Reflections in Verse and Prose

The Beauty Within a Beast or Phantom: Two Love Stories

2012-02-13T21:21:00.000-08:00

The romanticism of love triangles has always been the driving force in many forms of literature and films. In modern books, such as Twilight, two opposites love the same girl. The vampire, Edward Cullen, and the werewolf, Jacob Black, are drawn to Bella, a neutral force in the story. That is how most love triangles work. There is a neutral party (the girl), a light side (the handsome man), and the darkness (the beast). Two of the most famous pieces of literature that contain love triangles are, in fact, extremely similar. These spellbinding pieces are Beauty and the Beast and Phantom of the Opera.

In Beauty and the Beast, the characters involved are Belle, Beast, and Gaston. Belle is a unique girl during the time frame in which she is portrayed. She is beautiful and captivates most men, but she prefers spending her time reading a book than becoming a proper lady and wife. Gaston is the “perfect man”; the “pretty boy.” He is the man that all the girls want to marry, but he sets his eyes on the girl who plays hard to get. He drinks, shoots, and hunts, everything a man was expected to do at this time. His goal is to “tame” Belle so she will be a diligent housewife, when that is exactly what Belle doesn’t want. However, Gaston is secure financially, good-looking, and well-respected. He is desirable, but his ego is what truly makes him ugly.

Beast personifies darkness. Likewise, Gaston personifies light. Beast truly is the exact opposite of Gaston: ugly on the outside, beautiful on the inside. In fact, Beast was turned into an ugly beast because at one point he was similar to Gaston. As time goes on, Beast believes he will be doomed to remain a beast forever. When Belle enters his castle, he hopes that she will love him, but his anger clouds his manners and his judgment. He falls deeply in love with Belle, but Gaston, who also wants Belle, plans to stop him.

In Phantom of the Opera, the three characters that form the love triangle are Christine, Raoul, and Phantom. Christine is a girl with a fatherless past. When her father passed away, he sent her to an opera house, promising her he would send an “angel of music.” She waited, and soon a man came and taught her to sing; she believed he was her angel of music. Soon her singing was amazing, but she still had no idea who the man was or what he looked like. The mysterious man was actually Phantom, who wanted to be near her because he loved her. After her first solo in front of an audience, she finds her lost love and childhood friend, Raoul. Phantom, who is jealous, finally reveals himself, wearing a mask to cover his face.

Raoul is the light in this musical. In fact, many of the lyrics reference him as so. He is perfect, good-looking, rich, and everything else that is desirable in a man. Christine has always loved him and was happy when he decided to donate to the opera house. In the middle of all the action, he proposes to Christine, and they plan to wed. Phantom, on countless occasions, tries to kill the young lover but is unsuccessful.

Phantom is, of course, the darkness. He had been tortured as a child and believes that humans, in general, are evil. Once he escaped to the opera house, he made it his “artistic domain,” writing beautiful masterpieces that he heard preformed by many talented singers. He lived for the day when Christine, his only love, would sing one of the songs he wrote. He hides himself from her, hoping she will fall in love with his voice.

There are a few differences in the plots of the stories. In Phantom of the Opera, Phantom’s singing adds to the character of Phantom. In Beauty and the Beast, there is no significant singing. Phantom was born with permanent scars and hides his face throughout the musical until the end. Phantom is forced, whether he likes it or not, to live with those scars for the rest of his life. In Beauty and the Beast, Beast looks the way he does because of a magic spell, and he shows himself to Belle in the beginning. Once Belle kisses Beast, he becomes a prince again, and the ugliness disappears. While Raoul and Gaston are very similar, Raoul is compassionate and truly cares for Christine. Gaston, however, has a huge ego and believes women are meant to be stuck at home. Nevertheless, the biggest difference is the choice that the girl makes. In Phantom of the Opera, Christine chooses Raoul. In Beauty and the Beast, Belle chooses Beast.

As for the similarities, the characters are almost identical. The girls, Christine and Belle, are both drawn to the darkness. They love the fact that darkness is mysterious. They both learn to look past ugliness and see something beautiful. They are both portrayed as being sensual and sexy. They draw both sides of the spectrum to them: the dark side and the light side. They are equally ambitious. Christine strives for a singing career, which is helped by Phantom’s musical talent. Belle does not wish to be like the other girls but prefers striving to be an educated women rather than becoming a stay-at-home mother. She discovers she can be herself when around Beast. Both girls do not really have the choice to leave until the “beast” gives them permission to do so. Christine fears for her life if she leaves. In the beginning, Belle also fears her life, but she must serve beast as a “prisoner.”

The beasts - Phantom and Beast, are practically the same person. They both have a horrible past, filled with pain. They hide from civilization, one in a castle and one under an opera house, both of which are under their control. They both personify darkness. Phantom, in fact, sings about it in many of the musical pieces performed throughout the musical. They both love the girl from the moment they first lay their eyes on their pure and innocent faces. However, it takes them quite a while to realize it. The only reason they meet the girl in the first place is because of each girl’s father. When Christine’s father dies, and she is sent to the opera house, she first hears Phantom’s voice. When Belle’s father tries to find refuge in the castle, he is thrown into the dungeon. Belle saves him, but sacrifices herself in his place.

Another important similarity is the role of the rose. In Phantom of the Opera, Phantom gives Christine the rose as a sign that she had a wonderful performance. In the end, there is a rose on her grave with the engagement ring attached to it. In Beauty and the Beast, the rose is enchanted and is key to the entire plot of the story because it determines Beast’s fate. If Belle falls in love with him before the last petal of the rose has fallen, than Beast will become human again.

Once the story has ended,there is a lesson that the beasts learn and one that we all realize - That something ugly on the outside can be beautiful on the inside. It just requires the beholder to look deeper.

Remembering Deceased Loved Ones on Valentine's Day and Every Day

2012-02-11T18:04:00.000-08:00

My most viewed post is Honoring a Dead Father on Father's Day. And I am glad that it has helped the people who have commented on it. But you can choose to honor your father, mother, sibling, friend, spouse etc on any holiday or special day. Valentine's Day, for example, is a special way to celebrate our love for them. Death ends a life, but it does not end the relationship we have with our loved ones who have died. The bonds of love are never severed by death, and the love we shared will never die either.

Whether we are facing Valentine's Day, Mother's Day, Father's Day, Memorial Day, an anniversary or birthday, or any other special day of our own choosing, we can immerse ourselves in the healing power of remembrance. We can go to a special place, read aloud, or listen to a favorite song. We can celebrate what once was and is no more.

Personal grief rituals are those loving activities that help us remember our loved ones, and give us a sense of connectedness, healing and peace. Creating and practicing personal grief rituals can also help us release painful situations and unpleasant memories, freeing us to make our memories a positive influence in our lives.

Here are a few suggestions to keep the memory of those close to us alive all the time.

If you're a writer, write your thoughts. It could be an article, an anecdote, a story, a poem, a song, a letter, an obituary or a eulogy. If you don't want to write for someone else, keep a private journal and write about your feelings as you journey through your grief.

Buy a very special candle, decorate it and light it in honor of your loved one.

Purchase a book - perhaps a children's book - on coping with the loss of a loved one, and donate it to your local library or school. Ask the librarian to place a label inside the front cover inscribed "In memory of [your loved one's name]."

Plant a tree, bush, shrub, garden or flower bed as a permanent growing memorial to your beloved. Mark the site with a memorial plaque, marker, bench or statue.

Memorialize your beloved in cyberspace by lighting a virtual candle at Light a Candle Online.

Write a special note, letter, poem, wish or prayer to your loved one , go outside, attach the paper to a balloon and let it go - or place it in a vessel and burn it, and watch the smoke rise heavenward.

If you are harboring bad feelings or regrets, gather symbols to represent those hurtful or painful situations, events, or feelings from your past, place them in a container and hold a private burial or burning ceremony, saying goodbye and releasing them as you do so.

Ask relatives, friends, co-workers and neighbors to gather their contributions, and put together a scrapbook or box of memories containing mementoes, letters and photographs of your loved one.

Celebrate the life of your loved one by continuing favorite traditions or eating favorite foods.

Select a Valentine card that you wish your beloved would have picked for you, and mail it to yourself.

Give yourself a gift from your loved one that you always wished he or she would have given you, and think of your beloved whenever you use it or wear it.

When the time is right (and only you will know when) tell your favorite story about the loved one. It could be a funny story or one that illustrates his/her character. Pick the right place and persons to share the best with, and be alert to inject it as a normal and natural extension of the conversation.

Periodically, use a favorite recipe that your loved one liked to eat or cook. You could also serve his/her favorite dessert with a reminder of what the conversation was like when it was served.

Plant a memory garden or a tree, bush, or flowers that bloom each year and are referred to as "Sarah's Garden," "Mary's tree" or Joe's plant." Choose items that were the favorites of your loved one. If possible, put them in a space so that when you look out your window,

Use your loved one's first name each day. You can do this by choosing to talk to him/her each day, either silently or out loud, or you can tell others that you hope they will feel free to use the name and talk about the loved one when referring to them would be natural in a particular conversation.

At holidays, birthdays, summer cookouts, or anniversaries find a way to symbolically recognize the presence of the loved one. Use a particular utensil when cooking; display a special item that belonged to the deceased; light a candle in home and/or in church; display something the person made or painted; make a toast in which the person is mentioned by name or hang a particular ornament or object that characterizes the loved one.

Do something to carry on the charitable interest your loved one had in a particular organization or cause. It could be things like the preservation of some part of the environment, the sponsorship of a child in an orphanage, helping the homeless, or volunteering at a soup kitchen. You may also want to consider establishing a scholarship at a high school or college.

Play your loved one's favorite song or a song from his/her favorite entertainer or television show. It can also be useful to find music that was popular earlier in your life that can bring up old memories of you and the loved one.

On an anniversary or other special day, ask your best friend to take a trip to a favorite spot that you used to go to with your loved one. While there discuss the past and the memories this visit evokes. When you are further along with reinvesting in life, you may wish to make this trip by yourself, and choose to talk to your deceased loved one about the good times you had there.

Make a collage of pictures of the loved one that can be framed and placed in your home and/or office. If you possess a specific artistic talent (or you could hire someone) draw cartoons or symbols that illustrate the interests, character, or skills of the person and include them in the collage. Include a sample of the deceased's work, if appropriate.

Have a plaque made with your loved one's name engraved on it with a favorite saying (yours or one your loved one liked). Inquire at your local college or university, if he/she was associated with it, if they would accept a donation of a bench for the campus with your loved one's name on it. Or purchase a bench and place it in your garden area or at a cemetery garden.

The way you remember your loved one is only limited by your creativity. So take into consideration what you learned from your loved one, how he/she helped others, and how you feel he/she would like to be remembered. Ask others you trust for their input. Then decide how you will keep the memory of your loved one alive every day.

What Should You Wear to a Ballroom Dance Class?

2012-02-10T19:53:00.000-08:00

By Pam Wood

I am often asked by students “what should we wear to class?” Here are a few tips for new dancers.

Attire: Instructor responses may vary on this but my rule of thumb is cool, casual & comfortable. Some dance class venues are very cold; some are quite warm. If you are cold natured, bring a sweater the first night until you see what the temperature is like. This is a social outing so if you are trying to impress someone I’d leave the frayed jeans at home. But, if its summertime and you are attending a dance workshop in a warm room with no AC, then shorts can be acceptable.

Shoes: When you are just starting out you want all the help and stability you can get. Ladies, I do not recommend wearing spiky open toed/heel shoes for your beginner lessons. You haven’t discovered your “dance balance” yet and exceptionally high heels might make things worse. What I like to do with bridal couples is to get their choreography under their belt while wearing more practical shoes; then graduate to the wedding shoes for the last couple of lessons.

Chances are you will step on toes or be stepped on which is why I recommend closed toe shoes for beginner lessons. Avoid flip flips or shoes that you slide into (i.e. for ladies this includes clogs, mules, etc.). A secure shoe that can’t fall off your foot is best. You sure don’t want to risk injury on the first lesson. A rubber soled shoe, like a tennis shoe is really not ideal as it may cause you to stick on the floor. A leather sole is best and should allow you to “slide” a little.

