At the LINES Ballet Dance Center in San Francisco, faculty member Erik Wagner leads his class through an adagio combination in center. He encourages dancers to root their standing legs, using imagery of a seed germinating, so that they feel more grounded. "Our studios are on the fifth floor, so I'll often tell them to push down to Market Street," says Wagner. "They know that they should push their energy down to the street level." By using this oppositional force, he says, dancers can lengthen their bodies to create any desired shape.


A slow and fluid adagio can captivate an audience. When done well, it demonstrates tremendous strength and control, while allowing dancers quiet and subtle moments of expression. But adagio work can be challenging and nerve-racking even for the most seasoned professionals. Using imagery like Wagner's idea of the root system and other simple techniques will give students the tools they need to achieve freedom in their adagio. They might even grow to love it.

Hold With Placement

To create and sustain adagio movements, dancers need proper alignment and a strong core. At the Pennsylvania Ballet Academy in Camp Hill, co-artistic director Vanessa Zahorian starts young beginner dancers with an eight-count développé in each direction first facing the barre at 45 degrees, and then with one hand. "With the lower levels, you need to go slowly so they hold each position and see what it feels like," she says. "The longer they hold it, the easier it gets. Then they can start to move through the positions and add more complicated steps."

Zahorian emphasizes the need for good placement and talks to students about the importance of using their inner thighs and backs of the legs, mentioning the associated benefits of Gyrotonic. "They need to lengthen their extension from the hip socket and keep very square hips, so that everything rotates with turnout and spirals outward. The energy never stops."

At Ballet West, academy director Peter LeBreton Merz might give a 64-count adagio—sometimes 128 counts—to give dancers ample time to use their muscles. "I like a long adagio," he says. "People try to power too much and not use enough technique. When dancers are a little more tired, they are forced to think more technically and support the movements better."

Find Balance

The key to a solid adagio? "It's all about the balance," says Merz. "In ballet, the secret ingredient is to improve balance, because it affects so many things." Jumps are higher when the force is focused up in one direction. Turning, of course, is also easier when dancers are "on their leg." "Adagio helps you focus on those aspects and maintains balance through big, unsupported movements. We use it to prepare for everything else in center," he says. Merz encourages teachers to be very specific about port de bras and épaulement, since a slight difference in head and shoulder placement can affect a dancer's sense of balance as well.

Standing steadily on one foot can be especially difficult for dancers in pointe shoes. The shank may feel like a short and narrow platform that undermines a dancer's ability to establish contact with the floor. Merz tells dancers to imagine that their first and fifth metatarsals are reaching away from each other, reaching around the shank and onto the marley. For all dancers, he recommends not resting on the toes or heels, but making sure that the tailbone is centered over the ball of the foot. "Make the leg as long as possible and pull the pelvis up off the femur," he says. "It's not static or gripping, but a dynamic action."

Use Expression

Whether dancing alone or with a partner, an adagio provides the luxury of time—an organic opportunity for students to express themselves. "I like to talk about subtlety and mystery," says Wagner. "Dancers can create allure that will inspire an observer to lean in. I tell students not to 'give it away' in the preparation." In an effort to be more expansive, students might want to initiate a step with the head or shoulders. But Wagner warns against it. "There shouldn't be a movement before the movement. It's about using artistic volume control so it's not all on one level. Less is more!"

When students are tense, their adagio will be less successful. Zahorian recommends that these dancers remember to breathe through each movement. "They shouldn't inhale as they piqué, but exhale and release the energy," she says. If they are struggling to get their legs up, ask them to go back to tendu on the floor and revisit the idea of lifting to hip height with length. Or have them stand at the barre and try again there. "Most important, I like to emphasize the rhythm so that their movement isn't static. Dancing an adagio to the music can take them to another place."

Dance Teachers Trending
Photo by Kyle Froman

Darla Hoover was at Central Pennsylvania Youth Ballet's studios running a rehearsal in 2014 with director Marcia Dale Weary. Hoover had just returned the day before from staging a ballet in St. Petersburg, Russia. Jet-lagged, she mixed up her words when giving a correction.

Weary took Hoover's hand and gently said, "Honey, you work too hard."

Hoover, and the students, had a good laugh.

"Are you kidding me?" Hoover replied. "You're the one who made this monster. There is no off switch!"

Weary founded CPYB in 1955, and it quickly became an internationally known school that has produced countless principal dancers. Famous for her high standards and tough work ethic, Weary instilled those qualities in Hoover, who served as associate artistic director at CPYB under Weary, as artistic director at Ballet Academy East's pre-professional division in New York City and as a répétiteur for the Balanchine Trust.

Hoover took over as artistic director at CPYB in the spring this year after Weary died suddenly, and while she's committed to continuing Weary's legacy, students have begun to see some of Hoover's vision as well.

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Studio Success with Just for Kix
Bill Johnson, Courtesy Just for Kix

Cindy Clough, executive director of Just For Kix, has been called the Queen of Fundraising by colleagues. A studio owner and high school dance coach with over four decades of experience, Clough is known for her smart and successful fundraising ideas.

