October 2014

"A flower does not think of competing to the flower next to it. It just blooms."

by Karen Hildebrand

Derek Mitchell

How I teach street jazz

Be Our Guest

You’ve invited a famous choreographer to your studio to create a number for your senior dancers. Now what?

It Takes Heart to Win Trophies

Three successful competition studios have one thing in common.


New Takes on Classic ’Dos

Three updated performance styles


Attention-getting costumes

Face to Face

A conversation with Jodi Melnick

Teachers' Tools

Up close with JoJean Retrum

Brooke Lipton

Music for lyrical

Fuel a Day of Dancing

Three pros share their strategies for eating on the go.

Erick Hawkins

Martha Graham’s first male company dancer

Copying Choreography

Drawing the line between inspiration and plagiarism

Bridging the Gap

Helping students make the leap between studio and college

The Best-Laid Plans

Creating a business plan is not just for start-ups.

Competition and Convention Guide

The Judges’ Lament

Choreography trends that judges would love to lose

DT's guide to 102 events

Layeelah Muhammad, courtesy DAYPC

This summer's outcry to fully see and celebrate Black lives was a wake-up call to dance organizations.

And while many dance education programs are newly inspired to incorporate social justice into their curriculums, four in the San Francisco Bay area have been elevating marginalized youth and focusing on social change for decades.

GIRLFLY, Grrrl Brigade, The Alphabet Rockers and Destiny Arts Youth Performance Company fuse dance with education around race, gender, climate change and more, empowering young artists to become leaders in their communities. Here's how they do it.

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Teacher Voices
Getty Images

I often teach ballet over Zoom in the evenings, shortly after sunset. Without the natural light coming from my living room window, I drag a table lamp next to my portable barre so that the computer's camera can see me clearly enough. I prop the laptop on a chair taken from the kitchen and then spend the next few hours running back and forth between the computer screen of Zoom tiles and my makeshift dance floor.

Much of this setup is the result of my attempts to recreate the most important aspects of an in-person dance studio: I have a barre, a floor and as much space as I can reasonably give myself within a small apartment. I do not, however, have a mirror, and neither do most of my students.

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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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