The 2005 Dance Teacher Awards

Get to know this year’s honorees—Rose Marie Floyd, Earl Mosley, Barbara Allegra Verlezza and Tad Williams.

dtawards-1Private Studios and Conservatories

Rose Marie Floyd

Rose Marie Floyd Studio of Dance

Royal Oak, MI

www.rosemariefloyd.com

Although Rose Marie Floyd attended Wayne State University to become a research chemist, she has spent the last 60 years instructing students in the science of Cecchetti technique. As the owner of Rose Marie Floyd Studio of Dance in Royal Oak, Michigan, and founder and artistic director of Contemporary Civic Ballet Company, Floyd has a reputation for consistently turning out professional-caliber ballet dancers. Past students have gone on to dance with New York’s Metropolitan Opera, the Joffrey Ballet, Netherlands Dance Theatre, Houston Ballet and on Broadway.

Floyd credits her ability to produce beautiful dancers to her grounding in technical training. She stresses quality of movement, musicality and impeccable technique as the keys to building a complete dancer. “A lot of times people are excellent dancers, but they don’t use their head or their arms,” she says. “Each part of the body should have expression. A good dancer should have the feeling of total coordination of all parts of the body.”

Floyd holds the Maestro Enrico Cecchetti Diploma, the most advanced placement offered by the Cecchetti Council of America. She has served as the organization’s president and is a permanent examiner. She has also spent the last 12 summers on faculty at England’s Cecchetti Teacher Summer Schools, produced the instructional video Ballet: The Tradition of Cecchetti and gives master classes and Cecchetti seminars at studios and universities across the country.

dtawards-2Earl Mosley

Litchfield Performing Arts

Litchfield, CT

www.litchfieldjazzfest.com

Earl Mosley doesn’t care if a student has the “wrong” body type, or how well a dancer can point her toes. He operates under what he calls the “I love you, I love me” philosophy, in which everybody in the studio matters. Throughout his teaching career, Mosley has been a father figure, sounding board, friend and mentor to thousands of students, ranging from dance professionals to children in poverty.“I always make sure when I teach class, I let people know I’m there for the person first,” he says. “The dancer is just icing on the cake.”

Mosley began his career at the North Carolina School of the Arts, where he was accepted with almost no previous training. He later danced with Ailey II, Gus Solomons Company/Dance and Ronald K. Brown/Evidence. Sylvia Waters, artistic director of Ailey II, recognized his ability to inspire and communicate with those around him, and offered Mosley his first teaching opportunity. He soon realized that teaching was his true calling.

Currently, Mosley serves as the artistic director of the dance segment of Connecticut-based Litchfield Performing Arts’ Project Poetry Live!, an integrated dance, music, poetry and visual art program for nearly 2,000 middle and high school students. Mosley’s involvement in PPL has spawned many offshoot series, such as Project Dance Live!, a program that gives 14 underprivileged children a chance to study dance intensively, and Greenhouse, part of the Litchfield Jazz Festival’s Summer Institute. Mosley has also been heading up his own dance company, Diversity of Dance, for the past six years, choreographing more than 40 works for them, and for companies such as Alvin Ailey American Dance Theater, American Ballet Theatre and Dallas Black Dance Theatre.

dtawards-3Higher Education

Barbara Allegra Verlezza

Kent State University

Kent, OH

www.kent.edu

Barbara Allegra Verlezza is back in the college classroom: Having begun her dance career at the university level, she received her BS in education/dance as well as an MFA in dance from the University of Michigan. After a full professional performing career, Verlezza has returned to higher education to serve as a full-time assistant professor at Kent State University in Ohio.

In the years in between, Verlezza performed with May O’Donnell Dance Company, dancing as a soloist from 1979 until O’Donnell’s retirement in 1988. Verlezza also performed with Sophie Maslow, Norman Walker, Joyce Trisler Danscompany and Verlezza Dance, of which her husband, Sabatino Verlezza, is artistic director. She also served on the faculty of Adelphi University for 14 years, teaching ballet, O’Donnell technique and dance history.

