Our Dance Teacher Summit in New York City was an inspiring three days of technique classes, seminars and networking with incredible educators! Our favorite part is always the evening of the Capezio A.C.E. Awards Competition, when we present the Dance Teacher Awards. This year's awardees included Julie Kent, Djana Bell, Rhonda Miller, Sue Samuels and Stephanie Kersten.
Check out the winning Capezio A.C.E. Awards' winning number, Not for Picking, choreographed by Mary Grace McNally, below.
"When we come together and start talking, everyone starts sharing so much and it's just great. That's my favorite thing to do all year long." —Denise Wall, Dance Teacher Summit Ambassador
For years the Dance Teacher Summit has been offering opportunities for studio owners and dance instructors of all levels to work with world-renowned faculty members to improve their teaching methods, learn new styles of choreography and discover ideal ways to convey choreography to students.
No matter how hard I work to change it, I'm often told that I have a shallow plié. Is there any hope for improving the depth of my plié through special stretches to make it juicier? I'm doing a lot of exercises, but I don't seem to getting any results. Looking forward to reading your advice. Thanks!
Photo by Jim Lafferty; modeled by Sydney Magruder, courtesy of Broadway Dance Center
"If you don't have strong abdominal muscles, you sag into your lower back, your pelvis usually tips and you're hanging out and slumped into your hip joints," says Deborah Vogel, movement analyst, neuromuscular expert and co-founder of the Center for Dance Medicine in New York City. "It just has this whole chain reaction."
The effects of poor core strength can be dire for dancers: from weak and tight hip flexors, which negatively impact extensions, to lower-back discomfort and misaligned shoulders and necks. "Having well-toned abdominals for your posture is the primary reason why you should do stabilizing exercises," says Vogel. "It will allow you to bring your pelvis into correct alignment and good posture."
You've grown up dancing; you can no longer ignore the itch to teach; you've been secretly planning your first recital theme for the past three years—in fact, you're eagerly hatching plans to open your own studio. While your passion for dance and desire to pass on such a beloved artform will be strengths for running a studio, they are by no means sufficient to make it a success. Owning a studio is a commercial venture that requires capital, business savvy and an almost obsessive attention to detail. Here are six risk-reducing strategies to ease into studio ownership.
San Francisco Ballet School's Pascale Leroy helps a student at the barre. Photo by Erik Tomasson, courtesy of SFB School
When Laszlo Berdo teaches men's class at Central Pennsylvania Youth Ballet, he sees some dancers who turn very well, but only to one side. “I have guys who can do triples in à la seconde on the right, but they can't do a double pirouette or a single à la seconde to the left," he says. “There's an extreme difference."
It's a question I've been asked hundreds of times since I stopped dancing over a decade ago. My answer has changed over the years as my own understanding of what led me to walk away from greatest love of my life has become clearer.
"I had some injures," I would mutter nervously for the first few years. This seemed like the answer people understood most. Then it became, "I was just not very happy." Finally, as I passed into my 30s, I began telling the uncomfortable truth: "I quit dancing because of untreated depression."
This past weekend was a busy one for us at DT—we've been in Long Beach, California, attending our Dance Teacher Summit, which included honoring our DT Award winners Award winners (best acceptance speech of the decade goes, hands down, to the fabulous Joe Tremaine) and the Capezio A.C.E. Award champions on Saturday night. It was a big evening: The overall winner of the A.C.E. Awards goes home with $15,000 to use towards the production of a future show. Here's who scored the top three spots: