman, a former Halprin dancer and now the director and founder of The Feldenkrais Movement Institute, remembers Feldenkrais' unique teaching approach. “His style was inventive and provocative, and it required that you sense what movement you were doing rather than simply moving," he says. “All teaching was performed next to a skeleton. I think any dancer who studied with him could sense the internal logic of the movement they were performing and would feel as if light had been cast inside their body. Feldenkrais really understood effortless movement in a way I never did."

Today, Feldenkrais' influence on the dance field is still present but evolving with each new generation of teachers. Dancer, choreographer and Feldenkrais teacher Daniel Burkholder says: “There is finally a critical mass of practitioners where we can start a real conversation in a deeper and deeper manner. Not just doing an ATM at the beginning of a class, or using some of the movement sequences from ATM lessons as part of the warm-up, but how to integrate the concepts into the philosophy and structure of the class." Although Feldenkrais never expected his method to become a household name among dancers and dance institutions, it speaks volumes to the groundbreaking nature of his genius understanding of the mind-body connection.

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Dance Teacher Tips
Photo by Kyle Froman

Unlike a usual waltz, in which the lift and dip would come from the legs, this waltz from Paul Taylor's Cloven Kingdom (1976) requires the up-and-down motion to come solely from the torso. The legs remain in plié the entire time, eating space. (When this piece is performed, dancers traverse the length of the stage using one pass of this waltz.)

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Once competition season ends it may be challenging to keep your dancers excited and involved in dance. Don't let the down time between competition seasons drag on. Dance conventions are an easy and effective way to learn new skills, meet inspiring choreographers, and keep your dancers involved all year long. It is also a great opportunity for your dancers to bond and grow together as a team.

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Dance News
Adam Rose/FOX

At the start of last night's episode of "So You Think You Can Dance," 41 dancers remained. An hour later, we had a Top 20. And then there was a BIG FAT TWIST. (We'll get to that.)

The 41 still-standing Academy dancers showed up at the Dolby Theater in L.A. ready to tackle three rounds: contemporary choreography with seven-time Emmy nominee and one-time "SYTYCD" contestant Travis Wall; an "epic group routine" with jazz choreographer and La La Land she-ro Mandy Moore; and a last-chance solo showdown. Here's what happened.

The Contemporary Competition

"I'm not looking for robots," SuperTrav immediately explained. He gave the dancers shapes, but from there, each was expected to make the choreography his or her own. Everyone got sweaty and exhausted, and after 90 minutes, it was time to perform in groups of three for Nigel, Mary, Vanessa, and Travis.


Allen Genkin

The ballroom babe struggled during hip hop last week, but (naturally) crushed the ballroom choreography. This time around, the judges still couldn't resist Allen's charm, and he got to stay—though, Nigel said, "We need more."

Cole Mills

Cole has stood out during each round of choreography thus far, and not just because of his full-back tattoo. Travis called him absolutely beautiful. "I don't know where you came from or where you've trained, but I am very excited for you," TWall said. And he made it through.

Tessa Dalke

The pressure was on for this early favorite—and the judges weren't feeling her contemporary performance. Vanessa was expecting more, Travis didn't think she commanded the space with her energy, and Nigel said she needed to step up. But they weren't ready to give up on her, so she stayed for jazz.

Sydney Moss

She stood out, Nigel said, simply. She got to stick around, too.

Hannahlei Cabanilla

All the judges agreed that they couldn't take their eyes off her. Hannahlei made it on to jazz as well.

David Greenberg

The ballet dancer didn't totally crush Travis's choreography, so the judges decided to send him home. "I hate this part," Travis said through gritted teach. (We hate it, too.)

Eddie Hoyt

The judges needed to make cuts, and despite Eddie's awesome personality, the tapper's "SYT" journey ended here. Tear!

Evan DeBenedetto

The other tapping standout in the competition killed this choreo. Vanessa said he rose to the occasion, and he made it to the jazz round.

