While leading a rehearsal of Balanchine's Serenade, Stacey Calvert can't help but join in, marking at the front of the studio with a grin on her face. It's a Friday morning at the University of South Carolina—where Calvert taught and staged works for 17 years—and the dancers are preparing for the annual spring performance, Ballet Stars of New York, during which the students are joined by several New York City Ballet dancers who perform soloist and principal roles each year. Calvert had helped organize the event since 2005, bringing to Columbia, South Carolina, such dancers as Lauren Lovette, Jared Angle and Sara Mearns, who grew up in the area and trained at Calvert's mom's studio. As a George Balanchine Trust répétiteur, Calvert clearly is a master at the choreography, and as a former NYCB soloist herself—she retired in 2000 after a 17-year career—the steps are firmly embedded in her muscle memory.
Photo courtesy of Inspire School of Arts and Sciences
It was the morning of November 8, 2018, and Jarrah Myles' first-period choreography students were in last-minute rehearsals for their fall dance concert that evening. "All of a sudden my students' phones started ringing like crazy," says Myles, a teacher at Inspire School of Arts and Sciences, a Chico, California, high school whose dance and theater programs Myles helped establish in 2010. "And once they answered, I saw these tragic faces staring back at me."
Sprague and her student Katelyn Barber at the Carolina Volleyball Center in South Carolina. Photo by Brennan Booker
It's nearing 5 pm on a Sunday in February, and Queen's "Bohemian Rhapsody" reverberates through University of South Carolina's volleyball gym, where the Carolina Girls dance team is rehearsing a Nationals routine. What's most striking isn't the dancers' radiating energy or the team's precise unanimity. Instead, it's the complexity of the choreography—the weaving formations, transitions, level changes, directional shifts and moments of partnering—that seems out of place on center court. It's a scene that would make more sense in front of a mirror (not bleachers) and on marley (not wood). Yet the 28 collegiate dancers, clad in well-worn jazz shoes and official Under Armour team apparel, look right at home, happily working out the kinks in each phrase and troubleshooting lifts.
While dance teachers across the board often find themselves educating parents about the importance of dance and the arts in their children's lives, Djana Bell and her staff at Norma's Academy of Dance in Fairburn, Georgia, have to go one step further. They must teach parents that a dance career is even possible for students of color. "It has started to get better with role models like Misty Copeland, Michaela DePrince and Alison Stroming, who are showing little black girls that they can do this," says Bell. "It's our challenge to help them understand it can happen to them, as well. But that mind-set also has to start with the parents."