A defining moment for Verlezza came when Sabatino won a choreography festival that paired him with a disabled dancer. After seeing the beauty of the dancer in the wheelchair, she and her husband moved out to Cleveland to work with Dancing Wheels, a professional company of dancers with and without disabilities. “There is a host of people out there who want to live the dance experience, and either have been told they couldn’t, or just haven’t been invited,” says Verlezza. “[Dancing Wheels] redefined this definition of who should be able to dance.”

At KSU, Verlezza teaches all levels of modern and ballet, as well as a dance appreciation course, in which 120 non-majors not only participate in a lecture, but also take a different dance class each week. Verlezza also choreographs for the Kent State Dance Ensemble, where she recently incorporated a wheelchair dancer in a piece.

Since their experience at Dancing Wheels, the Verlezzas have incorporated wheelchair dance into the repertory of Verlezza Dance, and have also brought dance to organizations such as The Cleveland Clinic Children's Hospital for Rehabilitation and the Cuyahoga County Board of Mental Retardation and Developmental Disabilities.

81701-DTAWARDS-04K–12

Tad Williams

Osceola County School for the Arts

Kissimmee, FL

www.thearts.osceola.k12.fl.us

Last year, Tad Williams had the challenging task of building a dance program from the ground up, with colleague Nealya Brunson, at the fledgling magnet school Osceola School for the Arts. He has worked to develop a training program to give the Kissimmee, Florida school’s 6th through 12th graders a substantial foundation in dance and the basics of choreography, with a concentration in ballet and modern technique.

Williams teaches ballet at Osceola to students with a wide range of skill levels, academic abilities and experience. One of his taglines: “Even though talent is wonderful, dance is 80 percent work and 20 percent talent.” He believes that all students can successfully develop their abilities.

Williams himself first began studying ballet at Baton Rouge Magnet High School in Baton Rouge, Louisiana, and then danced with Baton Rouget Ballet Theatre. He majored in ballet at Texas Christian University and danced with the Louisiana Ballet before completing his MA in dance education with K–12 dance certification at Ohio State University. Since 1990, Williams has taught in the Charlotte, North Carolina, public school system; Johnson C. Smith University in Charlotte, NC; Lees-McRae College in Banner Elk, NC; and Olympia High School in Orlando, FL.

Williams has noticed an increase in the intensity and the seriousness of the students in this second year of the program. "I'm more excited about program this year," he says. "With their progress and their desire to go to the next level of dance, I'm challenged to renew and refresh myself as a teacher." He's added a senior concert, in addition to the annual fall and spring concerts, to the reflect the growing interest. DT

Photos courtesy of the teachers

Teachers Trending
Alwin Courcy, courtesy Ballet des Amériques

Carole Alexis has been enduring the life-altering after-effects of COVID-19 since April 2020. For months on end, the Ballet des Amériques director struggled with fevers, tingling, dizziness and fatigue. Strange bruising showed up on her skin, along with the return of her (long dormant) asthma, plus word loss and stuttering.

"For three days I would experience relief from the fever—then, boom—it would come back worse than before," Alexis says. "I would go into a room and not know why I was there." Despite the remission of some symptoms, the fatigue and other debilitating side effects have endured to this day. Alexis is part of a tens-of-thousands-member club nobody wants to be part of—she is a COVID-19 long-hauler.


The state of Alexis' health changes from day to day, and in true dance-teacher fashion, she works through both the good and the terrible. "I tend to be strong because dance made me that way," she says. "It creates incredibly resilient people." This summer, as New York City began to ease restrictions, she pushed through her exhaustion and took her company to the docks in Long Island City, where they could take class outdoors. "We used natural barres under the beauty of the sky," Alexis says. "Without walls there were no limits, and the dancers were filled with emotion in their sneakers."

These classes led to an outdoor show for the Ballet des Amériques company—equipped with masks and a socially distanced audience. Since Phase 4 reopening in July, her students are back in the studio in Westchester, New York, under strict COVID-19 guidelines. "We're very safe and protective of our students," she says. "We were, long before I got sick. I'm responsible for someone's child."

Alexis says this commitment to follow the rules has stemmed, in part, from the lessons she's learned from ballet. "Dance has given me the spirit of discipline," she says. "Breaking the rules is not being creative, it's being insubordinate. We can all find creativity elsewhere."

Here, Alexis shares how she's helping her students through the pandemic—physically and emotionally—and getting through it herself.

