Barbara Bashaw in Thompson Hall of Columbia Teachers College. Photo by Kyle Froman
Barbara Bashaw has always been a pioneer. Since kicking off her career in education by building a dance program from the ground up at an elementary school in Brooklyn, she's gone on to become an inspiring force in teacher training. Now, as director of the new doctoral program in dance education at Columbia University's renowned Teachers College and as executive director of the even newer Arnhold Institute for Dance Education Research, Policy & Leadership, she's in a position to effect change nationwide.
"The study of dance education is a young field," Bashaw says. "Music and visual arts are far ahead of us, in terms of the research that has been done, as well as the foothold they have in education. Anywhere education is being discussed, we want to put dance on the table—and that means developing researchers and championing research that will push public policy." In a climate where arts education feels both more endangered and more necessary than ever, Bashaw is ready to blaze a trail.
Karen Hildebrand (center) with 2019 DT Awardee Marisa Hamamoto and members of Infinite Flow. Photo by Joe Toreno
Every year in our summer issue, we honor four dance educators for their outstanding contributions to the field. Recipients have included studio owners, professors, program directors, K–12 teachers and more, whose specialties run the gamut of dance genres.
We need your help to identify this year's best in the profession. Do you have a colleague or mentor who deserves to be recognized as a leader and role model?
Photo by Jenny Studios, courtesy of Utah Dance Artists
Running a dance school used to involve a seemingly endless stream of paperwork. But thanks to the advent of software tailored specifically for dance studios' needs, those hours formerly spent pushing papers can now be put to better use.
"Nobody opens a dance studio because they want to do administrative work," says Brett Stuckey, who leads Akada Software's support team. "It's our job to get you out of the office and back into your classroom."
We talked to Stuckey about how a studio software program can streamline operations, so you can put your energy toward your students.
Susan Pilarre has been closely tied to the School of American Ballet for nearly her entire life.
From her first class there at age 11 through her 16-year career with its affiliated company, New York City Ballet, Pilarre learned directly from the great choreographerGeorge Balanchine, absorbing the details of his unique style. Sensing her innate understanding of his principles, Balanchine encouraged her to teach; she joined SAB's permanent faculty in 1986. Since then, she has become recognized as an authority on Balanchine's teachings, instilling SAB and NYCB's distinctive speed, clarity and energy into generations of dancers.
Here, Pilarre shares how the specifics that Balanchine insisted upon in class contribute to the strength, beauty and musicality that define his style—and dispels common misconceptions.
To celebrate Valentine's Day in the most dance-centric way possible, we sat down with five powerhouse dance-teaching couples to talk about their love stories. What do they admire about each other? What are their couple goals and their teaching philosophies, and how do they make their relationships work, especially when they work together? Get ready to swoon!
Watching through the studio windows—or even from the sidelines in a Mommy and Me class—can surely make parents wonder what exactly our little tykes are getting out of weekly ballet lessons. After all, they're repeating the same things class after class. Are they bored? Are they progressing? Why are they doing that again?
The oldest ballet competition in the world doesn't have the funds for the show to go on: The 29th edition of the Varna International Ballet Competition, scheduled for July 12–30, 2020, has been postponed indefinitely.
The eight 2020 Prix de Lausanne prize winners. Photo by Rodrigo Buas, courtesy of PdL
The 2020 Prix de Lausanne has officially come to a close after a thrilling week of classes, coaching sessions, competition performances and networking forums. The annual competition, which was live streamed around the world and watched over 1.1 million times, gave 77 dancers an opportunity to perform and take class in front of an international panel of judges. In addition to a classical variation, candidates had to master a contemporary solo by Mauro Bigonzetti, Jean-Christophe Maillot, Cathy Marston, Wayne McGregor, Heinz Spoerli or Richard Wherlock.
Photo by Wendy Turner, courtesy of Boulder Jazz Dance Workshop
This summer, as for the past 42 years, students will flock to Colorado to immerse themselves in jazz dance training and performance. High school and college students, professional artists and teaching artists alike will find opportunities for growth and connection.
The Boulder Jazz Dance Workshop honors tradition while also embracing innovation and change within the jazz dance genre and dance field in general. Before executive/artistic director Lara Branen began the Workshop, she and her co-founder Michael Geiger had studied at separate times with San Francisco jazz teachers Ann Garvin, Linda Heine and Ed Mock. Later Lynn Simonson became their primary inspiration. Each year Branen invites new guest artists to join long-term faculty who devotedly return year after year, including: Wade Madsen (modern dance), Nancy Cranbourne (jazz), Christy McNeil Chand (jazz) and Meghan Lawitz (contemporary). This summer will include lyrical, musical theater rep and a heels class, in addition to the program's regular offerings.
Pointe shoes are high-maintenance. New pairs are not only expensive, but time consuming. So it's no surprise that many dancers try to extend the lifespan of each shoe. But did you know that dancing on dead shoes can increase your risk for a variety of injuries?