Bridget Derville-Teer

Nigel told Bridget she lost him today, and Mary didn't connect with the performance. Bridget was sent home—but Nigel hopes to see her again. (Season 16, girl! Be ready to crush it!)

Genessy Castillo

Genessy seemed to lose confidence halfway through the performance, but the judges still adored her, so she made it through.

Emily Carr

Emily was totally captivating in this round. Her jumps were the highest, her expression the fullest, her performance the boldest. Travis thought the competition was hers to lose: "Girl, I can't wait for you to get on the show so I can work with you," he said. Holy ultimate compliment, TravMan!

The Group Production Number

With 33 dancers left, it was time to bring in Mandy Moore for the final round of choreography. Her jazzy group routine featured all the dancers shining in their individual styles, plus a grand finale where everyone came together. "If they can't hang in the group routine, then it is cutsville, buh bye," Mandy said. STONE. COLD.



This routine looked so fun. (Was anyone else standing up, trying to learn it at home? No? Just us? OK.) The high-energy choreography was fairly simple, but there was a LOT of it. Each group got just an hour to perfect their portion of the routine—and to choreograph two eight-counts of the performance themselves. Intense much?

There were so many wonderful moments during the enthusiastic performance. Emily Carr was a standout again. The tappers looked awesome, and Jensen Arnold had undeniable presence. (The entire ballroom group is looking super strong this year, TBH.) The exhausting routine earned a standing O from the four judges, whom we were not envying at that point.



But cuts had to be made, and Tessa Dalke, sadly, was one of them. Other favorites—Alexis Gilbert, Jay Jackson, Gaevin Bernales—were sent home, too.

The Last-Chance Solo Round

The remaining 27 dancers got to perform one final solo before the judges chose the Top 20. Jay Jay Dixonbey's number was powerful, precise, and pretty darn perfect. Chelsea Hough rocked heels for hers. Hannahlei Cabanilla earned a "love. her." from Mary. And Allen Genkin wrapped things up with a booty wiggle, a big smile, and a Magic Mike-esque shirt toss that Nigel called "a little desperate." (AGREE TO DISAGREE, NIGEL.)

Without further ado...

The "So You Think You Can Dance" Season 15 Top 20

THE GUYS

Jay Jay Dixonbey

Cole Mills

Justin Pham

Slavik Pustovoytov

Peyton Albrecht

Dustin Payne

Evan DeBenedetto

Darius Hickman

Kyle Bennett, Jr.

Allen Genkin

THE GIRLS

Genessy Castillo

Magda Fialek

Jensen Arnold

Stephanie Sosa

Dayna Madison

Sydney Moss

Brianna Penrose

Chelsea Hough

Emily Carr

Hannahlei Cabanilla

BUT WAIT. After the reveal, there was another reveal: Turns out only 10 dancers will continue on to the live shows. What is happening?!

Next week, each of the Top 20 dancers will be paired with an All Star and a choreographer. See you then for more madness!

Dance Teacher Tips
Photo courtesy of Ballet Next

In 2011, when former American Ballet Theatre principal Michele Wiles departed the company and formed BalletNext, she found an artistic freedom she'd been longing for. Along with new collaborations with choreographers and musicians, she began working with trumpeter Tom Harrell, who introduced her to the multilayered sounds of jazz. "The dancers are another instrument to a jazz musician," says Wiles. Pairing this music genre with her classical foundation has been pivotal in defining her style. "I have this classical facility, but my mind is more contemporary. Jazz is a good intersection for my work," she says.

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Dance News
Photo by Alex Huber, courtesy of YDC

Ballroom dance could be the best form of diplomacy, according to New York City teenagers starring in a new documentary, Taking New Steps—The Dancing Classrooms Youth Dance Company Goes to Israel.

Saturday, members of the Youth Dance Company and their loved ones watched the premiere at the Film Society of Lincoln Center in Manhattan. Produced by SingularDTV, the 18-minute documentary captured individual interviews and sweeping drone shots during the company's 2017 trip to Israel for the Karmiel Dance Festival. Dancers in the audience, now a year older, cheered as they viewed younger versions of themselves on the movie screen.

