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These 5 Tools Keep Jen Osorio Pendleton on Top of Her Teaching Game

Photo by Jenny Nielson, courtesy of Pendleton

Talk to just about any dancer in Utah, and they'll tell you Jen Osorio Pendleton is one of the crown jewels of their arts community. As a performer she's riveting. Whether she's dancing professionally (some of her credits include SoulEscape, Odyssey Dance Theatre, High School Musical and Legally Blonde 2) or teaching a room full of eager students at SoulEscape's summer event, at Millennium Dance Complex in Salt Lake City or in studios across the country, she creates an experience through movement that people can relate to on a personal level.


Pendleton says she strives to generate choreography that relates to her students' lives in some way and gives them an outlet for their emotions. "It's really nice to challenge dancers technically and to keep their minds thinking of growth, but it gets empty if it's not related to real-life experiences," Pendleton says. "This way choreography becomes something they're speaking to, rather than something they're executing."

Photo by Jenny Nielson, courtesy of Pendleton

A good example of this is a recent piece by Pendleton inspired by the lyrics to a song about gardening ("Avant Gardner" by Gordi) as a distraction from the stresses of life. "As a coping mechanism, I'll get as busy as possible when life gets hard," Pendleton says. "But it's important to take the time to sit down by yourself and gather your thoughts and process everything." She drew connections between her temptation to overschedule and the urge dancers have to rush through intense movement. "In both life and dance, it's important to find stillness. For the viewer's eye to gather what you're doing and for the next movement to have an impact, you have to stop sometimes. So much can be said and felt in stillness amidst quick, articulate movement."

FAVORITE SNACKS: "I'll eat anything that feels light and energizing. I have a cashew sour-cream dip recipe that I love to dip veggies, crackers or some ruffle chips in, and I love a good healthy drink as well, like Kombucha or the Super Herbs Rebbl Maca Mocha."

BOOKS SHE RECOMMENDS: "The Speed of Trust, by Stephen M.R. Covey, has amazing insights on trust and relationships, and one that I've loved that's dance-based is The Creative Habit, by Twyla Tharp."

GO-TO WORKOUT: "I do Pilates at least three times a week, yoga once a week, and one of my new goals is to make it to a ballet class once a week."

SHE NEVER LEAVES HOME WITHOUT: "My wallet, my inhaler and a good lipstick or ChapStick with a tint—a good lip color always makes me feel a little more put together than I actually am."

TEACHING APPAREL: "My go-to bottoms right now are American Apparel lightweight-cotton drawstring pants. My favorite top is an Outdoor Voices slash-back crop, and my ultimate cover top is a black, mock-neck long-sleeve sweater that came from a little boutique by my house called Koo De Ker."

MUST-HAVE FITNESS SUPPLIES: "Stott rotational disks and stability cushions both challenge my deep stabilizer muscles in different ways. I use a stability ball behind my upper or lower back to access my deep core muscles or to set my femurs in the hip cavity without much tension. Then, I like to use it to challenge the strength in-between my thighs or ankles to help access the adductor and deep core muscles."

Music
Mary Malleney, courtesy Osato

In most classes, dancers are encouraged to count the music, and dance with it—emphasizing accents and letting the rhythm of a song guide them.

But Marissa Osato likes to give her students an unexpected challenge: to resist hitting the beats.

In her contemporary class at EDGE Performing Arts Center in Los Angeles (which is now closed, until they find a new space), she would often play heavy trap music. She'd encourage her students to find the contrast by moving in slow, fluid, circular patterns, daring them to explore the unobvious interpretation of the steady rhythms.


"I like to give dancers a phrase of music and choreography and have them reinterpret it," she says, "to be thinkers and creators and not just replicators."

Osato learned this approach—avoiding the natural temptation of the music always being the leader—while earning her MFA in choreography at California Institute of the Arts. "When I was collaborating with a composer for my thesis, he mentioned, 'You always count in eights. Why?'"

This forced Osato out of her creative comfort zone. "The choices I made, my use of music, and its correlation to the movement were put under a microscope," she says. "I learned to not always make the music the driving motive of my work," a habit she attributes to her competition studio training as a young dancer.

While an undergraduate at the University of California, Irvine, Osato first encountered modern dance. That discovery, along with her experience dancing in Boogiezone Inc.'s off-campus hip-hop company, BREED, co-founded by Elm Pizarro, inspired her own, blended style, combining modern and hip hop with jazz. While still in college, she began working with fellow UCI student Will Johnston, and co-founded the Boogiezone Contemporary Class with Pizarro, an affordable series of classes that brought top choreographers from Los Angeles to Orange County.

