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

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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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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