Spotlight On: A Night to Remember

Seen & Heard At the Dance Teacher Summit

We’ve rounded up the best moments from the Capezio A.C.E. and Dance Teacher Awards evening at July’s 2012 Dance Teacher Summit.

“Thank you so much for this incredibly inspiring event. The energy, ideas, passion and tools you provided all of the instructors will continue to touch and enrich so many other people’s lives... like waves rippling out... and continue to fuel the progression of the art forward. Cheers!” —Kimmie Dobbs Chan, artistic director of Washington, DC’s Deviated Theatre via Facebook

Bree Hafen's "Terminal Soul"

Kim Stroud, Greater Hartford Academy of the Arts, K-12 DT Award

Katie Glasner, Barnard College, DT Award for Higher Education

Liz Schmidt, Spotlight Dance Works, DT Award for Private Studios/Conservatories

Melinda Sullivan's hard-hitting tap number, "Gone," wowed judges and audience members at the 2012 Capezio A.C.E. Awards.

Angela Whitehill, Burklyn Ballet Theatre, DT Award, Private Studios/Conservatories

Dana Foglia's "Ribbons"

Dance Teacher editor in chief, Karen Hildebrand (left), presented the Lifetime Achievement Award to Denise Wall.

First and second runners-up, Dana Foglia (right) and Bree Hafen (left)

Melinda Sullivan won the Capezio A.C.E. Award.

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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