You don’t need to purchase expensive dance shoes or “practice shoes” unless you know for sure you are going to continue with this new and exciting time on the dance floor. A street shoe will be fine for beginners. As you progress and you want to purchase a dance shoe you can expect to spend anywhere from $50-150. Several of my students have taken a pair of their own shoes to a shoe repair store and have had a dance sole put on the shoe. This is generally pretty budget friendly at your local shoe store. But, remember, they are now dance shoes, so protect them – don’t wear them outdoors or get the soles wet.

Accessories: It’s good to bring a bottle of water with you to class to keep hydrated. If you are dancing an hour of high energy East Coast Swing you’ll probably need it. Bring a towel if you tend to perspire. Those who know me well know I don’t go anywhere without my sweat towel! I don’t glisten when I teach and dance, I down right sweat – so have one handy. If you do tend to get overheated while dancing, you might want to bring along an extra t-shirt and change into if needed. If not just for yourself, then for your dance partner.

Social Dances: Locally most of the ballroom/social dance venues are hosted by local USA Dance chapters (www.usadance.org) have a “dressy casual” dress code. This translates to no jeans. Ladies typically wear dresses, skirts, or slacks and a dressy blouse. Men don’t generally need a tie or jacket (unless indicated) but a nice button down shirt or seasonal sweater is nice. Be sure to inquire about the dress code of a dance event prior to arrival. It may be black tie or cocktail attire so don’t be caught off guard by arriving in a sundress when everyone else is wearing formal attire.

There are 3 USA Dance chapters in our area: Salisbury and Easton, Maryland and Dover, Delaware. Check them out!

Other questions? Feel free to contact Pam at www.ballroommadesimple.com.
You can follow her on Twitter @ballroomdanzr and on Facebook at
www.facebook.com/ballroommadesimple.

Using Facial Expressions in Dance

2012-02-09T18:54:00.000-08:00

When you are dancing, you are usually busy concentrating on your technique, body placement, timing, and other dancers who are performing with you. But have you ever stopped to think about what your face is doing? Facial expression adds to a performance, but how should you look? Here are a few tips:

Dance in Character

You play a role when you dance. Whether you're portraying Gisselle or just dancing to music, you need to act a certain way. This is where acting ability comes in handy. During rehearsals, ask yourself how your character would feel during a particular dance number. Would he or she be happy, sad, joyous, jealous, angry, etc.? How does your character react to other characters? Let the music be your guide. Is it upbeat, romantic, inspirational? Create a mood and let your face show it.

Really think about the character you are playing before you dance. Then, be that character when you are dancing, facial expressions and all.

Try to Relax

Dance is not easy, and there is a lot to think about. Spend your rehearsal time perfecting your movements and know the choreography backwards and forwards. you’ll probably be less nervous when it’s time to perform and have a more natural look on your face. Practice using facial expressions in the mirror to become more comfortable with how your face appears.

Use a Partner

Sit on a chair in front of a partner. Take turns performing facial expressions without sound. Do not tell your partner what your expressions mean. Have your partner guess what your dance is about.

See Yourself Through Photos

Have someone take a close up picture of you demonstrating different facial expressions. Put the printed photos in a book or journal entitled" I dance with my face".

Use Your Eyes

The most important part of your face is your eyes, especially from the stage. It may seem obvious, but make sure that they’re open and active when you’re on stage. Don’t just let them wander here and there, unfocused because your mind is on the choreography. Start using them in rehearsal, focusing your gaze with deliberation rather than apathy. When your gaze has direction, your entire face has direction. This will give your dancing a sense of intent and conviction. Look out over an audience and make brief contact. You don't want to have constant eye contact because it detracts from your performance.

If you don’t have a lot of time to learn new dance movements prior to a performance, try to remember to look pleasant when the curtain goes up. That way, if you make a mistake, the audience will be looking at your smile and not your botched dance moves.

When it’s time to perform, think of how lucky you are to be a dancer and have this experience. You may be nervous, but you get to dance… and others would love to be in your shoes at this very moment. If you love to dance, let that shine through.

Pride of Paris: Josephine Baker: Dancer, Singer and Actress

2012-02-08T19:05:00.000-08:00

“I wanted to be more like Josephine Baker, because she didn’t, she seemed like she just was possessed and it seemed like she just danced from her, her heart, and everything was so free“ - Beyonce on Good Morning America.

Josephine Baker was born in a poor, black slum in East St. Louis, Illinois, on June 3, 1906, to 21 year-old Carrie MacDonald. Her mother hoped to be a music hall dancer; meanwhile, she was forced to take in laundry. She was of mixed ethnic background: Indian/Negro (as they would say in 1906) or Native American/African American (as we would say today). She descended from Apalachee Indians and black slaves in South Carolina. Olive-skinned Eddie Carson, her father, was a vaudeville drummer and was not seen much by his daughter.

"Because I was born in a cold city, because I felt cold throughout my childhood ... I always wanted to dance on the stage," Josephine offered as explanation of why she was determined to be a dancer (in the first of her five autobiographies). From watching the dancers in a local vaudeville house she "graduated" to dancing in a touring show based in Philadelphia (where her grandmother lived) at age 16. She had already been married twice: to Willie Wells (for a few weeks in 1919) and to Will Baker (for a short time in 1921). She took her second husband's name as her own — Josephine Baker.

Josephine joined the chorus line of the touring show of Shuffle Along in Boston in August 1922. The comedy was produced in Manhattan by a renowned African American songwriting team, Noble Sissle and Eubie Blake; it was the first all-black Broadway musical. Subsequently, Josephine was in New York for the Chocolate Dandies (at the Cotton Club) and the floor show at the Plantation Club in Harlem (with Ethel Waters). She drew the attention of the audience (at the end of the chorus line) by clowning, mugging, and improvising. With her long legs, slim figure, and comic interludes, her special style as an entertainer evolved.

Baker Goes to Paris

The Parisian cultural scene was ready for things African in the 1920s. African American music had penetrated to such European classical composers as Debussy, Ravel, and Stravinsky since at least 1908. But Parisians became aware of jazz only in the 1920s (the first jazz band in Paris played in 1917). African art and sculpture was one of the influences on the Cubist movement and Art Deco.

Josephine was the favorite of artists and left-intellectuals such as Picasso, Pirandello, Georges Roualt, Le Corbusier, e. e. cummings, Jean Cocteau, Aleksander Wat, and Ernest Hemingway (who thought she was "the most beautiful woman there is, there ever was, or ever will be," in hyperbole). But Josephine had not been to Africa and she knew nothing of the culture there, at that time. She had a relatively small repertoire of dance steps ("Charleston knock-knees for eight counts, camel-walk eight counts") and a small vocal repertoire, too (her keynote song, "J'ai deux amours," was repeated over and over again in various contexts); but the core materials were absolutely perfect with her body style and fitted to the era.

Josephine endured a breach-of-contract lawsuit about her abandoning Le Revue Nègre for a star billing at the Folies-Bergère in 1926. (The legal case was one of many in her life.) She was 20 when she was a sensation in the "jungle" banana dance: naked but for a string of rubber bananas around her waist. Soon banana-clad Josephine dolls were selling like hot cakes! Feet stomping, elbows flapping, knees bent, she would bump and grind a Charleston, puffing out her cheeks and crossing her eyes and always having a perpetual grin on her face. She was likened to a snake, a giraffe, and a hummingbird. Also, in 1926, she recorded her throaty voice for the first time. Magazine covers and posters added to her fame.

In December 1926 she opened her own nightclub in Pigalle called Chez Joséphine (later moved to rue Francois I, a more fashionable spot). She became a chic, affluent woman with expensive idiosyncrasies, like parading her pet leopard down the elegant Champs Elysées. She went on a world tour for two years in 1928–1930, and received thousands of love letters. In France she was called simply "Joséphine" or "La Baker." In 1937 Josephine officially became a French citizen.

A Heroine in World War II

Josephine married Jean Lion, a French industrialist, but the two were divorced by 1940, during the early months of World War II (1939–45; a war in which German-led forces fought against the United States and European nations). When Germany occupied Belgium, Josephine became a Red Cross nurse, watching over refugees, or those forced to flee their own countries. When Germany finally occupied France itself, she worked for the French Resistance (the secret army that fought against the occupying German forces) as an underground courier, transmitting information "pinned inside her underwear" to Captain Jacques Abtey. She was awarded the Croix de Guerre and the Légion d'Honneur by General Charles de Gaulle and the Rosette of the Résistance.

After spending years avoiding the United States, Josephine returned in August, 1963 to attend the civil rights march in Washington, D.C., a march that pushed for equal rights among all races. In October of that year she made a trip to Manhattan to sing, dance, and "fight bias," as The New York Times said.

Describing herself, Joséphine Baker said "I have never really been a great artist. I have been a human being that has loved art, which is not the same thing. But I have loved and believed in art and the idea of universal brotherhood so much, that I have put everything I have into them, and I have been blessed" More than that, Josephine Baker pulled herself out of poverty and the trauma of humiliation and made herself an international star, principally due to her love of dancing.

She died in her sleep of a stroke on April 12, 1975, after 14 successful performances ofJoséphine. The Roman Catholic funeral service was held at the Church of the Madeleine in Paris, which was, after all, her true home.

Josephine singing La Vie En Rose with still pics of her dancing.

Sources

Encyclopedia of World Biography, 2nd Ed., Vol. 17. Gale.

For Ballroom Partners and Married Couples: The Importance of Connection

2012-02-07T16:46:00.000-08:00

Ginger Rogers once said that the secret to dancing is connection - with yourself, the music and with a partner. Her advice, as usual, was spot on and has been a tremendous help to me.

When we first learn a new dance, it is natural to focus on the steps and the figures. But if we want to feel good and look good, we need to go beyond technical accuracy and incorporate into our dancing a relationship with the role we may be portraying,, music and audience. And there definitely needs to be communication, a connection with a partner. Without a connection, or relationship, the dance is just steps. But if the dance contains emotion and communication, then we have something more than technique. We have art.

Of course, we need to execute the steps, but the steps only make up the foundation of a dance. Built on top of the steps, we need to feel the fun, the story that the dance might be telling, or the picture that it’s painting. If we can show that we enjoy our partner, if we can play off our partner and respond emotionally to the music and to the movements of the dance, then we can achieve a richness that goes well beyond the dance routine.

Communicating Through Dance

Partner dancing requires two people to communicate without using words. The lead dancer, typically and for the purposes of this article, the man, will guide the follower, the woman, around the floor without verbal communication.

How to keep the connection? First and foremost, you must remain connected to your partner. Without this teamwork, you are not moving in harmony. You must be constantly aware of where your partner is, what they are doing and how what you are doing relates to them. Even if you are not looking at them, your body is always trying to face them. In Latin dancing and swing dancing, you have many opportunities to look directly at your partner, which helps you to connect on a lead and follow level, but also on an emotional level.
In partner dancing, you communicate through your dance frame and through any other body contact you have. Keeping your center turned toward your partner wherever possible and maintaining a solid frame by keeping tone in your muscles (not flexing them, stiffening your arms or trying to crush your partner) will keep you connected to your partner for better leading, following and harmony.

Next, you must remain connected to the music. Dancing on the beat is only part of this, although it is certainly the most important part. You also need to listen to the music and do what it tells you. Is it telling you to move softly and smoothly, or quick and staccato? Try to fill every microsecond of music, even when your feet are not moving-continue your hip action in Latin dancing and fill out your shapes in ballroom dancing by stretching your body and arms. If there is a hold in the music, it is an added touch if you strike a pose and hold it.

Finally, stay connected within your own body. Make sure your whole body is telling the same story. It is easy to let your arms flail around, completely disconnected from your body. Arm styling does not look very good if it does not seem to be matching your body-feel as though you are using your body to start each arm movement. Also, do not let the sides of your body, from your ribcage to your hips, collapse when you make body shapes; rather, keep both sides straight and stretch one side more than the other. Every line in your body should flow smoothly to the next.

