Music for Class: Mixed Muses

Kyle Abraham's music picks for modern class and choreographic inspiration

When you’re sitting in the dark theater of an Abraham.In.Motion performance, you just don’t know what will pour out of the speakers––an R&B beat, a classical étude, an electronic pulse. “Music was my entryway into dance. It’s really my first love,” says Kyle Abraham, artistic director/choreographer and a self-proclaimed music junkie who admits to purchasing at least two CDs a week. “When I create movement, it’s coming from the music. Sure there’s technique, but I’m really just dancing.”

Some selections for his evening-length work The Radio Show came from talking to his dancers and Facebook followers about their favorite songs on the radio. He avidly searches for new artists on Amazon. And his latest work, Live! The Realest M.C., which premiers in December at The Kitchen in NYC, features a live rap by Abraham himself.

A 2010 Princess Grace Awards choreography recipient and 2009 Dance Magazine “25 to Watch,” Abraham teaches at Bill Young’s 100 Grand, a small studio in SoHo, as well as master classes through his company. Like his eclectic music, his modern class is a tasting menu of influences. “I draw inspiration from a range of dance techniques and periods––from Cunningham to Kevin Wynn. And I’m a big fan of release technique,” he says.

Class begins with Klein exercises on the floor, progressing to core-oriented work that centers the body. Once standing, Abraham uses Cunningham as a foundation, layering release and drop swings. Before you know it, he has brought undulating spines and a touch of hip hop to the mix. And after moving across the floor, dancers get a taste of what he’s been working on, with a big movement phrase. “Regardless of age or ability, I want students to key in on what they really want to get out of class,” Abraham says. “Something brought them to this dance class, and I don’t want them to forget that or take themselves too seriously.” DT

 

Artist: Albert Mathias

“I teach a lot of workshops and always have new dancers. As an icebreaker, we sit in a circle and suggest something fun to do in the city, dance-related or not. It keeps the community alive. This experimental music plays in the background and then continues as we transition into a warm-up. I keep it on when I demonstrate, so there isn’t total silence in the room. I like to take one CD and go on a journey through the whole album.”

 

Artist: Michael Wall

Album: Music for Piano, v.1

“Michael has played for my recent master classes, and I bought his CD after. He usually starts out with classical piano work and then transitions into some minimalism. Once we’re standing, he’ll get into some R&B beats. Varying sounds in one class really allow students to tap into their own phrasing and quality of movement. It gives them a sense of ownership over the steps.”

 

Artist: Gustav Holst

Album: The Planets

“I like throwing in a count of 5 during across-the-floor, and there really aren’t too many great 5-tracks out there. His music is so dramatic that it almost makes you laugh. It allows dancers to not take themselves too seriously. When you laugh naturally, you’re letting go of that uptight upper body that comes from nerves. Then they can really get down into the floor.”

 

Artist: Alva Noto

“I like to use this when I’m creating movement––I actually used it while making most of The Radio Show. About 70 percent of the time I’m in rehearsal, I use it. It has a very dissonant sound and creates an atmosphere that’s not overwhelming. It really allows me to explore textures and space without being tied down to the music.”

 

Artist: Kanye West

“I worship Kanye. I’ve made multiple solos to his work. He’s not afraid to go outside of the standard hip-hop box and gets into intricate pockets of rhythms that allow you to explore your own. We’re often told to be careful of lyrics in dance, but I’m really adding my own layer to the musician’s story. If there’s too much mimicry, then the two aren’t depending on each other, and the story could be told without the music.”

 

(photo by Steven Schreiber, courtesy of Kyle Abraham)

Teachers Trending
Alwin Courcy, courtesy Ballet des Amériques

Carole Alexis has been enduring the life-altering after-effects of COVID-19 since April 2020. For months on end, the Ballet des Amériques director struggled with fevers, tingling, dizziness and fatigue. Strange bruising showed up on her skin, along with the return of her (long dormant) asthma, plus word loss and stuttering.

"For three days I would experience relief from the fever—then, boom—it would come back worse than before," Alexis says. "I would go into a room and not know why I was there." Despite the remission of some symptoms, the fatigue and other debilitating side effects have endured to this day. Alexis is part of a tens-of-thousands-member club nobody wants to be part of—she is a COVID-19 long-hauler.

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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.