How she counteracts mask fatigue:

"Our dancers can take short breaks during class. They can go outside on the sidewalk to breathe for a moment without their mask before coming back in. I'm very proud of them for adapting."

Her go-to warm-up for teaching:

"I first use a jump rope (also mandatory for my students), and follow with a full-body workout from the 7 Minute Workout app, preceding a barre au sol [floor barre] with injury-prevention exercises and dynamic stretching."

How she helps dancers manage their emotions during this time:

"Dancers come into my office to let go of stress. We talk about their frustration with not hugging their friends, we talk about the election, whatever is on their minds. Sometimes in class we will stop and take 15 minutes to let them talk about how their families are doing and make jokes, then we go back to pliés. The young people are very worried. You can see it in their eyes. We have to give them hope, laughter and work."

Her favorite teaching attire:

"I change my training clothes in accordance with the mood of my body. That said, I love teaching in the Gaynor Minden Women's Microtech warm-up dance pants in all available colors, with long-sleeve leotards. For shoes, I wear the Adult "Boost" dance sneaker in pink or black. Because I have long days of work, I often wear the Repetto Boots d'échauffement for a few exercises to relax my feet."

How she coped during the initial difficult months of her illness:

"I live across from the Empire State Building. It was lit red with the heartbeat of New York, and it put me in the consciousness of others suffering. I saw ambulances, one after another, on their way to the hospital. I broke thinking of all the people losing someone while I looked through my window. I thought about essential workers, all those incredible people. I thought about why dance isn't essential and the work we needed to do to make it such. Then I got a puppy, to focus on another life rather than staying wrapped in my own depression. It lifted my spirit. Thinking about your own problems never gets you through them."

The foods she can't live without:

"I must have seafood and vegetables. It is in my DNA to love such things—my ancestors were always by the ocean."

Recommended viewing:

"I recommend dancers watch as many full-length ballets as possible, and avoid snippets of dance out of context. My ultimate recommendation is the film of La Bayadère by Rudolf Nureyev. The cast includes the most incredible étoiles: Isabelle Guérin, Élisabeth Platel, Laurent Hilaire, Jean-Marie Didière, who were once the students of the revolutionary Claude Bessy."

Her ideal day off:

"I have three: one is to explore a new destination, town, forest or hiking trail; another is a lazy day at home; and the third, an important one that I miss due to the pandemic, is to go to the Cathedral of Saint John the Divine, where my soul feels renewed by the sermons and the music."

Teachers Trending
Annika Abel Photography, courtesy Griffith

When the murder of George Floyd in Minneapolis last May catalyzed nationwide protests against systemic racism, the tap community resumed longstanding conversations about teaching a Black art form in the era of Black Lives Matter. As these dialogues unfolded on social media, veteran Dorrance Dance member Karida Griffith commented infrequently, finding it difficult to participate in a meaningful way.

"I had a hard time watching people have these conversations without historical context and knowledge," says Griffith, who now resides in her hometown of Portland, Oregon, after many years in New York City. "It was clear that there was so much information missing."

For example, she observed people discussing tap while demonstrating ignorance about Black culture. Or, posts that tried to impose upon tap the history or aesthetics of European dance forms.


Finally compelled to speak up, Griffith led a virtual seminar in June for the entire dance community entitled "Racism and the Dance World." Over a thousand people viewed her presentation, which was inspired in part by the mentorship of longtime family friend Dr. Joy DeGruy, an expert on institutionalized racism. Floored but encouraged by such a large turnout, Griffith quickly prepared a follow-up seminar, which also had a positive response.

"Teachers kept reaching out to me and saying, How do I talk to my students about this? They don't care about anything but steps," she says.

In response, Griffith designed a six-week professional-development program—Roots, Rhythm, Race & Dance, or R3 Dance—for teachers of any style seeking ways to introduce age-appropriate concepts about race and dance history to their students. The history of the art form, she points out, is the context in which we all teach and perform every day.

Griffith laughs, with eyes closed and fingers snapping to the side, as she demonstrates in front of a class of adults. A toddler is at her side, also in tap shoes

Annika Abel Photography, courtesy Griffith

"The white hip-hop teacher asking why Black people are trolling them on Instagram happens against the same backdrop as Tamir Rice holding a pellet gun and not surviving a confrontation with police," she says. "We try to see them as separate things, but they're really not."