Married Couples

Dancing is a great way for married couples to maintain romance in their relationship. With Ballroom dancing, Latin dancing, and other partner dancing available, couples can take lessons to learn how to move to different rhythms and then go out dancing at nightclubs to practice their skills. To make it even more exciting, married couples can engage in youthful play to add mystery and fun to the mix.

Couples should set up a date to give priority to the occasion. Getting prepared to go out for a night of dancing requires time and should be taken seriously to make the impact of the moment memorable. Be sure to arrange to meet at the dance venue to surprise each other with an upscale appearance and maybe even a small gift. Then, pretend to be strangers and playfully flirt with each other like people meeting for the first time. Once the dancing begins, feel the connection on a physical, emotional, and spiritual level as one person leads and the other person follows. Dancing, love, and romance are the perfect ingredients for a recipe of a successful marriage along with trust, respect, similar values, and other factors.

The best dancers are able to pull all the pieces together and have a beautiful connection to each other, the music and within their own bodies. They seem to float across the floor together in perfect time to the music, their bodies portraying every note. Every piece of technique you learn helps you to get a little closer to this high degree of connection. While it may take some time to reach this level, focusing on improving your connection to your partner, music and self will greatly improve your dancing.

When Words Hurt: Coping With Criticism

2012-02-04T20:10:00.000-08:00

Criticism can be constructive. Criticism can be destructive. Criticism can be impossible, unintended, expressed in order to manipulate or control, or in a person's nature. It is criticism that makes us work harder to improve our performance or lead to hurt and harm. However, as the quote at right suggests, the words that hurt the most are the ones never spoken; when a parent, teacher, friend just seems like he/she doesn't care.

No matter what your profession is, you will be criticized. The first step to coping with criticism is to determine what type of criticism is being expressed.

Constructive Criticism: If a teacher, supervisor or judge in a competition, etc. is being specific, truthful, and indicates that improved performance is required, then there is no option but to improve in the areas specified or to expect poor performance evaluations or termination.

Destructive Criticism: If a person offers vague criticism and dodges answering questions about specific ways to improve, then it may be time to put a more competent person in charge of one's job and career by carefully getting answers and guidance from someone else. This aids in the strategy of excelling on your own and in ways that are visible to the supervisor's peers and superiors. If one's job performance is good, but the supervisor is vague or evasive when justifying criticism to his or her own supervisors, then the supervisor may be the one who is told to improve.

Unintended Criticism: A person may simply express a dislike without knowing that others will be offended. A polite and private notice that people are present who may be offended may be enough to discourage or help the individual. A nurse who deals constantly with the disabled may express criticisms of the disabled that are well within standards for nurses, but which may appear to be offensive to others. A discussion with the person may reveal that the unintentional critic did not intend to offend.

Controlling Criticism: Some criticism is intended to make a person feel inferior, or as if they "need" to be told what to do. This is a warning sign of controlling behavior, which is a well-known precursor to abusive behavior. Whether encountering this behavior in a friendship, work relationship, or romantic relationship, an individual needs set boundaries and stick to them. Otherwise, it is time to determine whether the relationship should develop any further.

Criticism by Nature: Some people simply walk through their own world, expecting others to either join them or to serve as the enemy. By a certain age, these people have been told, again and again that they are unthinkingly critical and to knock it off. One coping strategy is to brush off the criticism and to understand that it means nothing. The alternative is to decide whether the automatically critical person is an acceptable annoyance or if you would be better distancing yourself.

Handling Criticism

1. What Can I Learn from Criticism?

Most criticism is probably based, at least in part, on some truths. Criticism may appear negative. But, through criticism we have the opportunity to learn and improve from their suggestions.

2. Respond to the suggestions not the tone of the criticism.

The problem is that people may make valuable critical suggestions. However, there tone and style of criticism means that we respond not to the suggestions but remember there confrontational manner. In this respect we need to separate the criticism from the style of criticism. Even if people speak in a tone of anger, we should try to detach their emotion from the useful suggestions which lie underneath.

3. Value criticism.

The problems is that quite often, we only value praise. When people speak kind words we feel happy. When people criticise we feel miserable. However, if we only received insincere praise and false flattery, how would we ever make progress? If we wish to improve and develop we should invite constructive criticism and appreciate their suggestions.

4. Don’t take it personally.

This is often the biggest problem which occurs with regard to criticism. If I criticize my friend's cooking, she may feel personally offended. But it is a mistake to identify ourselves with an apple pie. Somebody may find good reasons why our cooking is bad; but this does not mean they are criticising us. When people criticize us directly, we should remind ourselves they are not criticising our real self, just an aspect of ourselves.

5. Ignore False Criticism.

Sometimes we are criticised with no justification. This is a painful experience. But, potentially we can deal with it more easily than criticism which is justified. One option is to remain aloof and ignore it completely. We should feel that false criticism is as insignificant as an ant trying to harm an elephant. If we remain silent and detached the criticism is given no energy. If we feel the necessity of fighting it – in a way, we give it more importance than it deserves. By remaining silent we maintain a dignity that others will come to respect.

6. Don’t Respond Immediately

It is best to wait a little before responding. If we respond with feelings of anger or injured pride we will soon regret it. If we wait patiently it can enable us to reflect in a calmer way.

7. Accept Critism If It's Correct

This is always a good way to learn and improve so if you think critics are right, accept it and learn from it so that you can improve.

Learn More About Dance with Volunteer Opportunities

2012-02-04T16:12:00.000-08:00

By Rachel Hanson

Volunteer opportunities for dancers look great not only on your resume, but they also provide invaluable experience working in dance and theater from many angles.

There are many different types of volunteer opportunities for dancers; the most commonly chosen volunteer activities are teaching children to dance and working at theaters as ushers, wardrobe help or ticket sales agents. It all depends on what is available in your area and what it is that you would like to gain from your time volunteering.

Weekly Volunteer Activities

A little research of the dance schools in your area should reveal a few possibilities for volunteering options specifically for dancers. For example, many studios offer an exchange situation where you are responsible for helping a senior teacher teach young children's dance classes or you are responsible for answering the phone two evenings a week. In many cases, you will be rewarded for such services by being granted free dance lessons at the school. Free dance lessons is not the only benefit though; whether you call it volunteer work or simply 'work', it will look good on your resume as well as getting you tuition-free classes.

Another great way to get involved in the performing arts community is to volunteer at area theaters. Theaters are almost always looking for ushers and other types of helpers. Whether you help backstage with the wardrobe department or you help people find their seats, you'll be gaining valuable experience inside the theater. Many performers find it fun to do this kind of 'behind-the-scenes' work, and it certainly gives one a better overall view of how the theater operates from front door to load-in dock. Again the perks are multifold: you get to see many shows for free, as well as putting the experience on your resume.

Intensive Volunteer Opportunities for Dancers

If you'd like to spend a summer doing volunteer work or interning, there are many exciting possibilities available. You can go to the American Dance Festival and spend the summer interning or you can even go abroad and teach dancing to children. Abroad opportunities generally take up more time, but they also offer the invaluable experience of being abroad and of learning another language. Abroad opportunities are ideal for dancers looking to take a year off in between high school and college.

Opportunities in the U.S.

In addition to the informal options mentioned above, dancers living in bigger cities will have many opportunities for volunteer activities. Look up your area online, and even if the website of a nearby facility does not mention needing volunteers, it can never hurt to send in a solicitation letter. You might just find yourself volunteering for the New York City Ballet! You never know, so just send in your letter asking about volunteer opportunities and stating why you are interested in volunteering and what your dance experience is.

A sample of places who advertise volunteer activities online:

American Dance Festival Internships: Spend the summer interning at the American Dance Festival in North Carolina
American Dance Festival Volunteers: Volunteer for various duties at the American Dance Festival in North Carolina
Ballet Austin Guild Volunteers: Various volunteer opportunities in the ballet world of Austin
Mosaic Dance Theater Company: Volunteer and apprentice positions in Glen Ridge, New Jersey
Chicago Volunteers: Volunteer and intern opportunities in Chicago

Oppertunities Abroad

If you'd like to take a year off to experience something totally new, one of the opportunities below might be ideal. Most opportunities abroad require a minimum of three months' commitment, but can go as long as a year in most circumstances. These activities look fantastic on your resume and build your dance experience as well as your international perspective and foreign language abilities.

Delphos Dance School, Mexico: Study and volunteer at a top-notch contemporary dance school.
Xiutla Dance School, Mexico: Learn Mexican folk dances and the history of folk dance and teach dance to disabled children; minimum of three months.
Philippines Dance Initiative Volunteer opportunities range from raising money (at home in the U.S.) to send to build a dance studio on location, to traveling to the destination to teach children at the facility.
Projects Abroad in Romania

Lifts or Not? The Controversy in Competitive Ballroom Dance

2012-02-02T13:58:00.000-08:00

The breath-taking, unforgettable "lift" is considered the ultimate highlight and "wow" factor in most professional dance performances, leaving its audience mesmerized.

Yet "Dancing with the Stars" Judge Carrie Ann Inaba is notorious for policing the “no-lifts” during dance performances. While the dance instructors vehemently deny feet or toes were off the floor, eagle-eyed Carrie Ann chooses to differ; hence points are deducted.

Why is the case? While lifts are permitted in other genres of competitive dance, such as Ballet and Contemporary, they are rendered as a definite "no-no" in Ballroom Dance Competition. This has been an on-going controversy since competitive dance was created.

Ballroom Competitive has its own format which restricts the contender to three dance steps. They have one minute and thirty seconds to execute their routine. Both feet must be touching the ground at all times. Any attempt to defy this ruling can and has resulted in disqualifying the contenders.

Lifts are not allowed because ballroom competition can have 14 couples on the floor at a time. Every couple has their own routine. Lifts are not safe because they fragile in terms of balance if someone bumps into you.

There is, however, show dance, in which the couple are allowed to include any style of dance which they feel best demonstrates their proficiency, including lifts with set rules:

A maximum of three lifts are allowed during each performance.
Lifts are only permitted in the transitional elements between dances.
Each lift may not exceed 2 measures of music or 15 seconds in duration.

DWTS has one couple at a time, but they are still not allowed to do lifts because they are supposed to dance regular ballroom, not show dance. Technique on the floor is more important.

Currently, Ballroom Dance Competition allows an approximate fifteen-second open choreography both at the beginning and end of a dance routine. Within this tight window, one lift might be executed, hence returning to the “contact” dance segment of the routine, which separates competitive dance from the regular dance showcase.

Integrating lifts into the Competitive World of Ballroom could be either a milestone or a setback. Most contenders might welcome more lifts as an extra perk, but also realize that weight control and center balance would then play a heavier role, since every step and movement must be in sync, connected and flawlessly executed.

But some argue that while lifts can enhance most genres of dance competitions, they would defeat the true concept of what Ballroom Dance Competition represents, the focus on technique and stage presence rather than flash and dazzle.

Toni Redpath gives excellent insight into the lift policy

Finding Yourself Through Dancing the Five Rhythms

2012-01-30T19:26:00.000-08:00

"Dance is the most immediate way of expressing the body's essential rhythms"-Gabrielle Roth

The 5Rhythms is a simple, powerful movement practice. There are no specific steps to follow but your own authentic, organic movement. The practice has the power to catalyze creative expression and deep healing. Dancing the 5Rhythms is a map to finding yourself.

Human beings are rhythms. Breath is rhythm. Heartbeat is rhythm. Cells are rhythm. All of life is rhythms and cycles. Day and night, light and dark, birth and death, seasons, and the ocean are examples of life's organic, rhythmic, wave-like ebb and flow. Rhythms are the essence of life and who we are. Over time, we may lose our connection with our rhythms. Disconnect, disharmony, and dismemberment can result. Dancing the 5Rhythms helps people return to a more embodied presence.

Fundamental to the 5Rhythms, everything alive is energy moving in waves, patterns, and rhythms. Each rhythm is a different energy field that human beings move through in a wave. Part of our essential makeup, the 5Rhythms form a series of healing maps created by Gabrielle Roth for the body, heart, mind, soul, and spirit.