Find a formula that works for your studio

For Melanie Boniszewski, owner of Tonawanda Dance Arts in upstate New York, the answer to profitable summer programming lies in drop-in classes.

"We're in a cold-weather climate, so summer is actually really hard to attract people—everyone wants to be outside, and no one wants to commit to a full season," she says.

Tonawanda Dance Arts offers a children's program in which every class is à la carte: 30-minute, $15 drop-in classes are offered approximately two times a week in the evenings, over six weeks, for different age groups. And two years ago, she created her Stay Strong All Summer Long program for older students, which offers 12 classes throughout the summer and a four-day summer camp. Students don't know what type of class they're attending until they show up. "If you say you're going to do a hip-hop class, you could get 30 kids, but if you do ballet, it could be only 10," she says. "We tell them to bring all of their shoes and be ready for anything."

Start-up costs are minimal—just payroll and advertising (which she starts in April). For older age groups, Boniszewski focuses on bringing in her studio clientele, rather than marketing externally. In the 1- to 6-year-old age group, though, around 50 percent of summer students tend to be new ones—98 percent of whom she's been able to convert to year-round classes.

A group of elementary school aged- girls stands in around a dance studio. A teacher, a young black man, stands in front of the studio, talking to them

An East County Performing Arts Center summer class from several years ago. Photo courtesy ECPAC

East County Performing Arts Center owner Nina Koch knows that themed, weeklong camps are the way to go for younger dancers, as her Brentwood, California students are on a modified year-round academic school calendar, and parents are usually looking for short-term daycare solutions to fill their abbreviated summer break.

Koch keeps her weekly camps light on dance: "When we do our advertising for Frozen Friends camp, for example, it's: 'Come dance, tumble, play games, craft and have fun!'"

Though Koch treats her campers as studio-year enrollment leads, she acknowledges that these weeklong camps naturally function as a way for families who aren't ready for a long-term commitment to still participate in dance. "Those who aren't enrolled for the full season will be put into a sales nurture campaign," she says. "We do see a lot of campers come to subsequent camps, including our one-day camps that we hold once a month throughout our regular season."

Serve your serious dancers

One dilemma studio owners may face: what to do about your most serious dancers, who may be juggling outside intensives with any summer programming that you offer.

Consider making their participation flexible. For Boniszweski's summer program, competitive dancers must take six of the 12 classes offered over a six-week period, as well as the four-day summer camp, which takes place in mid-August. "This past summer, because of COVID, they paid for six but were able to take all 12 if they wanted," she says. "Lots of people took advantage of that."

For Koch, it didn't make sense to require her intensive dancers to participate in summer programming, partly because she earned more revenue catering to younger students and partly because her older students often made outside summer-training plans. "That's how you build a well-rounded dancer—you want them to go off and get experience from teachers you might not be able to bring in," she says.

Another option: Offering private lessons. Your more serious dancers can take advantage of flexible one-on-one training, and you can charge higher fees for individualized instruction. Consider including a financial incentive to get this kind of programming up and running. "Five years ago, we saw that some kids were asking for private lessons, so we created packages: If you bought five lessons, you'd get one for free—to get people in the door," says Boniszewksi. "After two years, once that program took off, we got rid of the discount. People will sign up for as many as 12 private lessons."

A large group of students stretch in a convention-style space with large windows. They follow a teacher at the front of the room in leaning over their right leg for a hamstring stretch

Koch's summer convention experience several years ago. Photo courtesy East County Performing Arts Center

Bring the (big) opportunities to your students

If you do decide to target older, more serious dancers for your summer programming, you may need to inject some dance glamour to compete with fancier outside intensives.

Bring dancers opportunities they wouldn't have as often during the school year. For Boniszewski, that means offering virtual master classes with big-name teachers, like Misha Gabriel and Briar Nolet. For Koch, it's bringing the full convention experience to her students—and opening it up to the community at large. In past years, she's rented her local community center for a weekend-long in-house convention and brought in professional ballet, jazz, musical theater and contemporary guest teachers.

In 2019, the convention was "nicely profitable" while still an affordable $180 per student, and attracted 120 dancers, a mix of her dancers and dancers from other studios. "It was less expensive than going to a big national convention, because parents didn't have to worry about lodging or travel," Koch says. "We wanted it to be financially attainable for families to experience something like this in our sleepy little town."

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