Each anniversary celebration of a dance company might also be considered a lesson in dance history and a study of endurance and perseverance. Thus the 50thanniversary of PHILADANCO is an opportunity to celebrate the remarkable legacy of founder and artistic director Joan Myers Brown as a source of inspiration for students, dancers and colleagues nationwide.
PHILADANCO is a resident company at the Kimmel Center in Philadelphia and kicked off its 50th season on October 5. Brown and the company will participate in the International Association of Blacks in Dance's 32nd annual conference, January 14–19, in Philadelphia. And you can catch the company throughout the U.S. in 2020, including February performances in Massachusetts and New Jersey.
For seven decades, Frank Shawl's bright and kind spirit touched thousands of dancers in the studio and in the audience.
After dancing professionally in New York City and with the May O'Donnell Dance Company, Shawl moved with Victor Anderson to the San Francisco Bay Area and founded Shawl-Anderson Dance Center in 1958. It is the longest running arts organization in Berkeley.
The two ran their own company for 15 years and Shawl-Anderson Dance Center became a home for dance for students and artists alike. It currently runs 120 classes and workshops every week for children and adults, plus artist residencies, rehearsal space and intimate performances. (If you have never visited, the Center is actually a large house converted into four studio spaces.)
Shawl taught modern classes at the studio until 1990, performed into his late 70s and took classes at the Center into his mid 80s.
As I simultaneously mourn and honor Frank—my dear friend, fellow dancer, mentor and boss—I reflect on a few lessons that I learned from him. These five ideas relate to our various roles in dance as students, performers, teachers and administrators.
This fall Hubbard Street Dance Chicago initiates an innovative choreographic-study project to pair local Chicago teens with company member Rena Butler, who in 2018 was named the Hubbard Street Choreographic Fellow. The Dance Lab Choreographic Fellowship is the vision of Kathryn Humphreys, director of HSDC's education, youth and community programs. "I am really excited to see young people realize possibilities, and realize what they are capable of," she says. "I think that high school is such an interesting, transformative time. They are right on the edge of figuring themselves out."
Recently I got to reflect on my 22-year-old self and the first modern technique classes I subbed for at Shawl-Anderson Dance Center in Berkeley, California. (Thank you to Dana Lawton for giving me the chance and opportunity to dive in.)
Today I wanted to share 10 ideas to consider as you embark upon subbing and teaching modern technique classes for the first time. These ideas can be helpful with adult classes and youth classes alike.
As I like to say, "Teaching takes teaching." I mean, teaching takes practice, trial and error and more practice. I myself am in my 23rd year of teaching now and am still learning and growing each and every class.
Dušan Tynek Dance Theatre performs ANNAas artist in residence at John Jay College. Photo by Ian Douglas, courtesy of CDI
Space to rehearse and perform. Guest teaching gigs. Relationship building. Deepened college curriculum. Financial support. These are valuable gifts to artists and college departments alike. The CUNY Dance Initiative (CDI), now heading into its sixth year, successfully embraces and supports both artists and students, dance companies and theater/arts departments. They have become a model example of public/private partnerships.
Photo by Natalie Fiol, courtesy of University of Illinois Dept. of Dance
This academic year marks the 50th anniversary of the dance department at the University of Illinois at Urbana-Champaign.
In 1959, when the dance program was part of physical education, its head Margaret Erlanger invited Merce Cunningham for a four-month residency—the first of its kind on a university campus. Since then, U of I has been known for its vibrant dance programs, faculty, facility and innovation in the field. There is much to celebrate.
Genshaft in Ratmansky's From Foreign Lands. Photo by Erik Tomasson, courtesy of San Francisco Ballet
Dana Genshaft was a beloved dancer in the San Francisco Ballet for 15 years, rising to the rank of soloist. Some of her SFB career highlights include performing lead roles in Frederick Ashton's Monotones I and Wayne McGregor's Eden/Eden and originating roles in Val Caniparoli's Ibsen's House and Mark Morris' Joyride, as well as working with Christopher Wheeldon and William Forsythe.