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Bringing Ballet Technique Home: Adapting Classes For Students Without a Studio

Courtesy of Wroth

The effects of COVID-19 on college dancers might have been devastating. Performances were canceled, seniors trying to savor every last moment together were left without a graduation ceremony, students were encouraged to go home, and at each moment, a question has sounded: How can a student learn how to become a better performer when they are not allowed to perform?

Here at Indiana University's Jacobs School of Music, the ballet department rallied quickly and adapted its programming, choosing to see this hiatus as an opportunity to encourage reflection and self-improvement.


Author Sarah Wroth, chair of IU's ballet department, teaching before students were sent home.

Igor Burlak Photography

This time brings a brand-new environment for ballet training. There are no mirrors, there is no floor, no rosin, and, oftentimes, not much space. Each moment of class has to be planned with precision.

There is a whole world of nuanced work that can be mastered without a stage or even a conventional studio. The head and the heart drive any masterful performance, and footwork, turnout, coordination and strength are all constant challenges for a dancer that can be trained at a social distance.

Our new program officially rolls out for the ballet majors on March 30. This updated physical regimen includes daily live Zoom class designed for small at-home spaces, pointe class, conditioning class and selections of adapted repertoire.

Combinations are simplified and tend to focus on épaulement, footwork and placement. Every combination that travels forward also travels backwards and incorporates a step that can be used artistically to adjust to the space. For pointe, barre and a simple center can be done on most hard surfaces or a yoga mat if floors are too slippery. We are working on general conditioning as well as specifically conditioning for jumps, while trying to limit the daily impact of traditional jumps on hard surfaces.

To keep the class connected, the gallery display allows the whole faculty to give both personal and general corrections. It also allows for the students to watch as others receive corrections.

Beyond the movement, the dancers are required to watch and thoughtfully comment on a daily video selection. Curated by faculty member Carla Körbes, these videos will teach the dancers about the impact, dancers and repertoire of noted ballet companies all over the world.

To challenge the dancers' artistry, intellect and ingenuity they are also tackling prompts such as "Where do you see the artistic direction of the ballet world headed 10 years from now?" "How do we prepare our performance abilities for a time of purely digital gatherings?" and "Choreograph a two-minute solo in a confined space commenting on the idea of social distance."

As we enter uncharted territory in ballet training, we should not lose sight of the beautiful bright light within that makes ballet such a treasure. The best dancers of tomorrow will need to have a resilient work ethic, a meticulous drive to learn, and an open mind to all possibilities, and those dancers can begin to blossom in this temporary new world of exploration at a distance.

News
Courtesy Russell

Gregg Russell, an Emmy-nominated choreographer known for his passionate and energetic teaching, passed away unexpectedly on Sunday, November 22, at the age of 48.

While perhaps most revered as a master tap instructor and performer, Russell also frequently taught hip-hop and musical theater classes, showcasing a versatility that secured him a successful career onstage and in film and television, both nationally and abroad.


His resumé reads like an encyclopedia of popular culture. Russell worked with celebrities such as Bette Midler and Gene Kelly; coached pop icon Michael Jackson and Family Guy creator Seth McFarlane; danced in the classic films Clueless and Newsies; performed on "Dancing with the Stars" and the Latin Grammy Awards; choreographed for Sprite and Carvel Ice Cream; appeared with music icons Reba McEntire and Jason Mraz; and graced stages from coast to coast, including Los Angeles' House of Blues and New York City's Madison Square Garden.

But it was as an educator that Russell arguably found his calling. His infectious humor, welcoming aura and inspirational pedagogy made him a favorite at studios, conventions and festivals across the U.S. and in such countries as Australia, France, Honduras and Guatemala. Even students with a predilection for classical styles who weren't always enthused about studying a percussive form would leave Russell's classes grinning from ear to ear.

"Gregg understood from a young age how to teach tap and hip hop with innovation, energy and confidence," says longtime dance educator and producer Rhee Gold, who frequently hired Russell for conferences and workshops. "He gave so much in every class. There was nothing I ever did that I didn't think Gregg would be perfect for."

Growing up in Wooster, Ohio, Russell was an avid tap dancer and long-distance runner who eventually told his mother, a dance teacher, that he wanted to exclusively pursue dance. She introduced him to master teachers Judy Ann Bassing, Debbi Dee and Henry LeTang, whom he credited as his three greatest influences.

"I was instantly smitten, though competitive with him," says longtime friend and fellow choreographer Shea Sullivan, a protégé of LeTang. "Over the years we developed a mutual respect and admiration for each other. He touched so many lives. This is a great loss."

After graduating from Wooster High School, Russell was a scholarship student at Edge Performing Arts Center in Los Angeles, where he lived for many years. He founded a company, Tap Sounds Underground, taught at California Dance Theatre and even returned to Edge as an instructor, all while maintaining a busy travel schedule.

A beloved member of the tap community, Russell not only spoke highly of his contemporaries, but earned his place among them as a celebrated performing artist and teacher. With friend Ryan Lohoff, with whom he appeared on CBS's "Live to Dance," he co-directed Tap Into The Network, a touring tap intensive founded in 2008.

"His humor, giant smile and energy in his eyes are the things I will remember most," says Lohoff. "He inspired audiences and multiple generations of dancers. I am grateful for our time together."

Russell was on the faculty of numerous dance conventions, such as Co. Dance and, more recently, Artists Simply Human. He was known as a "teacher's teacher," having discovered at the young age of 18 that he enjoyed passing on his knowledge to other dance educators. He wrote tap teaching tips for Dance Studio Life magazine and led classes for fellow instructors whenever he was on tour.

In 2018, he opened a dance studio, 3D Dance, in Tuscaloosa, Alabama, where he had been living most recently.

Russell leaves behind a wife, Tessa, and a 5-year-old daughter, Lucy.


"His success was his family and his daughter," says Gold. "They changed his entire being. He was a happy man."

GoFundMe campaigns to support Russell's family can be found here and here.

Teaching Tips
@jayplayimagery, courtesy Blackstone

Zoom classes have created a host of challenges to overcome, but this new way of learning has also had some surprising perks. Students and educators are becoming more adaptable. Creativity is blossoming even amid space constraints. Dancers have been able to broaden their horizons without ever leaving home.

In short, in a year filled with setbacks, there is still a lot to celebrate. Dance Teacher spoke to four teachers about the virtual victories they've seen thus far and how they hope to keep the momentum going back in the classroom.

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News
Betty Jones in The Moor's Pavane, shot for Dance Magazine's "Dancers You Should Know" series in 1955. Zachary Freyman, Courtesy Jacob's Pillow

An anchor of the Humphrey-Limón legacy for more than 70 years, Betty Jones died at her home in Honolulu on November 17, 2020. She remained active well into her 90s, most recently leading a New York workshop with her husband and partner, Fritz Ludin, in October 2019.

Betty May Jones was born on June 11, 1926 in Meadville, Pennsylvania, and moved with her family to the Albany, New York, area, where she began taking dance classes. Just after she turned 15 in 1941, she began serious ballet study at Jacob's Pillow, which was under the direction of Anton Dolin and Alicia Markova for the season. Over the next three summers as a scholarship student, Jones expanded her range and became an integral part of Jacob's Pillow. Among her duties was working in the kitchen, where her speedy efficiency earned her the nickname of "Lightning."

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