Upload Your Best Choreography Video for a Chance to Win $15,000!

A moment from Talia Favia's 2014 A.C.E. Award-winning piece

It’s getting close to that time again—time for our Dance Teacher Summit, this year to be held in Long Beach, California (mmm, beach), July 28–30. And if you’re a perennial Summit attendee—or if you’re a budding choreographer—you know that one of the most important parts of the Summit is the Capezio A.C.E. Awards. Fifteen finalists, selected from an initial pool of hundreds, get to present their choreography and compete for a $15,000 production budget to stage their own show. (Runners-up receive $5,000 and $3,000 to go toward their own show.)

Last year’s winner, Talia Favia, will have her show—The Difference Between Actions & Words—on July 21 at The Center Theater in Long Beach. And the list of past award-winners reads like a dream: Erica Sobol, Melinda Sullivan, Al Blackstone, Peter Chu, Travis Wall.

So what are you waiting for? We know you’ve got a piece you’ve been honing, the one you’re really proud of. Submit your video here before June 1 to compete. Check out our rules and regulations first, but then get to it—we can’t wait to see your submission! (You can check out every 2015 A.C.E. Award entry that’s been uploaded here.)


Photo by Kyle Froman

Health & Body
Getty Images

Talar compression syndrome means there is some impingement happening in the posterior portion of the ankle joint. Other medical personnel might call your problem os trigonum syndrome or posterior ankle impingement syndrome or posterior tibiotalar compression syndrome. No matter what they name it—it means you are having trouble moving your ankle through pointing and flexing.

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Scott Robbins, Courtesy IABD

The International Association of Blacks in Dance is digitizing recordings of significant, at-risk dance works, master classes, panels and more by Black dancers and choreographers from 1988 to 2010. The project is the result of a $50,000 Recordings at Risk grant from the Council on Library and Information Resources.

"This really is a long time coming," says IABD president and CEO Denise Saunders Thompson of what IABD is calling the Preserving the Legacy and History of Black Dance in America program. "And it's really just the beginning stages of pulling together the many, many contributions of Black dance artists who are a part of the IABD network." Thompson says IABD is already working to secure funding to digitize even more work.

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Studio Owners
The Dance Concept staff in the midst of their costume pickup event. Photo courtesy of Dance Concept

Year-end recitals are an important milestone for dancers to demonstrate what they've learned throughout the year. Not to mention the revenue boost they bring—often 15 to 20 percent of a studio's yearly budget. But how do you hold a spring recital when you're not able to rehearse in person, much less gather en masse at a theater?

"I struggled with the decision for a month, but it hit me that a virtual recital was the one thing that would give our kids a sense of closure and happiness after a few months on Zoom," says Lisa Kaplan Barbash, owner of TDS Dance Company in Stoughton, MA. She's one of countless studio owners who faced the challenges of social distancing while needing to provide some sort of end-of-year performance experience that had already been paid for through tuition and costume fees.

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