November 2005

Blueprint for Success

Joan Finkelstein is on the verge of a great achievement: providing dance instruction to every public school student in New York City.

The 2006 Costume Preview

130 of the newest costume styles, plus new shoes

A Fitting Occupation

Dance costumer Sandra Woodall shares her creative process.

Costuming on a Budget

The four Bs of dressing dance on the cheap

Competition Chic

Expert advice for dressing versatile hair and makeup looks for competition

Performance Planner: Revamp Your Holiday Show

Create a non-traditional holiday show with these refreshing ideas from fellow studio owners.

When The Nutcracker Suite Turns Sour

Learn from veteran teachers' mistakes to avoid a Nutcracker nightmare.

Agrippina Vaganova

An influential teacher of classical ballet

No More Problem Parents

Develop these communication skills to improve the parent-teacher relationship.

Teaching in Outreach

How to make the most out of being a teaching artist in public school

How to Start a Company, Part 2

What are the pros and cons of being a nonprofit, and the logistics of becoming one?

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.

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Dancer Diary
Claire, McAdams, courtesy Houston Ballet

Former Houston Ballet dancer Chun Wai Chan has always been destined for New York City Ballet.

While competing at Prix de Lausanne in 2010, he was offered summer program scholarships at both the School of American Ballet and Houston Ballet. However, because two of the competition's winners that year were Houston Ballet's Aaron Sharratt and Liao Xiang, dancers Chan idolized, he turned down SAB. He joined Houston Ballet II in 2010, the main company's corps de ballet in 2012, and was promoted to principal in 2017. Oozing confidence and technical prowess, Chan was a Houston favorite, and even landed himself a spot on Dance Magazine's "25 to Watch."

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Mary Mallaney/USC Glorya Kaufman School of Dance, courtesy Osato

In most classes, dancers are encouraged to count the music, and dance with it—emphasizing accents and letting the rhythm of a song guide them.

But Marissa Osato likes to give her students an unexpected challenge: to resist hitting the beats.

In her contemporary class at EDGE Performing Arts Center in Los Angeles (which is now closed, until they find a new space), she would often play heavy trap music. She'd encourage her students to find the contrast by moving in slow, fluid, circular patterns, daring them to explore the unobvious interpretation of the steady rhythms.

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