"We were trying to bring the hip-hop and contemporary communities together and keep creating work for our friends," says Osato, who has taught for West Coast Dance Explosion and choreographed for studios across the country.

In 2009, Osato, Johnston and Pizarro launched Entity Contemporary Dance, which she and Johnston direct. The company, now based in Los Angeles, won the 2017 Capezio A.C.E. Awards, and, in 2019, Osato was chosen for two choreographic residencies (Joffrey Ballet's Winning Works and the USC Kaufman New Movement Residency), and became a full-time associate professor of dance at Santa Monica College.

At SMC, Osato challenges her students—and herself—by incorporating a live percussionist, a luxury that's been on pause during the pandemic. She finds that live music brings a heightened sense of awareness to the room. "I didn't realize what I didn't have until I had it," Osato says. "Live music helps dancers embody weight and heaviness, being grounded into the floor." Instead of the music dictating the movement, they're a part of it.

Osato uses the musician as a collaborator who helps stir her creativity, in real time. "I'll say 'Give me something that's airy and ambient,' and the sounds inspire me," says Osato. She loves playing with tension and release dynamics, fall and recovery, and how those can enhance and digress from the sound.

"I can't wait to get back to the studio and have that again," she says.

Osato made Dance Teacher a Spotify playlist with some of her favorite songs for class—and told us about why she loves some of them.

"Get It Together," by India.Arie

"Her voice and lyrics hit my soul and ground me every time. Dream artist. My go-to recorded music in class is soul R&B. There's simplicity about it that I really connect with."

"Turn Your Lights Down Low," by Bob Marley + The Wailers, Lauryn Hill

"A classic. This song embodies that all-encompassing love and gets the whole room groovin'."

"Diamonds," by Johnnyswim

"This song's uplifting energy and drive is infectious! So much vulnerability, honesty and joy in their voices and instrumentation."

"There Will Be Time," by Mumford & Sons, Baaba Maal

"Mumford & Sons' music has always struck a deep chord within me. Their songs are simultaneously stripped-down and complex and feel transcendent."

"With The Love In My Heart," by Jacob Collier, Metropole Orkest, Jules Buckley

"Other than it being insanely energizing and cinematic, I love how challenging the irregular meter is!"

For Parents

Darrell Grand Moultrie teaches at a past Jacob's Pillow summer intensive. Photo Christopher Duggan, courtesy Jacob's Pillow

In the past 10 months, we've grown accustomed to helping our dancers navigate virtual school, classes and performances. And while brighter, more in-person days may be around the corner—or at least on the horizon—parents may be facing yet another hurdle to help our dancers through: virtual summer-intensive auditions.

In 2020, we learned that there are some unique advantages of virtual summer programs: the lack of travel (and therefore the reduced cost) and the increased access to classes led by top artists and teachers among them. And while summer 2021 may end up looking more familiar with in-person intensives, audition season will likely remain remote and over Zoom.

Of course, summer 2021 may not be back to in-person, and that uncertainty can be a hard pill to swallow. Here, Kate Linsley, a mom and academy principal of Nashville Ballet, as well as "J.R." Glover, The Dan & Carole Burack Director of The School at Jacob's Pillow, share their advice for this complicated process.

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Teachers Trending

From left: Anthony Crickmay, Courtesy Dance Theatre of Harlem Archives; Courtesy Ballethnic

It is the urgency of going in a week or two before opening night that Lydia Abarca Mitchell loves most about coaching. But in her role as Ballethnic Dance Company's rehearsal director, she's not just getting the troupe ready for the stage. Abarca Mitchell—no relation to Arthur Mitchell—was Mitchell's first prima ballerina when he founded Dance Theatre of Harlem with Karel Shook; through her coaching, Abarca Mitchell works to pass her mentor's legacy to the next generation.

"She has the same sensibility" as Arthur Mitchell, says Ballethnic co-artistic director Nena Gilreath. "She's very direct, all about the mission and the excellence, but very caring."

Ballethnic is based in East Point, a suburban city bordering Atlanta. In a metropolitan area with a history of racism and where funding is hard-won, it is crucial for the Black-led ballet company to present polished, professional productions. "Ms. Lydia" provides the "hard last eye" before the curtain opens in front of an audience.

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