Flowing—fluidity through continuous, grounded expression in sensual spirals of your body's movements with your feet connected to the Earth united with the flow of your own energy to cultivate restorative input to your being

Staccato—focused percussive, pulsing inner beat released as output into physical shapes with tense edges revealing boundaries that provide insights into your feelings and allow expression of your heart through your body

Chaos—freedom of the mind through unifying opposites, dissolving patterns, and letting go into the unknown by releasing in your organic catalytic wild, unpredictable movements

Lyrical—essence of the soul where the weight of self-consciousness dissolves and expansion occurs into lightness of being revealing your uniqueness and connection with the bigger picture of existence

Stillness—unified emptiness of inner peace and inspiration connected to love and compassion where you let go into gentle movements that rise and fall, start and end, in a field of silence comprised of nothing and everything

What are the potential benefits to the body, mind, and spirit through the 5Rhythms?

Moving through the waves of the 5Rhythms is a spiritual practice of self-discovery illuminating the essence of life on and off the dance floor. Organic movement through a dancing body reveals endless inner reflections. The body expresses through movement what it may not communicate or reveal in other ways. Releasing through a body in motion invites rhythmic balance between right and left, feminine and masculine, input and output, parasympathetic and sympathetic, harmony and disharmony. Developing strong roots through your feet on the ground and letting go to the beat supports this process.

As the physical body releases through rhythmic movement, the mental constructs relax. Chatter ceases. Dancing through the 5Rhythms helps people get out of their heads. The mind becomes liberated. "If you put the psyche in motion, it will heal itself," says Gabrielle Roth.

Integration within the mind-body opens a gateway for the spirit to expand. The 5Rhythms is a catalyst into an embodied presence where spiritual awakening occurs. Deep experiences in soulful states provide insights into identity and purpose. Dancing the 5Rhythms helps people experience the bigger picture by returning to and connecting with their truest essence. This remembering contains profound healing.

What do people experience and learn from the 5Rhythms?

"The five rhythms are the essence of the body in motion, the body alive. The 5Rhythms are states of being. They are maps to everywhere we want to go, on all planes of consciousness—inner and outer, forward and back, physical, emotional and intellectual.

In dancing them you can track perceptions and memories; seek out gestures and shapes; tune into instincts and intuitions. They reveal ways to creatively express aggressiveness and vulnerability, emotions and anxieties, edges and ecstasies. They reconnect us to cycles of birth, death and renewal and hook us up to the spirit in all living things. They initiate us back into the wisdom of our bodies and unleash movement's dynamic healing power. Dancing the 5Rhythms is a practice, a dynamic way to both workout and to meditate in the same breath. They teach us that life is energy in motion, freeing us from any fixed notions about people, places, objects or ideas. In dancing them the body becomes our spiritual path."
-Gabrielle Roth

What is the history of the 5Rhythms?

Gabrielle Roth founded the 5Rhythms in the 1960s teaching movement at the Esalen Institute in Big Sur, California. Hundreds of certified 5Rhythms teachers are now around the world. Gabrielle and her husband Robert Ansell also record and produce music by Gabrielle Roth and the Mirrors through their label Raven Recording.

For More Information

5Rhythms
Raven Recording
Maps to Ecstasy by Gabrielle Roth
Sweat Your Prayers by Gabrielle Roth
Connections by Gabrielle Roth

Music of the 5 Rhythms

FLOW
fluid, continuous, grounded glide of our own movements
click here to listen to a sample of Flow

STACCATO
percussive, pulsing beat that shapes us a thousand different ways
click here to listen to a sample of Staccato

CHAOS
rhythm of letting go, releasing into a catalytic wildness that can never be planned or repeated
click here to listen to a sample of Chaos

LYRICAL
rhythm of trance, where the weight of self-consciousness dissolves as we lighten up and disappear into our own uniqueness
click here to listen to a sample of Lyrical

STILLNESS
quiet emptiness, where gentle movements rise and fall, start and end, in a field of silence
click here to listen to a sample of Stillness

Finding Inspiration to Choreograph a Memorable Dance

2012-01-29T17:10:00.000-08:00

What makes a choreographer want to create a particular dance? What inspires you? Most say that they are usually inspired by music. It's a great starting point. When you hear a certain piece of music, do you visualize colors, shapes and movements? If so, that music is a good candiidate for choreography.

A basic rule of choreography is that gestures should somehow reflect the music. What sets the successful choreographers apart is that their gestures embody the music beautifully, as if each musical phrase had been written just for them. An example is the dance of the Sugar Plum Fairy from The Nutcracker. Although different choreographers may have set different steps to this music,nearly all of them have tried to create something appropriately delicate.

Another form of inspiration is the need to tell a story. Dance has always been an excellent vehicle for this. If you want to tell a tale, first decide whether you want to create a complete narrative from beginning to end, or something more complex.

Say, for example, that your theme is the story of Hansel and Gretel. Think of all the ways you could tell that story. You could opt for the linear approach, showing Hansel and Gretel wandering through the forest, dropping bread cumbs, etc. Or you could start at the end of the story, with the 2 kids leaping breathlessly onstage to tell you what they just experienced.

Or your dance could simply focus on character at one point in the story. How does the wicked witch feel when the kids bake her alive? Maybe she could do an interpretive dance to let the audience know.

Using Your Imagination as Inspiration

Choreographers almost always talk about their "vision" of their work, imagining what they would like to see. A choreographer literally creates an image of the dance in his/her mind before attacking the details. The overall "look" of the dance is set, then from there, steps are chosen that best fit that vision. Choreographers then write down their ideas using dance notation or simply dance it and put it on videotape.

Martin Luther King’s famous speech "I have a Dream" could be interpreted through by phrases from the speech, the rhythm, phrasing of the words, emotional content and the time it which the speech was made.

Using Props - Think about the Texture, Shape, Size, Movement, Meaning, Mood, Character, Sound

Suitcase
Umbrella
Overcoat
Hat
Broom
Chair
Scarf
Ball
Cane

The chair in British choreographer Christopher Bruce's Swansong has many uses. It represents a shield, a weapon, a safe haven, a burden, prison bars and shackles. The prisoners relationship to the chair changes throughout the dance, giving the audience an idea of his state of mind as the dance progresses.

An Everyday Activity, Current or Historic Event - Think about Human behavior, Groupings, Formations, Interactions, Mood

People at work, rest or play
Places where people gather
Routines or rituals
News Items
Conflicts
Events that changed the world

Christopher Bruce has frequently stated that he uses a number of sources for any work he creates. He has stated that there are two basic inspirations from which Swansong sprung. The first influence revolved from Amnesty International where Bruce felt compelled to say something about the situation of the prisoner of conscience. The other main inspiration was a more personal message. Bruce has stated that he felt the need to say good-bye to something and to him; it was saying good-bye to dancing.

The first section of Falaci’s A Man describes the torture of the hero, Alexander Panagoulis, condemned to death in 1968 for the attempted assassination of the Greek dictator George Papadopoulos. Saved from death he spends three and a half years in a cell with almost invisible windows. In the novel Falaci describes the process of torture and interrogation as if it was a theatrical production.

The title, Swansong, is highly appropriate for the dance and has two meanings.

A person’s last work or act before death or retirement.
A song like that fabled to be sung by a dying swan.

The importance of a swan’s song is the belief that a swan sings only at the point of death. In this sense Christopher Bruce’s Swansong has a parallel theme to Michel Fokine’s famous and more literal solo, popularised by Anna Pavlova, The Dying Swan (originally called The Swan). It is an image that has attracted artists in numerous disciplines.

Many teachers of dance in education use Swansong as an inspiration for choreographies, performances and greater dance understanding. It is clear that although Swansong can be easily watched and understood by many there is a dark undertone to the work that must be explored. Swansong has an ambiguity to its content and topic and has proved to be still relevant today.

Developing a Vocabulary for the Dance

The same basic step can be danced in many different ways. When you choreograph a dance, you have a nearly infinite number of steps to choose from. The vocabulary of the dance refers to the particular gestures and movements that you choose to use - the ones that seem to reflect your own character and make up your own personal style.

The order in which you put the steps is important. The steps should flow from one to the next. After you experiment with various sequences, you're likely to find some that feel just right for you. You then can repeat those sequences again and again, creating a vocabulary that is your own. George Balanchine, for example, was famous for following an arabesque with a jete. that was his trademark, just as Bob Fosse made a name for himself with bowler hats and turned-in legs.

Using Your Full Space

Another rule for choreography is to use the full amount of space that's available. By the end of the dance, every area of the stage should have been stepped on at least once.

Consider using non traditional areas - Staircases, hallways, even puddles(as Gene Kelly discovered) The unexpeted is often where the most inspiration lies.

In covering space, try vaying the shape of your dance. If you begin with a move on a diagonal, try using adding a circular pattern later or vice versa. Stretch your imagination and keep your audience on their toes.

Ending As You Began

One way to make a dance feel atistically whole is to "come full circle." And one way to accomplish this is by starting and ending the dance with the very same pose.

A more advanced version of this technique is to end in a slightly "evolved" version of the starting position. For example, if the dance is a duet, try switching the parts at the end, so that one person ends where the other began and vice versa. This gives the dance a feeling of completion, and it can often be very poignant and moving.

Learning from Others

All choreographers have been inspired and influenced by certain favorites of theirs. There's no better ay than to learn by example. However, your aim should be to learn, not imitate. For you to become known, you have to find your own style, your own voice. Eventually, you'll be heard.

How to Overcome Ballroom Dancing Competition Nerves

2012-01-25T22:05:00.000-08:00

By Christopher Pilarchik at BallroomBliss

Beating Competition Nerves

For some people (ok, most people), performing in front of others can be the single most frightening experience of their life. Fortunately, it doesn’t have to be that way.

Here are some tried and true tips from a 12 year professional on how to beat competition nerves. The first section are tips you can actually physically apply, the second half are tips on mental preparation and attitude. If you think the second half is unnecessary, you are quite mistaken. The way you think about something definitely influences a situation’s outcome.

The Physical Aspect

Eye Level - Keep your eyes looking just above the heads of the audience and the same for the judges. Looking above the crowd makes them MUCH less noticeable and aids in keeping your dancing frame maintained.

Breathing – Please remember to breathe! This sounds silly but I cannot tell you how many students I have had to tell to breath in a competition. Air is desperately needed for the muscles to perform at a higher level (not to mention to sustain life and keep your instructor from having heart failure that their student is going to suffocate on them). Focus on slow, smooth and controlled breathing. This also takes one’s mind off of worrying about anything.

Pre-competition stretching-stretching the muscles thoroughly before going out on the competition floor is critical; when your legs are shaky from nerves they just start a chain reaction, they make you conscious of your nervousness and add to it. Stretch for a good 10 minutes before dancing and keep moving and loose between dances.

The Mental State for Ballroom Dancing Competition:

Anticipation – I wish I knew who said it but I don’t, “the anticipation of an event is always worse than the actual event itself”. Often in life we panic unnecessarily over an impending situation. Unless you’re a psychic, you REALLY DON’T KNOW how the situation will turn out! Be open to the possibilities and opportunities awaiting you instead of fearing the unknown.

Alter Ego - In a recent conversation with Dorothy, a ballroom student and friend, she was commenting on some comments given her after a VERY playful character kind of routine. Someone asked her how she could get up and act so crazy, so funny, so wonderfully in front of all those people. Dorothy responded “are you kidding, how many chances in life do you get to be a whole other personality or person!?!” She certainly hit the nail on the head. For about two minutes, you can be whoever you want and we all know how uncommon a chance that is so GO FOR IT! If you’re Latin dancing, imagine yourself the greatest Matador in Spain, roses thrown at your feet. For women, you’re the prettiest Senorita in all Spain, men vying for your affections and unable to resist your charms. Imagine whatever you wish and for two minutes let it come true!

