Haley Hilton graduated from Brigham Young University with a BA in News Media. She is from Salt Lake City, Utah, where she trained in ballet, jazz, contemporary, and hip hop. Haley taught at Center Stage Performing Arts Studio for four years, and has danced professionally with Odyssey Dance Theater. She interned for Dance Spirit summer of 2017. Haley covers the What my Teacher taught me, Chatroom, Face to Face, Teachers' Tools, Technology, List and Recommended beats. Haley also edits Ask the Experts and Ask Deb.
Martha Graham Dance Company created The EVE Project to mark the upcoming 100th anniversary of U.S. women's right to vote. The female-focused initiative includes new works, as well as the company's classic repertoire highlighting Martha Graham's heroines and antiheroines. In April, the company is showing the newly reconstructed Circe, Graham's 1963 interpretation of the Greek myth, at New York City Center. Dancing the role of Circe is company member So Young An. Here, she shares thoughts on The EVE Project and how she's approaching her role in Circe, the 57-year-old work that invites audiences to consider pressing conversations about womanhood.
Jill Wolins (center, in pink). Photo courtesy of Wolins
"The best judges come from the competition circuit," says Jill Wolins, who trains adjudicators for the Star Dance Alliance and Starpower National Talent Competition. "If you competed as a kid, you have proper respect for how hard these dancers work. It's not easy to do what they're doing."
Wolins began judging competition events in 2001 in between dancing as a Rockette and performing on Broadway/national tours of The Producers, The Will Rogers Follies, Sweet Charity and Grease. And, yes, she came up on the circuit herself, before earning a BFA from the State University of New York at Buffalo.
Photo courtesy courtesy of NY Studio of Irish Step Dance
Growing up, Melissa Weigel spent most of her time at Irish step dance competitions. She was a regular at regional, national and world events, representing her hometown studio, located just outside of Chicago. But by the time she graduated from college, she was ready to hang up her dancing shoes. "Dancing beyond college was a full-time commitment, and I wanted to balance my love of dance with my nondance career." She took a step back from competitive performing, pursued a career in conservation investments and enrolled in classes at The New York Studio of Irish Step Dance. She now teaches for the studio one night a week and enjoys the challenges of working with adult recreational dancers in an advanced/championship class, many of whom have backgrounds like her own.
"We have a lot of dancers who used to dance growing up and are looking to get back into it as an adult, as well as some who are picking it up for the first time," she says. "They are all here taking classes to have fun and to get some great exercise."
In February, San Francisco Ballet principal Dores André will originate the 11th role of her 15-year professional career with Trey McIntyre's highly anticipated new work, The Big Hunger. The work is inspired by the big hunger/little hunger philosophies of the bushmen in the Kalahari desert. "Little hunger" represents the superficial desires we focus on during day-to-day life, while "big hunger" represents what remains beyond the little hunger. "It's about the deeper meaning we are all looking for in life," André says. "It's not about our careers or a new pair of shoes or any other robotic human want, it's about the search for something bigger than all of us."
It's December, people! That means it's time to put together your wish list for this holiday season. We did some brainstorming and came up with the best possible dance teacher list we could think of. Every dance teacher/studio owner can relate! Let us know what else you're asking for!
2019 has been rife with fantastic holiday songs that are simply BEGGING to be choreographed to. From Pentatonix to Kacey Musgraves, these bangers are the perfect match for your upcoming holiday-themed jazz class. Use each song for different elements of class (warm-up, across the floor, combo, etc.), or have your students get in groups and assign each one a different song from the list to choreograph to. The options are endless, but the general feeling of joy will be the same.
Photo by Jacqueline Chang, courtesy of Ailey Extension
Marshall Davis Jr.'s introduction to tap dance began at 10 years old at African Heritage Cultural Arts Center, where his father is director, in Miami, Florida. Training began in sneakers and dress shoes that Davis Jr. did his best to get sound out of. "My father was reluctant to invest in tap shoes, because he thought it was likely I would change my mind about dancing," he says. But it didn't take long before Davis Jr.'s passion for tap became undeniable, and his father bought him his first pair of tap shoes. Just one year later, Davis Jr. became the 1989 Florida winner for the Tri-Star Pictures Tap Day contest, a promotion for the movie Tap, starring Gregory Hines and Sammy Davis Jr. Through that experience, a new tap-dancing future was opened.
When Alicia Burghardt entered Dean College in Massachusetts as a freshman dance major, it hadn't occurred to her that the Boston Celtics had a dance team. A competition kid with aspirations for Broadway, Burghardt never imagined herself as an NBA dancer. But by the time she was finishing her senior year, she'd not only joined the Celtics Dancers, she was choreographing a number for a major playoff game. And after finishing her rookie year, surrounded on that TD Garden parquet floor by uproarious fans, she couldn't help but stay for another. "It's unbelievable performing for Boston fans," she says. "They're so loyal to their team. It could be third quarter, down 20 points, and they're still cheering."