Germaine Salsberg lives to tap. In addition to being on faculty at Broadway Dance Center for over 20 years and teaching at STEPS on Broadway, she’s worked with Tony Award–winner Danny Daniels on the Broadway and national tours of Tap Dance Kid and has privately coached actors, including Liza Minnelli on the film Steppin’ Out. With a reputation for instilling a strong technical foundation through rhythm elements, it’s no wonder she recently released a CD of music for tap class. Along with pianist Kevin Cole, the two created Tap Tunes: For Tap Class and Practice. “I feel it is my obligation to acquaint students with different styles of tap. Therefore, I utilize different types of music,” says Salsberg. “Music choices need to be interesting enough to dance to, but not overwhelming.”

Artist: Gene Krupa
Song/Album: “Hodge Podge,” V Disk
“This is an oldie but goodie. It’s really a big-band sound, but it’s not so over-arranged that it takes over. It’s not real fast, but it has the Gene Krupa drive. Good for style, time steps and combinations that could incorporate a musical theater or big-band style.”

Artist: Jo Jones
Song/Album:“Jive at Five,” The Everest Years
“I did some work with Sarah Petronio in Paris, who is so swinging. She introduced me to the music of Jo Jones, a jazz drummer from the ’60s and ’70s, and boy does he swing, too! I love other songs on this album as well, so check out the entire album. The music is good for combinations—it really forces the students to listen and syncopate.”

Artist: Kenny Burrell
Song/Album: “Midnight Blue,” Midnight Blue (The Rudy Van Gelder Edition Remastered)
“This is a medium swing that keeps a very even tempo, and it goes on long enough to do long exercises (shuffles, double shuffles and triplets) at a relaxed pace.”

Artist: Jeff Golub
Song/Album: “Cold Duck Time,” Do It Again
“I fell in love with this song and found out it’s actually a jazz standard, but Golub arranged it in a jazz/funk mode. Warning—there is a variation in phrasing where he throws in a 12 measure once in a while, as opposed to the standard 8 measure. Not a fast-paced song, but there’s lots of room for double time and paddle and roll work.”

Artist: Oscar Peterson & Milt Jackson
Song/Album: “Work Song,” Very Tall
“I started using this song many years ago—and I used it and used it and used it! It’s great for warm-ups utilizing articulations and single-sound warm-ups for beginners, and I even choreographed a competition piece to it. It’s strong and driving, easy to hear, with a
certain amount of musical variation (not tempo) that keeps it interesting.”

Artist: Jane Monheit
Song/Album: “Taking A Chance On Love,” Taking A Chance On Love
“I often shy away from using vocals, because it comes across as too many elements with the tap sounds, music and the voice all at the same time. But Monheit is such a great jazz singer, and this song gives such a lift to the students. It really swings, has a great instrumental break and is quite peppy without being overly fast.”

Artist: Natalie Cole
Song/Album: “Straighten Up and Fly Right,” Unforgettable: With Love
“Cole’s voice really adds to the instrumentation. I use this all the time for my basic and beginner combinations. It is slow enough for them but does not drag and isn’t boring. It has a great musical break, and the students really listen—sometimes they even sing along.”

Dance Teachers Trending
Photo by Kyle Froman

Darla Hoover was at Central Pennsylvania Youth Ballet's studios running a rehearsal in 2014 with director Marcia Dale Weary. Hoover had just returned the day before from staging a ballet in St. Petersburg, Russia. Jet-lagged, she mixed up her words when giving a correction.

Weary took Hoover's hand and gently said, "Honey, you work too hard."

Hoover, and the students, had a good laugh.

"Are you kidding me?" Hoover replied. "You're the one who made this monster. There is no off switch!"

Weary founded CPYB in 1955, and it quickly became an internationally known school that has produced countless principal dancers. Famous for her high standards and tough work ethic, Weary instilled those qualities in Hoover, who served as associate artistic director at CPYB under Weary, as artistic director at Ballet Academy East's pre-professional division in New York City and as a répétiteur for the Balanchine Trust.

Hoover took over as artistic director at CPYB in the spring this year after Weary died suddenly, and while she's committed to continuing Weary's legacy, students have begun to see some of Hoover's vision as well.

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Studio Success with Just for Kix
Bill Johnson, Courtesy Just for Kix

Cindy Clough, executive director of Just For Kix, has been called the Queen of Fundraising by colleagues. A studio owner and high school dance coach with over four decades of experience, Clough is known for her smart and successful fundraising ideas.

Now, Just For Kix has created a new online tool to help everyone tackle their fundraising goals, whether you're raising money for uniforms, extra classes, or to cover the cost of travel for your dance team's next convention.