Compete only against yourself - make your competition have one goal and one goal only, to dance bigger and better than you ever have before. If you dance for the enjoyment, you win no matter what place the judges give you and have a True memory to last a lifetime.

Overcoming Negative Thoughts and Doubts

Negative Thoughts – Think only positive thoughts before and during competition. The times I said to myself, “I don’t want to goof that up” or “I hope I remember this or that”, I goofed up what I thought I wouldn’t and forgot what I hoped to remember, EVERY TIME!!! Think instead, I will remember this or that, I will do this or that right. Negative thoughts bring negative actions.

Finally, Trust your Instructor - You’re dancing with a trained professional who happens to be in his or her element, just enjoy the ride. I tell and have told my students for years, when you’re at a competition, you’re in My Backyard, Ain’t NOTHING bad gonna happen to you in MY backyard! It’s the truth, most instructors are truly in their element on the competition floor. If you trust in them and just enjoy the outcome, you’re guaranteed to make far fewer mistakes, shine brighter and have a great time in the process.

Dealing With Different Partners in Ballroom Dance

2012-01-25T21:49:00.000-08:00

In a group ballroom dancing class, the instructor will ask dancers to change partners on a fairly regular basis. Although some students may find this practice of trading partners intimidating or objectionable (perhaps for good reason), it is an excellent teaching technique and an important part of learning to dance.

Benefits of Exchanging Dance Partners

Ballroom dance studios and instructors are aware of the many benefits to switching partners, which is why it is such a common instructional technique. Some studios such as Houston's SSQQ even insist on a policy of switching partners during group lessons; their experience has shown that couples who remain together tend to fall behind in a group situation.

A beginner or weaker dancer struggling with a pattern or concept will benefit from dancing with a stronger partner on an occasional basis.

Changing partners can help break developing bad habits.

Couples who always dance together develop "shortcuts", leading to subtler and often incorrect or inadequate leads, or to the woman leading the man.

Women improve their ability to follow by adapting to the different styles of movement and lead from a variety of partners.

Men develop better lead skills by recognizing that some women require more precise timing, clearer signals, a firmer or gentler lead than others.

Social Dance Etiquette Requires Changing Partners

In social dancing situations, it is expected that dancers trade partners frequently, so the skills learned on the classroom floor will apply in real life.

In some areas, the etiquette is that a gentleman should dance at least once with each lady seated at his table (while never leaving a woman to sit alone).

Elements of Dance Etiquette strongly encourages everyone to dance with many different partners in order to "ensure a diversity of partnerships on the floor, and to give everyone a chance to dance.

Considerations Against Switching Dance Partners

Although switching dance partners is a good idea from an instructional and learning viewpoint, there are nonetheless some good reasons why couples may prefer to dance together exclusively.

Extremely shy individuals may find changing partners difficult or threatening (though this usually diminishes with the increasing confidence brought by practice)

Some people join a dance class to spend time with a significant other, and may find that switching partners, especially in larger classes, defeats this goal.

Some people join a dance class for a specific need—such as an engaged couple taking lessons to prepare for their wedding reception—that may not be met by changing partners

In some religious or cultural groups, dancing with anyone but the marital partner may not be permitted.

If for one reason or another an established couple insists on always dancing together, the couple should not ignore the instructor or request "an exception" but instead should withdraw from the class. Private lessons will obviously be the preferred choice.

What is the Future for Dance and Dance Shows?

2012-01-24T15:18:00.001-08:00

In both film and reality tv, dance has become a new focus for modern expressions and ideas of talent. But where is this leading?

The dance films that charged through the theaters in the 1980s would not only reinvigorate the teen film genre for the coming decades, but also embrace the music video style that would synonimize dance with modern expressions of life, love, and sex. In the 1980s this genre included films such as Fame (1980), Flashdance (1983), Footloose (1984), Girls Just Want to Have Fun (1985), and Dirty Dancing (1987). Last year, Black Swan brought ballet to the forefront. And with the recent death of Dirty Dancing star Patrick Swayze, it is only appropriate to reflect on where dance is in modern consciousness and where it is headed.

A Brief History of Dance

Historically, dance developed in multiple forms, through opera, theatre, and performance and totes around a long history of styles, movements, and connections with social and political histories. Dance, on screen, developed with the transition of vaudeville acts to the screen in musical form. These musicals,, notably of the studio-era, used dance in tandem with song, but also on its own as a source of pure uninhibited expression and most often as an illustration of topics that could not be spoken or discussed. So these cinematic dance moments began to function outside of normal or standard ways of viewing dance, like in a theater or other venue. Dance within the entertainment industry developed its own look and style quite separate from Broadway, ballet companies, etc.

However, this separation also allowed cinematic dance to see and express things lost on stage not only though the use of the camera, lighting and staging, but also through a mixing of dance elements. This allowed the modern genre of screen dance to embrace all types of ballet, modern, tap, jazz, hip-hop, lyrical, and the list continues. The modern world of dance is also thankfully an all-embracing one that fosters a strong competitive yet supportive community. And is this community that has recently become responsible for a rise in the interest in certain types of dance and a greater visibility of dance on screens.

Dance On the Small and Big Screen

For the moment, if dances are separated from film and looked at individually, a common theme is discovered - That a moment or a piece danced will never be the same even if danced by the same dancers in the same venue. Every minute is unique.This uniqueness of dance not only encourages viewers to tune in and see the live replay, but also reminds audiences to why dance has lasted as an art form for so long.

Reality programming not only attempts to stay in stride with anything consumable by the general public from coast to coast, but also wets audiences' appetites for more of the same 'guilty' pleasures. Whether it is Dancing With the Stars that emphasizes the rise and fall of fame and careers or So You Think You Can Dance?, the American Idol of dance, reality programming actually highlights the breathe and appeal of dance. Also, it has re-emphasized the most important element of dance; that is cannot be recreated or reproduced. Like the theme previously mentioned, reality programming has actually enabled dance to re-invent itself within modern consciousness and translate to audiences outside of dance flicks.

What are the Essential Aspects of Dance Reality TV?

Display of skills and/or character
Drama
Competition

Jennifer Grey's popularity on Dancing With The Stars is a reflection of skills, character and another trend in the media, the impressive role of powerful middle-aged women. Grey is sexy, fit, and accomplished. She is mature, sophisticated, and as the finale of the 11th Season of DWTS verified, a step ahead of the other younger contestants.

Prior to competing for the title on DWTS, Jennifer Grey had some professional experience as a performer. This probably gave her an advantage over other contestants with little or no training. Regardless, she was an inspiration. She sent a message to women viewers. Aging doesn't necessarily mean losing your beauty or your body. In fact, for Grey, the opposite is true.

As a performer, she embodied grace in ballroom dance numbers that were technically challenging and engaging. She achieved full form as a dancer on the 11th Season of DWTS, consistently performing and remaining professional while revealing her maturity as an artist.

In addition to Grey's skills and artistry on stage, Grey's personal hardships captured "off-stage" led viewers to connect or sympathize with her. She suffered many painful physical injuries throughout the season. Grey also showed depth emotionally, in an episode during which she grieved over the loss of former dance partner and colleague, the highly respected late-Patrick Swayze, with whom she co-starred on Dirty Dancing.

Grey's physical and emotional hardships contributed to her success on the show. Her public display of emotions created just the right amount of drama. TV audiences everywhere long to feel drama. This is an essential aspect of dance reality TV. After all, it is dance reality TV.

The Past and Future of Dance Reality

Interestingly, the roots of dance reality TV span throughout the history of television. TV shows from the past such as Star Search aimed at selecting the most talented performers through rigorous competition. Star Search exemplifies another important element in all dance reality TV, competition.

It is an inspiring moment in the history of dance and television to see people of all levels, backgrounds, and ages making an appearance and communicating a simple message: with heart and hard-work, dance is an art form for everyone.

Is this reality programming here to stay? Are the careers of their winners better off? Stay tuned...

Dancers Who Can't Audition in Person: Making Use of Videos

2012-01-21T15:46:00.001-08:00

With more summer programs and ballet companies than ever, making it to every audition isn’t always a possibility. Travel expenses and the stress of arriving amidst a bevy of like-minded bun-heads aside, auditioning in person isn’t always the best way to go.

Whether you’re unable to make the audition in person or you want to show your best qualities from a distance, video auditions are a great alternative. However, before you jump into the studio and start filming, check out these simple tips (and pitfalls) that will help you show yourself off to your best advantage.

Read the Requirements Carefully

Before you do anything, read over the requirements for specific programs’ video auditions. Most have several requisite exercises that must be shown at barre and center. Some mandate both sides others request one, and some ditch class work entirely in favor of seeing a variation from prospective dancers. Make sure to be crystal clear on the video requirements before you start planning or filming anything.
In addition to reading the requirements thoroughly, remember that rules both loose and strict serve as a means to test a prospective dancer on how well he/she listens and responds to the rules.

Dress for Success

How you present yourself in your video is key. Dress how you would for an in-person audition; wear a leotard that is a solid color and fits you well. Avoid shiny, patterned, strappy, or overly-complicated looking leotards. These will distract the viewers and pull attention away from your dancing.

Before you film, make sure your hair is absolutely neat and secure. While you can always stop to fix it between takes, you want to have filming structured around your dancing — not the bobby pins flying off of your head during your pirouette exercise.

Additionally, make sure your shoes are clean and tidy. Drop canvas flats in the wash before filming (cold water, air dry to stop shrinking) and gently wipe pointe shoes and leather slippers with a dry microfiber cloth to give a clean, professional appearance. Avoid using pointe shoes that are brand new and not broken in, or shoes that are dead and falling apart. Make sure all drawstrings and ribbons are tucked in and tied properly; few things look more unprofessional than bunny-eared ribbons flopping around a dancer’s ankle.

Establish Combinations

If you’re filming a video audition that requires class exercises to be demonstrated, plan with your teacher ahead of time what combinations to present. You may just want to work with the ones you practice in class and are comfortable with, or your teacher might suggest creating new ones to show your strengths. Either way, make a plan and get the combinations memorized, musically accompanied, and ingrained in your body before you film.

Show Your Strengths

There’s no way to get around doing certain exercises for audition videos if they’re a requirement; however, there are ways to show your best assets and play down your weaknesses. For example, if you have to do an adagio but don’t have a lot of extension, try doing one that has a lot of port de bras and fondus. This will give your extension a nice bump by drawing attention to your arms.

Talk with your instructor about the video requirements, and see what elements he or she considers as your weaknesses and strengths in technique. Always meet the video requirements, but since the structure of a combination is almost always up to you, take advantage of it and add in elements at which you excel.

Show Some Personality

Whether you’re limited solely to class exercises, or have the freedom to choose a variation or two, make sure to really express yourself and show what kind of dancer you are. If you’re stuck doing barre and center with no variations, talk with your teacher and pick music that makes you feel expressive. Are you a feisty virtuosa? Then accentuate your jumps with a bit of flair, just like you would when playing Kitri. A tender lyrical type? Use accompaniment based on Swan Lake and dance the part of Odette, manipulating the combination to show yourself to your best artistic advantage.

If you can perform variations for your video, go over some options with your teacher. Choose variations that showcase both your technical and artistic strengths. If you’re amazing at jumps but have a lyrical nature, choose something like the black swan. Feisty, but no good at turns? Try a brilliant petit allegro from the odalisques in Le Corsaire. Make sure you’re not focusing entirely on technique, but equally on technique and expression. Dancers with decent technique are a dime a dozen, but you want to make yourself stand out by showing some personality.

If you’re leaning toward filming your audition video yourself, keep in mind that you’re going to need professional-quality editing software to splice together the best takes of each exercise. This software can easily cost over 200 dollars, not to mention it requires countless hours of interface learning and practice before you can confidently edit your video.

Hire a Professional

Unless you have a friend or family member with experience in professional-quality recordings, you should look into hiring a professional videographer — particularly one who specializes in dance. A professional videographer knows what equipment is needed and how to get a clear and steady picture. Further, experienced dance videographers can make sure to shoot you at your best angle, and emphasize your features and the cleanest aspects of your technique.