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Dance Teachers Trending
Photo courtesy of Favia

After a bad sprain at 19 years old, Talia Favia left L.A. and went home to Phoenix to heal. While she was unable to dance full-out, she began to teach and choreograph. "I realized then that I was meant to be a choreographer and teacher," she says. "When I was auditioning in L.A., I would feel guilty, because I knew there were dancers there who wanted to perform more than I did. It took sitting out for me to realize that I just loved being behind the scenes."

Since then, Favia, 27, has thrived as a choreographer, setting numbers on studios around the country, creating viral dance videos, creating pieces on "So You Think You Can Dance" and "Dancing With the Stars," and receiving the top prize at the 2014 A.C.E. Awards.

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It's just so good. (via YouTube)

Happy Nationals season, everybody! It's that time of year when us lucky editors get to watch so, SO many gorgeous solos by dancers competing for big titles. But even among the insanely gifted artists at the top of the comp circuit, Tate McRae stands out. Just ask anyone who's seen the solo that helped her win Teen Best Dancer at The Dance Awards in Vegas last week.

Choreographed by Travis Wall (naturally), "Woman" is virtuosic both technically and artistically. Are the 180-degree extensions and fluid lyricism that captivated "So You Think You Can Dance: The Next Generation" audiences two years ago still there? Of course they are. But Tate also approaches the solo with a commitment and maturity that's rare in industry veterans, let alone 14-year-old students.

Planning to spend the majority of your summer sweating it out in the studio? Don't worry, you're not alone. And while you're definitely going to want to save the warmups for the winter, you can still accessorize your studio look without adding bulk, thanks to the always-in-style ballet skirt. From bright florals to washed out pastels and wild prints, we rounded up our favorite short (and a few long!) ballet skirts for summer.

AinslieWear Limoncello Wrap Skirt

via AinslieWear

If you can't spend your summer in the Mediterranean under actual lemon trees, this skirt is a solid backup. Plus, it gives us serious Beyonce "Lemonade" vibes, which will help you feel more fierce and less sweaty-mess in class (hopefully). ainsliewear.com, $50

Nationals is a doozy every summer—ESPECIALLY for dance teachers. You spend the whole year gearing up for one week of pure insanity. Nonstop classes, last-minute rehearsals, costume malfunctions, emotional students, stressed parents, endless awards ceremonies and a fancy gala—this week is enough to kill you. Yet somehow you've survived, and now it's time to detox! To help, here are memes that perfectly depict the five phases of Nationals recovery every dance teacher goes through. You'll die over how accurate they are.

Get ready to laugh!

Oh, and you're welcome 💁♀️.

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Studio Owners
Thinkstock

Running a studio is an enormous undertaking that requires you to wear many hats at once (and with expertise): pedagogy, customer service, business management and beyond. Some owners find they're better off doing the work with a trusted partner by their side—someone to share both the responsibilities and the rewards. But finding the right person to work with isn't easy. You need someone whose personality, strengths and weaknesses complement your own. Here, three sets of successful partners get to the heart of how they make it work.

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Dancer Health
Thinkstock

When Brittany Purtell heard one dancer was repeatedly bad-mouthing another on her eight-person competition team in early 2017, she knew she had to take action. "We got word about bullying among the team members," she says. "It started at their school and then carried over to the studio." A dancer was spreading rumors about her teammate: "Something along the lines of 'So-and-so is not trying; she's not practicing; she doesn't deserve to be on the team,'" says Purtell, who directs the Senior Elite team at Open Space Studio in Plymouth, Massachusetts. Concerned the bad-mouthing could lead to a serious rift among teammates, she planned a camaraderie-building session, where students filled poster boards with dance compliments about one another—and themselves—and decorated the studio with hearts where they'd penned why they love dance. She's heard no complaints since, but statistically speaking, she likely will face some variation of this challenge again.

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