Clough shared a few of her best fundraising tips, including everything you need to know about the new tool:

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Dance Teacher Tips
Jessica Kubat (center) with her studio staff. Photo by Vincent Alongi, courtesy of Kubat

Jessica Kubat's path to becoming a studio owner wasn't typical or glamorous or the product of a family business, handed down. When she opened MJ's House of Dance in Lindenhurst, New York, this past summer, she had just turned 40, was a mom of three, and had worked at two different studios long-term. Over the last two and a half years, she'd painstakingly saved up $25,000 and had gone to the Small Business Development Center at a local college on Long Island for help creating her business plan. Her area was moderately saturated with studios, so she spent considerable time planning what would set her school apart—live musical accompaniment, for one—and hired a marketing director nine months before the business even opened. It was a methodical, careful approach—Kubat calls it "the old-fashioned way"—to opening a studio, and it's paid off: She started summer classes with 75 students and is well on her way to reaching her first-year enrollment goal of 250 dancers. "When I turned 40, I decided that it was time to do something bigger," says Kubat. "I always wanted to own a studio—it was just never financially available to me."

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Sponsored by NYCDA
Ailey II artistic director Troy Powell teaching an Ailey Workshop at NYCDA. Courtesy NYCDA

Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.

"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."

Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.

Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:

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Dance Teachers Trending
From left: Daniel Novikov, Alla Novikova and Mishella Vishnevskiy at Blackpool 2018. Photo by NYC Digital Media, courtesy of Alla Novikova

Alla Novikova began her dance training at a ballroom studio called Edelweiss in Saratov, Russia, when she was 9 years old. She was immediately recognized for her natural talent and work ethic, placing third at the Russian Open just three months after beginning ballroom lessons. The lessons she learned at Edelweiss shaped her career and provided the foundation she needed to open her own ballroom studio: Work hard to prove that you're good enough to be here, and give honor to the experiences that brought you to where you are today.

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Dance Teacher Tips
Getty Images

Professions across the globe hold yearly conferences, and the dance industry is certainly no exception. Annual conferences exist for dance teachers, dance medicine professionals, dance educators and more. Taking the time out to attend them can be well worth your while for a number of different reasons. Let's take a closer look at four of them.

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Dance Teacher Tips
Father-daughter dance. Photo by Lisa Lee, courtesy of Dance Academy USA

Your year-end recital is your studio's pot of gold at the end of the rainbow. Not only is it the time for your dancers to celebrate what they've accomplished during the year, it's your opportunity to demonstrate to parents firsthand the value of a dance education. A successful recital can also grant your school an influential role in the local community. Whether a prominent conservatory or a small-town studio, and whether your dancers win competitions or take classes once a week, your year-end recital is the chance for your dancers—and your program—to shine.

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Dance Teacher Tips
Getty Images

Q: How do you approach gender when teaching in 2019? When I was training, male dancers were encouraged to make their movement masculine, while female dancers were encouraged to keep their movement feminine. Today, gender has become much more fluid, and the line between masculine and feminine performance has blurred. How does that impact the way we should be teaching?

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Dance News
Photo courtesy of Z Artists Group

New York City–based pre-professional training troupe Z Artists Group, along with dancers from eight professional companies in the city, are joining together to combat gun violence with, "DANCERS DEMAND ACTION," a performance aligning art with activism at The Joyce Theater, this Monday, November 11, at 7:30 pm.

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Dance Teachers Trending
Photo courtesy of Infinite Flow

Last week, 2019 DT Awardee Marisa Hamamoto and her partner Piotr Iwanicki brought their boundary-breaking work to the "Good Morning America" stage in a segment highlighting her inclusive dance company Infinite Flow.

Infinite Flow is a Los Angeles–based wheelchair ballroom dance company (the first of its kind in the U.S.) that incorporates an equal number of disabled and nondisabled dancers, as well as a range of styles like hip hop, contemporary and other partner dances.

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Dance Teachers Trending

Since she was hired in 2006 to create a dance program at Washington & Lee University in Virginia, Jenefer Davies has operated as, essentially, a one-woman show. She's the only full-time faculty member (with regular adjunct support). Over the last 13 years, she has created a thriving program along with a performance company—at a school with fewer than 2,500 students—by drawing on her admittedly rare strength: aerial dance.

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Site Network

Savion Glover is one of the biggest names in the dance world, and perhaps the biggest in the tap world. The trailblazing hoofer's hard-hitting, rhythmically intricate style has fundamentally altered the tap landscape.

Glover is also a master teacher. But during his many years on the scene, he's never appeared regularly at a major dance convention. That is, until this season: Glover is now teaching at JUMP Dance Convention, scheduled to appear at approximately 15 more cities on its 2019–2020 tour.

We talked with JUMP director Mike Minery, himself a gifted hoofer, about working with a living legend—and how Glover is already changing the convention class game.

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