Now, Just For Kix has created a new online tool to help everyone tackle their fundraising goals, whether you're raising money for uniforms, extra classes, or to cover the cost of travel for your dance team's next convention.

Clough shared a few of her best fundraising tips, including everything you need to know about the new tool:

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Dance Teacher Tips
Jessica Kubat (center) with her studio staff. Photo by Vincent Alongi, courtesy of Kubat

Jessica Kubat's path to becoming a studio owner wasn't typical or glamorous or the product of a family business, handed down. When she opened MJ's House of Dance in Lindenhurst, New York, this past summer, she had just turned 40, was a mom of three, and had worked at two different studios long-term. Over the last two and a half years, she'd painstakingly saved up $25,000 and had gone to the Small Business Development Center at a local college on Long Island for help creating her business plan. Her area was moderately saturated with studios, so she spent considerable time planning what would set her school apart—live musical accompaniment, for one—and hired a marketing director nine months before the business even opened. It was a methodical, careful approach—Kubat calls it "the old-fashioned way"—to opening a studio, and it's paid off: She started summer classes with 75 students and is well on her way to reaching her first-year enrollment goal of 250 dancers. "When I turned 40, I decided that it was time to do something bigger," says Kubat. "I always wanted to own a studio—it was just never financially available to me."

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Sponsored by NYCDA
Ailey II artistic director Troy Powell teaching an Ailey Workshop at NYCDA. Courtesy NYCDA

Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.

"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."

Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.

Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:

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Dance Teachers Trending
From left: Daniel Novikov, Alla Novikova and Mishella Vishnevskiy at Blackpool 2018. Photo by NYC Digital Media, courtesy of Alla Novikova

Alla Novikova began her dance training at a ballroom studio called Edelweiss in Saratov, Russia, when she was 9 years old. She was immediately recognized for her natural talent and work ethic, placing third at the Russian Open just three months after beginning ballroom lessons. The lessons she learned at Edelweiss shaped her career and provided the foundation she needed to open her own ballroom studio: Work hard to prove that you're good enough to be here, and give honor to the experiences that brought you to where you are today.

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Dance Teacher Tips
Getty Images

Professions across the globe hold yearly conferences, and the dance industry is certainly no exception. Annual conferences exist for dance teachers, dance medicine professionals, dance educators and more. Taking the time out to attend them can be well worth your while for a number of different reasons. Let's take a closer look at four of them.

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Dance Teacher Tips
Father-daughter dance. Photo by Lisa Lee, courtesy of Dance Academy USA

Your year-end recital is your studio's pot of gold at the end of the rainbow. Not only is it the time for your dancers to celebrate what they've accomplished during the year, it's your opportunity to demonstrate to parents firsthand the value of a dance education. A successful recital can also grant your school an influential role in the local community. Whether a prominent conservatory or a small-town studio, and whether your dancers win competitions or take classes once a week, your year-end recital is the chance for your dancers—and your program—to shine.

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Dance Teacher Tips
Getty Images

Q: How do you approach gender when teaching in 2019? When I was training, male dancers were encouraged to make their movement masculine, while female dancers were encouraged to keep their movement feminine. Today, gender has become much more fluid, and the line between masculine and feminine performance has blurred. How does that impact the way we should be teaching?

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Dance News
Photo courtesy of Z Artists Group

New York City–based pre-professional training troupe Z Artists Group, along with dancers from eight professional companies in the city, are joining together to combat gun violence with, "DANCERS DEMAND ACTION," a performance aligning art with activism at The Joyce Theater, this Monday, November 11, at 7:30 pm.

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Dance Teachers Trending
Photo courtesy of Infinite Flow

Last week, 2019 DT Awardee Marisa Hamamoto and her partner Piotr Iwanicki brought their boundary-breaking work to the "Good Morning America" stage in a segment highlighting her inclusive dance company Infinite Flow.

Infinite Flow is a Los Angeles–based wheelchair ballroom dance company (the first of its kind in the U.S.) that incorporates an equal number of disabled and nondisabled dancers, as well as a range of styles like hip hop, contemporary and other partner dances.

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Dance Teachers Trending

Since she was hired in 2006 to create a dance program at Washington & Lee University in Virginia, Jenefer Davies has operated as, essentially, a one-woman show. She's the only full-time faculty member (with regular adjunct support). Over the last 13 years, she has created a thriving program along with a performance company—at a school with fewer than 2,500 students—by drawing on her admittedly rare strength: aerial dance.

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Site Network

Savion Glover is one of the biggest names in the dance world, and perhaps the biggest in the tap world. The trailblazing hoofer's hard-hitting, rhythmically intricate style has fundamentally altered the tap landscape.

Glover is also a master teacher. But during his many years on the scene, he's never appeared regularly at a major dance convention. That is, until this season: Glover is now teaching at JUMP Dance Convention, scheduled to appear at approximately 15 more cities on its 2019–2020 tour.

We talked with JUMP director Mike Minery, himself a gifted hoofer, about working with a living legend—and how Glover is already changing the convention class game.

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