November 2013

Editor's Note: Gratitude

By Karen Hildebrand

A Matter of Respect

David Hallberg’s teacher, Kee Juan Han

Boy Crazy

Five strategies to fill your program with males

Graceful Aging

Cynthia Lucas takes the Marin Ballet beyond 50.

Jodi Moccia

How I teach Zena Rommett Floor-Barre


Costume Preview; 2014 Costume Guide

Face to Face

A conversation with Justin Peck of New York City Ballet

Teachers’ Tools

Up close with Susan Sgorbati

Larry Keigwin

Modern and contemporary

Teaching with an Eating Disorder

How poor body image can impact your work

Isadora Duncan

Laying the foundation for American modern dance

Alignment for Youngsters

Tips for well-placed spines

Eyes on the Prize

The case for backward curriculum design

BA or BFA?

Help students decide which degree is right for them.

Getting the Most Out of Your Nutcracker Budget

Three studio owners share their know-how and numbers.

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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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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