Health & Body
Jason Facey, Courtesy of Betty Rox

Three broken ribs, two broken ankles and one broken wrist. These are the last things a dancer wants to hear, let alone experience. On September 28, 2019, dancehall and soca choreographer and teacher Betty Rox found herself facing this reality when she was struck by a car while out for a walk in Los Angeles, California. She awakened in the arms of a caring stranger, unable to move.

But despite her initial disorientation and multiple injuries, her optimistic mindset led her down a path to a speedy recovery. Here's what got her back to dancing.

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Teaching Tips
Pamela Montgomery, courtesy Kerollis

When it comes to teaching dance, few tools are more effective than hands-on corrections. As the COVID-19 pandemic has overtaken the globe, dance classes have either shifted to virtual platforms or socially distant classrooms where no physical contact is allowed. We've all had to adapt our teaching styles to ensure students continue to improve until we can return to business as usual.

For me, this has meant finding creative ways to have my ballet students self-correct issues that I'd normally address with a touch-based correction. Here are some of my favorite contactless "hands on" corrections I've been using:

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Studio Owners
Photo courtesy of Misty Lown

Please join us for a Virtual Town Hall with Misty Lown, owner of More Than Just Great Dancing, an affiliation of 300 studios worldwide, and Youth Protection Advocates in Dance. She's also a dance studio owner of 23 years.

Register here to join the call for Monday, March 30, at 1 pm CST (2 pm, EDT).

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Health & Body
Getty Images

Chances are, there is at least one student you interact with daily who is dealing with trauma in their life. In 2019, the Centers for Disease Control and Prevention released a massive study on childhood trauma and elevated it to an official public health issue. They measured adverse childhood experiences (ACEs), which include things like physical and emotional abuse, neglect, poverty and absence of a caregiver, either physically or emotionally.

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Trending
Matia Johnson of Camille A. Brown & Dancers With Fieldston Students; photo by Rachel Papo

Last September, dance students at Ethical Culture Fieldston School in the Bronx started a 12-week series of rehearsals to learn an excerpt from New Second Line by Camille A. Brown. Director of dance Rob O'Neill spoke with DT about this repertory project, led by Matia Johnson of Camille A. Brown & Dancers.

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Trending
Selya in Movin' Out; by Joan Marcus, courtesy of the photographer

"I had no idea you could do that!" says John Selya to Taylor Johnson-French, a freshman who has just executed a fiercely intentional and riveting passage of improv. Zooming like an arrow down a hallway lined with giant, neon coral sculptures, she looked to be seeking a target with her focus and the precise lines and angles of her limbs.

"I didn't either!" Johnson-French responds.

This exchange is one of many moments of empowerment and facilitated self-discovery from Selya's first semester as the dance chair at New Mexico School for the Arts in Santa Fe, a public, statewide high school, where the arts disciplines (visual arts, music, theater and dance) are taught in daily three-hour intensives that follow the academic day. Founded as a charter school in 2010, the program is open to all students in New Mexico who qualify through a blind, competitive audition or portfolio admissions process.

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Trending
Photos by Kyle Froman

A few years ago, Mary Ann Lamb got a phone call from Ann Reinking, who was choreographing a production of The Visit starring Chita Rivera. Lamb was thrilled when Reinking offered her the role of Young Claire without even asking for an audition. "And then she said, 'In the first act, you're going to play Chita Rivera when she's a 17-year-old virgin,'" Lamb says, "and I'm like, 'What am I gonna do? I'm like 50 years old!' I started panicking. My dream was to be in the room with Ann Reinking and Chita Rivera, but I was scared to death I was going to make a fool of myself."

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Technique
Photo by Chris Hardy Photography

In Antoine Hunter's jazz class, students inevitably pick up sign language just by virtue of being his student. Though he doesn't typically incorporate ASL into his class combos, this dynamic phrase, which is one of his favorites, includes four signs: "heart," " re," "gone" and "deaf."

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