Additionally, professional videographers can ensure that the music used in your audition filming stays in sync with your dancing; many dancers film their audition videos, only to find out later that the audio has turned fuzzy and out of sync. This is a huge frustration for viewers, who will want to see your musicality clearly.

Don’t Separate Sessions

It’s tempting to want to split the filming of your audition video into several sessions to make sure you have the best combined sections, but don’t give in! Viewers can tell when footage has been spliced from several different days and filming sessions, and will not approve. They want to see not just your technique and expression, but your endurance as well. Dancers who can’t handle filming their audition video in one session will probably not be able to survive a class or rehearsal.

Keep Going

Audition videos are never easy to make, and often involve weeks (if not months) of careful planning, practice, and do-overs until they’re successfully completed. But don’t give up! A well made audition video can be used to get you into your dream schools and companies.

The Long-Term Affects of Dancing on the Mind

2012-01-20T09:32:00.000-08:00

Courtesy of Lovetoknow.com

How does dancing affect the mind in the long run? Is it different from the short term effects of dancing? Yes, absolutely! The short term effects of dancing on the mind are related to mood and satisfaction, while the long term effects are related to discipline and memory.

Dance Today, Smile Today

Dancing is an excellent form of exercise because it not only burns calories and builds muscles, but it also contributes to an overall sense of happiness. Of course, all exercise releases endorphins, but dancing has an increased effect in this realm because it's not only the physical activity, but also the music, that affect the mind.

Endorphins are released when the body is forced to exert itself at a certain level. You may have heard of a 'runner's high'; because dancing is a similar activity, this same boost in mood can be achieved through dancing. In addition to the physical activity of dancing, when dancing is also a performance, adrenaline and endorphins work together to create a dramatic 'dancer's high'.

Dancing also affects the mind by contributing to a sense of satisfaction. While you may not reach new goals each day that you dance, you will have the satisfaction of knowing that you worked hard towards reaching those goals. Sweating through a series of exercises can be very satisfying even if change comes about at a pace so slow that you can't see the improvement. In the long term, you will see the fruits of your efforts from year to year, but on a day-to-day basis, most dancers feel very satisfied with having completed their exercises, worked on their turnout, and done their daily stretch routine.

How Dancing Affects the Mind More Permanently

Dancing not only has short-term benefits for your mental well-being, but also long-term benefits. Dancers become very good at learning things quickly and methodically. Because of how often they learn new dance moves; you may see a dancer turn and stare into space while moving his/her hands and perhaps mouthing something to himself/herself while trying to learn a move. Dancers learn to repeat things not just with their bodies, but also with their hands and in words. This process of repeating what you just saw or heard until you've committed it to memory is a skill, and it serves dancers in all aspects of life, both inside the studio and out.

In addition to enhanced memory skills, dancers also tend to be self-disciplined and self-motivated. Dancers grow accustomed to working in a structured manner toward a goal and realize that results never come overnight. For this reason, dancers are often highly disciplined, and carry this discipline over into other aspects of their lives.

Dancing is a part of social activities because it improves on your confidence, boosts your social abilities and offers people opportunities of making more friends. Research has proven that mingling eliminates depression and stress.

Ballroom dancing helps in the coordination of brain muscles. This mechanism works by increasing the flow of blood from physical exercises to the dancer’s brain. The social aspect of dancing additionally elevates isolation and gloominess. In the same way, dancing with someone you are close to augments mental abilities, creating more chances of mental growth.

Getting Started

If all these mental benefits sound great to you and you're not dancing yet, now may be the perfect moment to start. In principle, all forms of dancing have positive mental benefits; however, some forms of dance will have more/different benefits than other types. For example, a slow dance may not burn many calories or release many endorphins, but may well contribute to long-term discipline and memory.

Likewise, a very fast dance could release lots of endorphins today, but not take much discipline or memory (for example a highly improvisational form of dance will help spark creativity, which is yet another mental benefit of dancing). Ultimately, it's all up to you to decide which dance form is most appealing to you for yourself. Then you can let whatever positive mental benefits that come be a nice bonus

For Parents

If these mental benefits from dancing sound like things you would like for your child, sign him/her up for a dance class soon. In addition to all the mental benefits, dancers tend to become serious students and do well in school, which is probably another good reason to have your child take dance classes. How does dancing affect the minds of children? Much the same way as adults - except that children learn even faster!

Conquering Stress With Dance Movement Therapy

2012-01-16T15:24:00.000-08:00

We all deal with stress in our work, at home, at school, etc. There are so many different ways of managing stress today. Dance therapy is just one holistic approach worth considering. Looking back through history and across various cultures, people have always responded to certain problems by dancing and this, in essence, was a method of finding solutions and reducing stress in the process.

Dance and dance therapy can be extremely effective in terms of stress management; the benefits are wide ranging and the results can be profound. Therapy may be used in conjunction with many other approaches to stress reduction, such as herbal medicine, aromatherapy, counselling and hypnotherapy.

How Dance Can Reduce Stress

The fact that dance is a form of exercise is of great significance, in that regular physical activity is highly effective in terms of defending against the harmful effects of stress and building general resilience. Exercise offers benefits by means of...

Releasing opiate beta-endorphins into the system, which induce feelings of calm, satisfaction and euphoria (though some researchers will argue with this, saying that the endorphin molecules are too large to cross the blood-brain barriers and exert an influence on mood)

Strengthening defences against physiological stress responses. Over time, aerobic exercise leads to gains in stamina, endurance and cardiovascular health and the individual adapts to increases in heart rate, blood pressure and stress hormones during exertion. When these same physiological changes occur during times of psychological strain the body's reaction is conditioned to react more calmly.

Focusing the mind and offering distraction from external and internal stressors. People with anxiety or depression are often more likely to ruminate on negative thoughts, so this type of distraction is excellent.

Raising the body temperature, increasing blood flow to the brain, relaxing the nervous and muscular systems and altering electrical patterns in the brain.

Providing an environment in which trusting and open relationships may be built.

These effects can help to:

Alter mood and improve general mental health
Relieve mild pain
Improve self-confidence and self-esteem, as both fitness and skill levels develop.

Maintaining a healthy level of physical activity is by far one of the best ways of coping with stress and preventing its onset in the first place. One study by the Johnson and Johnson Company demonstrated how the morale-boosting and productivity-enhancing effects of dance when they implemented a wellness programme involving regular participation in classes. As a consequence there was a marked reduction in employee hospitalization costs and a 13% decrease in sick days taken.

Basic Principles of Dance Therapy

Dance Therapy, or Dance Movement Therapy (DMT) as it is sometimes called, is a diverse and complex subject. It enables the individual to make contact with their physical, spiritual and emotional self, allows catharsis and offers relief from tension and anxiety. The following excerpt is taken from a definition used by The Association for Dance Movement Therapy and the Standing Committe for Arts Therapies Professions: DMT "is the use of expressive movement and dance as a vehicle through which an individual can engage in the process of personal integration and growth."

It goes on to introduce the existing relationship between motions and emotion and explains that the exploration of a more varied range of movement vocabulary enables the transition to a place of greater stability and liberation. "Through movement and dance each person's inner world becomes tangible, individuals share much of their personal symbolism and in dancing together relationships become visible". The dance movement therapist's role in this, it summarises, is to create a therapeutic environment, which is conducive of the safe expression, acknowledgement and communication of feelings.

DMT uses dance as an alternative method of communication to talking. Movement activity motivates both spontaneous conscious and unconscious expression and as the individual undergoes transformation unformed feelings are clarified and cognitive insight gained. The use of imagery, metaphor and visualisation techniques aid the therapeutic process and helps to bring about positive change.

Everybody Can Dance

It is a Jungian concept that within the self or body lies a healing function. Through dance it is possible to access this resource. One of the wonderful things about dancine for healing is that it is a therapeutic option for so many people from all walks of life. It is certainly not a prerequisite that someone has previous experience in dance or creative expression, or that he/she has a natural talent for rhythm or movement. Anyone can benefit from and should consider this creative ways of managing their stress.

Dancing On Ice - How Judging is Similar to Ballroom Dance

2012-01-13T20:58:00.000-08:00

At Right - Nutcracker on Ice

Exactly what are the judges looking for when evaluating a dance competition? The judges usually consist of former dance professionals and/or current choreographers. They are chosen to showcase their expertise in analyzing, evaluating and scoring, much like judges of Ice Dance. If you watch Dancing With the Stars or Strictly Come Dancing, Dancing On Ice appears different. After all, skating on ice requires certain technical elements all its own. But when the judges evaluate the presentation or artistry of a performance there are some dancing parallels.

The judges’ evaluation of performance is based on originality of the particular genre. Did the couple execute the dance and make it their own? Did they sell it? Was there chemistry between them? Were their respective personalities highlighted during the performance, along with their skills? Did they exude emotion? Was the performance real? Was it believable?

Posture
One of the most important aspects. Good posture makes you look elegant and exude confidence. It improves balance and control, and allows your partner to connect well to your body in the smooth dances. One’s competition result is often directly proportional to one’s postural correctness.

Timing
If a couple is not dancing on time with the music, no amount of proficiency in any other aspect can overcome this. The music is boss.

Movement
If the couple executed and coordinated the movements of the Feet, Legs, Body and Arms based on the Characteristic Style of the Dance in question.

Styling
This involves the dancers’ lines which include posture, full graceful extension of their legs, arms, center balance and fluid continuity, giving the look of big, yet flawless and seamless. Evaluation also includes the couple’s individual and combined strengths as supporting partners. Did they hold their own on the dance floor, yet dance as a unit?

Musicality and Expression
The basic characterization of the dance to the particular music being played and the choreographic adherence to musical phrasings and accents. The connection that dancers have to each other and to the music.

Foot and Leg Positions
The stroking of feet across the floor in foxtrot to achieve smoothness and softness; the deliberate lifting and placing of the feet in tango to achieve a staccato action; the correct bending and straightening of the knees in rumba to create hip motion; the extension of the ankles and the pointing of the toes of the non- supporting foot to enhance the line of a figure; the sequential use of the four joints (hip, knee, ankle, and toes) to achieve fullness of action and optimal power; the bending and straightening of knees and ankles in waltz to create rise and fall; the use of inside and outside edges of feet to create style and line all fall under this most important of categories.

Intangibles
Things such as how a couple “look” together, whether they “fit” emotionally, their neatness of appearance, costuming, the flow of their choreography; all have an affect on a judge’s perception and therefore on his/her markings.

Here is Jorgie Porter on Dancing On Ice. Notice her posture, lines, arm positions, all much like a dancer and that the judges take note of these elements.

Smart Goal Setting For All Areas of Your Life

2012-01-10T16:00:00.000-08:00

Each New Year, many people decide on goals or resolutions they want to achieve in the year to come. Sometimes these goals end with little success. Creating goals is a process that requires much thought and motivation. In your life, work and relationships, it is not only an opportunity to take a closer, more in-depth look, into what you want to achieve, but even more,goals require constant attention and action.

The Purpose of the Goal

Setting goals helps keep life in balance, but one really important question to ask yourself is: Why do I want to make this my goal? Goals create momentum and when achieved, they give us a great sense of accomplishment. However, not all goals are good goals. The selection process in goal setting is an important one. A goal is good if it is the right fit. Finding the reasons behind the goals is just as important as creating the goal itself. In his book,"How Do I Set Goals That Work?"Tim Brownson suggests that intrinsic motivation is better for goal setting than extrinsic. Finding what is important and what will bring a greater sense of joy rather than what other people expect. Tim mentions the following as being good reasons for setting goals: "I want to leave a legacy, I want the world to be a better place for me having been here, I want to set a great example for my kids, I want to be able to leave my 9 to 5 job to spend more time with my family, and lastly I want to align with my own core values. These are all great reasons to set a goal." To get a clearer sense of what you hope to obtain from goal setting, make a list of the values that are important to you. This will set the stage for goal setting.