R3 Dance isn't the first program Griffith, a 43-year-old mother of two, created for teachers. Since 2018, she has run the Facebook group "Dance Studios on Tap!," a space for sharing struggles and successes in the classroom, teaching tips and ideas on growing studio tap programs.

She has also offered a 10-week, online teacher training program, "Tap Teachers' Lounge," since 2018. Through lecture-demonstrations, discussions, dance classes and workshop sessions, Griffith helps studio instructors increase student enrollment, engagement and success in their tap programs.

"I had started to feel what so many professionals know from experience," she says. "There are huge gaps in people's training, and teachers don't get the benefit of individualized, process-oriented feedback about their pedagogy, especially when it comes to tap dance."

Griffith knew she could help fill in many of those gaps. She also suspected her resumé would appeal to a variety of tap teachers: Some might be impressed by her teaching credits at Pace University and Broadway Dance Center, while others would notice her experience with the Rockettes and Cirque du Soleil, or her connections to tap artists such as Chloe Arnold and Dormeshia.

Griffith also knew that many tap teachers are the sole tap instructors at their studios and have few opportunities to attend tap festivals or master classes. With her programs, they can learn exclusively online, without having to travel, while still teaching their weekly classes.

A key feature of the teacher training program is that participants submit video of exercises they've been working on and get feedback from Griffith. They're expected to implement that feedback and report back on their progress the following week. For Griffith, that accountability is a cornerstone of her pedagogy.

"Teaching is a practice—you have to put it on its feet, you have to do it," she says. "I want to give teachers the tools they need for their practice, and then talk about how that practice informs their preparation in the future, just like how you would teach anything else."

Griffith walks across the front of a studio, clapping her hands, as a large class of teen students practice a tap combination

Annika Abel Photography, courtesy Griffith

Griffith takes a similar approach for R3 Dance, which last year included 180 participants from around the world working in public schools, private studios, universities and other settings, teaching both tap and social dance. Teachers might bring an anti-racist statement they're drafting for their studio, for example, or a lesson plan or proposed changes to a college syllabus.

Griffith also gives teachers the knowledge to confidently structure and lead conversations about race in the dance industry. Participants typically come with a range of comfort levels in discussing race, says Griffith, some just beginning to comprehend race as a factor in dance. Others have read books and watched documentaries but don't know how to translate what they've learned into lessons. Some worry that starting difficult conversations with colleagues or students will get them fired or reprimanded.

But Griffith says she's been encouraged by the ways in which participants have reflected on everything from their costuming and choreography to their social media presence and hiring practices as a result of the program.

"It's been really inspiring to see more teachers taking this part of history with the gravity that it deserves—not in a way that makes them cry, but that makes them get to work," she says.

For instance, Maygan Wurzer, founder and director of All That Dance in Seattle, Washington, found her studio's diversity and inclusion program enhanced after attending R3 Dance with two of her colleagues. This includes a living document where all 19 instructors share materials that they're using to diversify their curriculum, such as lessons on tap and modern dancers of color, and asking teen students to research the history of race in various dance genres and present their findings.

These changes address a common problem that Griffith notices: Teachers give lessons on certain styles, steps or artists without providing sufficient historical context. For example, it's important to know who Fred Astaire and the Nicholas Brothers were, but it's equally vital to understand how racism contributed to the former having a more prominent place in the annals of dance history.

Griffith stands next to a large screen with a powerpoint presentation showing the name "Bill Bojangles Robinson" with some photos. She holds a microphone and speaks to a large group of students who sit on the ground

Annika Abel Photography, courtesy Griffith

"Topics like privilege and cultural appropriation need the same kind of thought and vision as teaching technique," she explains. "You have to layer those conversations, just like you wouldn't teach fouetté turns to a level-one student."

For educators who have finished one or both of her programs, Griffith is scheduling regular meetings to discuss further implementation strategies and lead additional workshopping sessions.

"As educators, we're excavators who bring out what we can in our students," she says. "But sometimes our tools get dull, and we need to keep sharpening them."

Ultimately, Griffith says that this work has been empowering not just for her students but also for her.

"Dance teachers are completely fine with being uncomfortable and taking feedback," she says. "I found an energy to do this work because there are so many people who are willing to do it with me."

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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