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.

Teacher Voices
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In 2001, young Chanel, a determined, ambitious, fiery, headstrong teenager, was about to begin her sophomore year at LaGuardia High School of Music & Art and Performing Arts, also known as the highly acclaimed "Fame" school. I was a great student, a promising young dancer and well-liked by my teachers and my peers. On paper, everything seemed in order. In reality, this picture-perfect image was fractured. There was a crack that I've attempted to hide, cover up and bury for nearly 20 years.

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Health & Body
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Though the #MeToo movement has spurred many dancers to come forward with their stories of sexual harassment and abuse, the dance world has yet to have a full reckoning on the subject. Few institutions have made true cultural changes, and many alleged predators continue to work in the industry.

As Chanel DaSilva's story shows, young dancers are particularly vulnerable to abuse because of the power differential between teacher and student. We spoke with eight experts in dance, education and psychology about steps that dance schools could take to protect their students from sexual abuse.

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Nan Melville, courtesy Genn

Not so long ago, it seemed that ballet dancers were always encouraged to pull up away from the floor. Ideas evolved, and more recently it has become common to hear teachers saying "Push down to go up," and variations on that concept.

Charla Genn, a New York City–based coach and dance rehabilitation specialist who teaches company class for Dance Theatre of Harlem, American Ballet Theatre and Ballet Hispánico, says that this causes its own problems.

"Often when we tell dancers to go down, they physically push down, or think they have to plié more," she says. These are misconceptions that keep dancers from, among other things, jumping to their full potential.

To help dancers learn to efficiently use what she calls "Mother Marley," Genn has developed these clever techniques and teaching tools.

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