How to Set Achievable Goals

Robert Choat suggests. "Once you have the end in mind, then plan backwards."An important rule in goal setting is to make goals that can be reached as well as important to you. It is great to dream big, but if that seems too daunting, try to set smaller goals that are achievable. For long-term goals, use the system of breaking them down into smaller steps to make them more achievable. Being able to reach a goal is a huge accomplishment that can give great satisfaction. However, don't be afraid to make mistakes along the way. Mistakes can be great catalysts for finding a new way of thinking. They can help reveal answers that weren't present before. Tim Brownson said, "“The surest way to fail is to adopt the belief that it isn’t ok to fail.” Failing and taking risks is a part of life and goal setting.

Focusing on One Goal at a Time

Set reasonable goals and focus on maintaining a realistic perspective. It can be disheartening to fail and the easiest way to avoid this is to ensure that goals are realistic. Be aware of the time and effort it will take to reach a specific objective, and include this in the description of the goal.

A long-term checklist is a great tool for keeping goals in perspective and keeping efforts moderate and realistic. Work on accomplishing major objectives in a realistic time period, and ensure that each goal gets the amount of attention it needs to be reached successfully. Check off each step that you complete to reach your ultimate goal.

Reviewing Goals

Review a plan for reaching a goal every so often. See if the plan is on schedule, or if the plan needs to be reevaluated to take new situations into account. Looking at the steps of a plan can alert individuals to any problems in the plan, as well as any areas of a plan that have been neglected.

Choose a small reward for each completed step of a goal, such as a spa day, a trip to the movies or a fancy dinner. Rewards are a great tool for keeping motivation strong and improve the odds of successfully reaching an goal.

Setting and reaching goals can be a big challenge for many people. However, ensuring that goals are reasonable, well planned and specific can make the challenge manageable. Know what skills are needed and reward each success along the way to help make reaching any goal easier.

Keeping Track

Making your goal is only one small step in the overall goal setting process. Once you have a list of goals and what you hope to accomplish by following them, write it down. By putting goals on paper, this serves as a daily reminder for the goal. It also makes the goal more real and official. I suggest you set a reminder for the goals and rate yourself on the progress. By looking at the goals on a regular basis and thinking about the accomplishments being made toward them, the goals seem more attainable.

Staying Motivated

As you continue your journey with goal setting use this visualization exercise provided by Tim Brownson, "Sit in your favorite chair and take several deep breaths. Make sure the exhale is about 50% longer than the inhale and allow yourself to relax, When you are well chilled really imagine with all your senses. the more you visualize success, the more progress you will make.

Preparing for Setbacks

Small failures, roadblocks and setbacks are part of working on a goal. Errors and delays are common and can be frustrating for individuals. However, anticipating setbacks and coming up with alternate plans can help individuals deal with achievement problems. For example, prepare for a week of vacation by planning meals in advance to avoid over-eating when trying to lose weight.

Avoid feeling as though a temporary failure or setback makes any goal unreachable. Roadblocks on the path to reaching a goal can test an individual’s resilience, creativity and ability to cope with disappointment; learning these skills can also help individuals as they strive to reach other objectives in the future.

Overall, goals can lead to many great things in your life. More importantly, these great things are set in motion by you.

Sources

Brownson, Tim, "How Do I Set Goals That Work?"
Choat, Robert, "New Year's Resolutions Are Simply an Illusion and What Really Works"

Summer Intensives: Pros and Cons

2012-01-06T15:40:00.000-08:00

It's that time of year again when dance students decide whether to audition for a summer intensive. Summer intensives provide an excellent opportunity for serious ballet students. However, before auditioning and definitely before accepting a position, do your homework. Many people believe that if an intensive is linked with a professional company or university that it must be good. This is not always the case.

There are a lot of wonderful programs out there. The Joffrey Ballet, San Francisco Ballet, Delta Festival Ballet are among a few with excellent programs. Some others are not quite as beneficial. Here is a list of pros and cons of summer intensives along with a few tips about choosing a school.

The Pros of Intensives:

For many dancers, the summer is a time when their own school may be closed, and a serious ballet dancer's body cannot afford to take the summer off from dancing, so an intensive is a great opportunity to experience a professional environment, check out a university program they may be interested in or study with some of the best in the art. I would encourage dancers to experience an intensive the summer between their freshman and sophomore years of high school. It can be a defining moment for them in their lives.

An intensive away from their usual school takes them out of their "safe zone" and helps them see the real ballet world. It gives them diverseness in their training and most importantly it gives them a chance to see what dancing for your livelihood is really about. For some dancers, they return home and realize that a professional life in dance is not the right choice for them and begin to look at other possibilities while still taking classes for the enjoyment of it but for others it reinforces their desire even more and builds their confidence that dance truly is their life.

Since most of the "major" programs (meaning schools connected to companies like ABT, Houston, SF, PNB, etc.) are geared for the upper Intermediate and Advanced Level students, it is best to be at this level in order to obtain the benefits of the program. Younger and/or less advanced students might be better off at home in their own school, with classes which are best suited to their abilities, and teachers who know what they need at the time. Different methods and styles are fine for the more advanced student, but others need to have consistency in their training until the placement, strength and knowledge are sufficient to deal with the differences they will encounter in other programs.

Students can benefit greatly from Summer Intensive programs. Going away from home for a few weeks is fun and educational, a good part of growing up! Working with different teachers and in several forms of dance which might not be a part of the regular school-year programs are major benefits. Also meeting lots of other dancers from around the country is great fun! Many of the programs also have a performance at the end of the course, which makes them even more fun!

It is also important for dancers who are nearing graduation to attend programs where they might have an opportunity for work with the company in the future. For instance, if a particular school shows a lot of interest in you, perhaps gives you partial or full scholarship for a couple of summers, that would be encouraging in terms of your potential for that company. Some of these schools/companies like to see the students for 2 or 3 summers, and then place them in their top level class for a year or two before moving them into the company. So, aligning yourself with a summer program connected to a company becomes more important when you are around 16 and 17.

Most of the camp-type programs are best for the younger student. The training is less intensive, but there are lots of other things to do. There are some camps who have well-known, highly qualified teachers, and some which are basically just camps who happen to also offer dance. If you are a serious dance student, with a career in mind, I would suggest that you discuss the places you are interested in with your teacher. Summer is such an important time for learning and growth in dance, and you don't want to lose training by going somewhere that offers less dance or less quality training than you receive at home.

For dancers wanting to major in dance in college, I also recommend they attend their top choice of school summer intensive the summer between their junior and senior years. This is great because it allows the faculty a chance to get to know them before they are auditioning for their program as well as gives the dancer a chance to try on the university.

Not all university programs have affiliated intensives; most do, but in the case the school the dancer is interested in does not, then a preprofessional program like The Joffrey or San Francisco Ballet is a great choice. A preprofessional program will help the dancer reach their peek right before the college auditioning season and is an excellent reference on their college application.

The Cons of Intensives:

I think it is important for everyone to remember that the first and foremost reason a university or professional company hosts an intensive is to raise money. In the university's case, they may offer classes to their dance majors in the summer but it is also a great recruitment program for future students. For the professional companies it brings in much needed dollars to a profession that needs it badly. I think that sponsoring an intensive to make money is fine, and I have no issue with it.

What I do have an issue with are the ones who tout guest teachers who may have taught one class in the past but will not be present in the current year, although the publicity materials make it appear as though they will be. Or the professional company that appears to be hosting the intensive but is only linked because it is being held in their facilities and their staff is not involved in the actual teaching of the classes or choreography. I knew a student that attended an intensive where this was the case. It was linked to the company, but no one from the company was present. It was a horrible experience for her and she came home after four weeks weaker and far more discouraged than before she left.

Cost - If you can't afford it, don't give up without a try for financial aid and/or a scholarship. If the school is really interesting in having you in their program, they will try to help you as much as they can. Some have more money available for this than others, but it is always worth a try. If you can't go, then stay in your home school's program and spend the summer working intensively, as you can accomplish as much in one good summer course as you can in several months during a school-year!

Teachers, dancers and parents absolutely must research, ask questions and read between the lines before accepting any position with an intensive. There are as many bad programs out there as there are good ones, and all involved should always look closely before making any decisions, after all, it's the dancers' bodies, their training and their money that is at stake.

When chosen carefully, the decision to attend a summer intensive may be a very rewarding, satisfying way to build both dancing skills and self-confidence. As with anything else, just be informed and aware of what you want and whether an intensive meets those needs.

Nichelle @danceadvantage has a great resource of links to help students audition, prepare and select the right intensive for them. Click Here

If you can't get to an audition, call the school and see if they will accept a video audition. Be sure to inquire what they would like to see on the video, as some want barre work, and others prefer a bit of center, some pointe, and maybe a variation.

Commercial vs. Artistic Dance: Bridging the Gap

2012-01-03T13:57:00.000-08:00

I have mixed feelings about So You Think You Can Dance. On one hand, I identify with a dance show. On the other hand, I find the lack of ballet and other genres of dance frustrating. Yet, this is more than just a show in many respects. It helps define what young dancers perceive as dance. And that is, to me, its biggest weakness and strength. Because commercial dance is seen more on TV, is it better than the more rigid world of concert dance?

If we had to divide the dance world in two, we would separate it by commercial versus concert(dance performed brfore an audience, mainly ballet) And many of us do; the two worlds are in fact distinct, with their own rules, histories, aesthetics, and protocols. Sometimes, though, it seems like they don’t have anything to do with one another.

Dance has never been a particularly visible component of the American mainstream except for the occasional social dance phenomenon such as the Charleston, Lindy Hop,etc. There are those films that put dance – and dancers – front and center and became classics: Singin’ in the Rain, Footloose, Dirty Dancing, and Fame, to name a few (and there are really only a few to choose from).

Certain personalities like Gene Kelley, Fred Astaire, Madonna, and Michael Jackson made dance a significant part of their image. And a few decades ago, MTV came along and catapulted dance into homes on a regular basis through music videos.

Still, dance doesn’t exist in our cultural consciousness the way sitcoms and Hollywood blockbusters do – least of all contemporary concert, or artistic dance, which as a concept is about as foreign to many folks as the concepts of string theory.

Then came along a little show with a long name: So You Think You Can Dance. Modeled after the successful show for singers, American Idol, that has spit out the country’s next pop idol (or at least pop idol wannabe) for over seven years, SYTYCD has taken the same “audience picks” formula and translated it to the unlikely art of dance.

This formula has been well received by viewers, widely watched across the country, much loved, and yet in many ways potentially problematic to contemporary concert dance and the porformers who present it.

The format that forces the audience to pick their favorite dancer is what keeps the drama high and why they tune in each week. At the same time, however, they’re learning a vocabulary for dance and developing a personal aesthetic. In effect, SYTYCD accomplishes what I don’t think dancers have been able to do in the theater – make dance personal. And though the show is taped, the dances are performed live. On a stage. In front of an audience.

As a TV show, a form of entertainment, that is bound to fall short when representing an art form. Television is limited in what it can do (or what producers allow it to do), so limited views of complex artistic forms and skewed aesthetic preferences should be expected. Even though SYTYCD and DWTS are about dance, they will still always fundamentally be TV shows.

But maybe this is a real opportunity to have a national dialogue about dance in our society. To me, the focus is not on who should stay and who should go, but on what these shows teach us about presenting cultural dance and the idea of developing a shared national repertory of dance works.

Dancers are moving in and out of concert and commercial dance, no doubt partly out of economic necessity. Or maybe dancers are naturally daring people who like to try new ways of moving and work. Some of them only want to dance works that have been blessed by critics and historians as masterful. Others find masterful work in other venues. Artsy types need to let go of the idea that art happens only on the concert stage. Incredible creativity can happen anywhere; it is not the discrete domain of the concert world.

On Broadway, both sides meet. Multiple Tony Award-winner Susan Stroman has also created work for New York City Ballet. There is a long history of concert choreographers crossing over to the Broadway stage. Consider Agnes de Mille’s work in Oklahoma in 1943, George Balanchine’s handful of Broadway shows (including On Your Toes, Babes in Arms, and, with Katherine Dunham, Cabin in the Sky), and Jerome Robbins’ huge impact on American musicals with On the Town, The King and I, and West Side Story, among others. Savion Glover has performed in concert halls worldwide and tapped on TV and Broadway.

