Win an Arts Teaching Fellowship

Pamela Plagge-Isaac, a 2012 NATF Fellow from Brooklyn Center, Minnesota

At last week’s Dance Teacher Summit, speakers emphasized the importance of feeding your craft and nurturing your passion. Don’t let your enthusiasm for self-development fade in the wake of the event. Keep those creative juices flowing, and apply to the Boston Arts Academy’s fellowship program for public arts high school teachers.

Hosted by the BAA’s Center for Arts in Education, the National Artist Teacher Fellowship Program will provide as many as 20 grants of $5,500 to selected arts teachers from all disciplines.

Fellows design their own project to enhance their artistry, which can include taking courses, attending workshops or festivals, taking on a residency, completing an independent study project or something totally different. The funds can be used to cover everything from accommodations and travel to art-making equipment to childcare during the program. Plus, a grant of $1,500 is awarded to each fellow's school to support activities in the classroom.

Applications will be available online by September 27; due November 18. Interested teachers must provide a letter of intent detailing specific plans for the grant, so start planning now. For more information, visit bostonartsacademy.org/center/natf.

Technique
Nan Melville, courtesy Genn

Not so long ago, it seemed that ballet dancers were always encouraged to pull up away from the floor. Ideas evolved, and more recently it has become common to hear teachers saying "Push down to go up," and variations on that concept.

Charla Genn, a New York City–based coach and dance rehabilitation specialist who teaches company class for Dance Theatre of Harlem, American Ballet Theatre and Ballet Hispánico, says that this causes its own problems.

"Often when we tell dancers to go down, they physically push down, or think they have to plié more," she says. These are misconceptions that keep dancers from, among other things, jumping to their full potential.

To help dancers learn to efficiently use what she calls "Mother Marley," Genn has developed these clever techniques and teaching tools.

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Teachers Trending
Alwin Courcy, courtesy Ballet des Amériques

Carole Alexis has been enduring the life-altering after-effects of COVID-19 since April 2020. For months on end, the Ballet des Amériques director struggled with fevers, tingling, dizziness and fatigue. Strange bruising showed up on her skin, along with the return of her (long dormant) asthma, plus word loss and stuttering.

"For three days I would experience relief from the fever—then, boom—it would come back worse than before," Alexis says. "I would go into a room and not know why I was there." Despite the remission of some symptoms, the fatigue and other debilitating side effects have endured to this day. Alexis is part of a tens-of-thousands-member club nobody wants to be part of—she is a COVID-19 long-hauler.

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Teachers Trending

Annika Abel Photography, courtesy Griffith

When the murder of George Floyd in Minneapolis last May catalyzed nationwide protests against systemic racism, the tap community resumed longstanding conversations about teaching a Black art form in the era of Black Lives Matter. As these dialogues unfolded on social media, veteran Dorrance Dance member Karida Griffith commented infrequently, finding it difficult to participate in a meaningful way.

"I had a hard time watching people have these conversations without historical context and knowledge," says Griffith, who now resides in her hometown of Portland, Oregon, after many years in New York City. "It was clear that there was so much information missing."

For example, she observed people discussing tap while demonstrating ignorance about Black culture. Or, posts that tried to impose upon tap the history or aesthetics of European dance forms.

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