There is ample evidence of crossover outside of Broadway as well. Many of the dancers in college programs today who are preparing for performance or teaching careers have been trained at competition studios. And according to their professors, they have benefited from that exposure.

Commercial Dance and Concert Dance need to start thinking outside of their own box. Dance is a big world with room for all forms of expression. The best way to keep it thriving is simple: mutual respect for wherever we find ourselves on this grand dance planet. Imagine a dance world where people can dance anywhere, in any genre, without being labeled. A world where all dance is appreciated.

Top 10 New Year's Resolutions and a Few for Dancers

2011-12-26T20:09:00.000-08:00

I saw this terrific list of resolutions on EP and wanted to share.in the slideshow below. I'd also like to add a few for dancers: I also think that these are good resolutions whatever your work may be.

Keep Yourself Limber

A dancer can't be too flexible. All styles of dance require excellent flexibility to perform steps and jumps correctly. If your flexibility could use some improvement, make it a habit to stretch each night before bed and each morning before breakfast. You'll be amazed at how quickly you become more limber. And you'll love what it does for your dancing.

Get Stronger

Dancers need to be strong. Strength allows a dancer to move quickly and protects against injury. Try adding a few strength-building exercises to your daily routine. Incorporate a variety of exercises to strengthen the entire body.

Try a New Style

All dancers can benefit from trying out a new dance style. Trying a different type of dance not only challenges the body, but also the mind. Check out a tap or clogging class, or take a swing at ballroom dancing. You may just discover a hidden talent.

Challenge Yourself

Don't be afraid to give yourself a challenge. Maybe you've never had the confidence to enter a dance competition or perform a solo routine. Maybe you'd like to try a triple pirouette instead of settling for a double. You'll never know what all you can achieve if you don't try. Make a list of 12 challenges and add one to each month of your calendar.

Never Give Up

Whether your dream or goal is to be a professional, join a certain company, win a competition, or just have fun, don't get discouraged. Strive to become the best you know that you can be. Top 10 New Years Resolutions 2011 - EP

View more presentations from Empowered Presentations, Honolulu, HI.

The Gift of Dance: What It Teaches Us About Life

2011-12-21T15:23:00.000-08:00

The journey between who you once were and who you are now becoming, is where the dance of life really takes place.” Barbara De Angelis

Anyone who has taken dance classes will have been taught not only steps and positions, but valuable life lessons about life as well. This holiday season, stop and think about the gifts dance has brought to your life. Here are a few.

The Importance of Health

The first lesson children are taught in ballet class is to stand and sit up with straight backs. It is one of the hardest and most important lessons to achieve. Good posture is a key factor to good health as well as a better appearance. It also improves confidence and strength.

Standing up straight with the head proudly held up, shoulders pulled back and stomach held in will strengthen the core of the body, help avoid back problems, make the body look thinner and can improve circulation, digestion and mood. This simple action reduces the appearance of insecurity and shyness, thus improving confidence. Eating healthy food and regular exercise will also improve overall health.

Disipline and Self Control

Professional ballet dancers stay in shape by taking ballet class every day. Children and beginners learning to dance attend at least one class a week, if not more. They have to listen to their teacher, follow instructions and take criticism without offence. They work hard to improve, and practice the steps and technique over and over until they’re perfect.

The world today seems to be a place where discipline and self-control are unpopular and old-fashioned. Learning to say no to things that are damaging to health, lifestyle or environment is requires a similar discipline and dedication that dancers use to push their bodies to the limit every day.

Simply walking past the chocolate aisle in the supermarket without stopping can return power to the person who may not normally be able to resist. While this does not seem equal to standing on one leg while the other one is held above the head, it can require a great deal of will-power, depending on the desire.

Smile - You'll Feel Better

This is the easiest lesson of all. Smile. It doesn’t hurt, makes others feel happier and brightens the room. Even if you don’t feel like it, smiling through the crabbiness, sadness or anger can at least disguise those feelings until true happiness returns.

Dancers who smile in class, at auditions, during rehearsals and in performance are opening a window to their soul, allowing people in to experience their joy of dancing. It comes naturally to some, while others need reminding. Smiling takes practice, like anything else.

Courage

It’s sometimes difficult to do something new, to take that first class, perform a certain role, voyage into the unknown, but the rewards are worth it. Allow yourself to be vulnerable and grow.

Handling Criticism

Every dancer encounters criticism, of his/her technique, body, performance at some point. However, this also teaches dancers not to take criticism as a put-down, but use it as a tool to improve. By learning to use criticism in a positive way, especially with the help of parents and friends, dancers learn to distinguish between constructive criticism and uncalled for rudeness.

In everyday life, people are subjected to criticiam, even bullying from bosses, teachers, co-workers, fellow students. Learning to handle and understand the reason behind the negative words can turn them into a guide to improving yourself on your own terms. If someone is just plain hostile, then walk away. If you see that some constructive criticism is warranted, then apply it.

The Art of Patience

Anything worth doing is worth doing well. Ballet dancers have to practice the same steps and choreography over and over until it is right. Every small detail, from the angle of the head to the point of the foot, must be exact. The timing of the steps must go with the timing of the music, therefore the dancer has to listen carefully as he/she moves her body.

In everyday life, doing something well is very satisfying and rewarding. It doesn’t matter what it is or how long it takes as long as it is performed with enthusiasm and effort.

Nothing is Perfect

There is no such thing as a perfect person or thing. You have to make the best use of what talents you have. No matter what you do, don't aim for perfection. Aim for doing your best. There's a great satisfaction in knowing that whatever happens, you've given your all.

Passion

Whatever you do and enjoy, do it with passion. Passion is the difference between good and extraordinary. If you love what you are doing, it shows like a bright beacon and attracts people to you. The greatest dancers, or people in any field, aren't necessarily the best technically, but they pour their heart into their work. They work because they love doing it.

Life is a Journey

Goals and destinations are important, but you can’t look at where you are and compare yourself to others. Life, like Dance, is a journey. Always strive to improve, but enjoy where you are today; enjoy the journey. Look back and see where you came from and celebrate the success of what you have already achieved while you look forward to what lies ahead.

Become a Better Dancer Through Somatic Imagery

2011-12-17T16:31:00.000-08:00

David Howard was once recorded as saying ‘If you are just concerned with appendages and don’t invest in the soul, presumably located in the torso, you will never bring an audience to its feet’. Dancers are sometimes so obsessed with technical skill that the ‘art’ of performance is lost, showing only a body in space moving through an ever-changing sequence of shapes. Training that excludes artistic expression and separates technique from art has very little to do with dance as an art form. An emotion from within must be expressed in order to reach deep inside the audience and bring more than just movement to the dance.

By its very essence, Somatic Imagery is profoundly integrative. It is the language of the unconscious – sending healing messages to the body and resolving psychological conflicts rooted in early experiences. How does Somatic Imagery help dancers? Here are a few ways:

The Performance Environment

A dancer is often required to create an imaginary stage environment. Minimal design and props only suggest much of the set used in contemporary dance, ballet and physical theatre work. The performers are then required to imagine the rest and bring life to the piece through their interpretation and performance. The dancer’s inability to create an environment can make the performance look stale. In order to imagine and envision such environments, performers must practice ‘anchoring’ objects to the space. This implies that although an object is not actually there, such as a window, the performer believes it exists and will always refer to the exact same spot where this object sits on stage. This then allows the audience to believe that the object is there and can share in the performer’s imagination.

With or Without an Audience

A dancer must also ask him/herself what relationship he/she has with the audience. Is the dancer trying to involve them in the dance or are they outside spectators observing the private motions happening within a large box? Usually, a stage has three walls with an empty space at the front. If a dancer embraces this space and acknowledges the open void, perhaps even making eye contact to an audience, then they are inviting the audience to experience the dance with them.

However, some choreographers suggest that there is a ‘fourth wall’ to the performance box, putting a barrier between the audience and the dancer and letting the performance feel more closed off to the outside world. The idea of a ‘fourth wall’ is often used in more abstract work such as the work choreographed by Merce Cunningham. However a dancer must ensure that they are performing the dance as directed by the choreographer and not as an individual. They must make sure they are not the only dancer performing with a ‘fourth wall’.

Your History

A dancer must have a history when performing, not merely be a machine sending his/her limbs into space and creating shapes. A dancer is a personality, an individual with a background and should try to expand the background of the character or performer they are portraying. Imagine a storyline and historical background that prompts the reason for the movements and mood of the work. This will add richness and depth to a performance.

Stepping Onstage

The moment you step on stage you should be performing to your fullest potential, but this is not always easy when there are lots of distractions backstage with very little room to warm up. The key to performance preparation is concentration. The more focused and prepared a dancer is before a performance the more intense his/her performance will be, and even the smallest joke made before going on stage can dampen the power of performance. A dancer must find his/her own ‘performance image’ creating their own performance personality that refines them as an individual. Suggestions to heighten concentration and prepare a dancer for performance are:

One minute focus: Think about nothing for one minute at regular intervals. If this is difficult try focusing on your breath.
Consciousness: Let awareness flood your body. Become aware of every part of your body and pour concentrated awareness into every cell.
Aura: Create a performance atmosphere around your body. Depending on the dance the aura may be intense or soft and soothing.
Think of your body as glowing: The faster you move, the more you glow. When you slow down, your glow becomes deep, rich and mysterious.
Body spotlight: Think of a bright light shining from the centre of your chest, illuminating the space like a powerful spotlight.

Each dancer will find that he/she prefers certain techniques to others and will stick to one particular technique to enhance their performance. and should be tried frequently to achieve success. The common thread in all imagery work is the search for solutions from within the self, whether they be in the nature of changed perceptions, new insights, or the discovery of personal resources that help a dancer or anyone use his/her full potential.

Sources

Franklin, Eric (1996) Dance Imagery for Technique and Performance, Human Kinetics: USA
Franklin, Eric (1996) Dynamic Alignment Through Imagery, Human Kinetics: USA
Blom, Lynne, Anne (1982) The Intimate Act of Choreography, University of Pittsburgh Press: USA

Keeping the Memory of Deceased Loved Ones Alive at Christmas

2011-12-15T18:10:00.001-08:00

Since my post, Remembering a Dead Father on Father's Day has been so popular, I'd like to offer ways to cope during the holidays with the loss of a loved one. Just before Thanksgiving of this year, my mother's best friends's daughter committed suicide, leaving a husband and 2 children, ages 6 and 3.

Christmas can be an especially bittersweet time of year. While enjoying all the fun and pleasures of the season, memories of past Christmases with loved ones who are no longer with us can be painful. These emotions can run the gamut from the occasional holiday blues to a longer lasting and more serious depression.

Taking steps to honor lost loved ones at Christmas keeps their memory alive and provides comfort to the surviving family and friends. Here are some ideas:

Talk About Them.

Many people hesitate to bring up lost loved ones at Christmas because they are afraid of stirring up emotions and possibly upsetting others. Many times, however, it is very beneficial to reminisce about past holidays when loved ones were still here. Enjoying a laugh about the time when Grandma forgot to take the giblets bag out of the holiday turkey or when Dad became obsessed with jogging and bought every member of the family sneakers for Christmas can relieve stress and lighten your heavy heart a bit. Every family has funny anecdotes about past Christmases when every member of the family was present. Reminiscing brings the rest of the family closer together and also reminds us that our lost loved ones are still with us on the holiday.

Cook Or Bake Their Signature Dish.

Trying your hand at recreating your deceased loved one's signature dish or dessert is a lovely way to honor their memory. Not only enjoying the dish at your Christmas celebration, but the act of preparing it will help you to feel closer to your lost loved one. Every year at Thanksgiving and Christmas I serve my Grandmother's Christmas Ambrosia recipe. I am reminded of the many years that I sat in the kitchen watching her lovingly prepare this side dish for our Holiday meals. Instead of making me sad, it brings me great happiness to now serve my family this dish that has become a holiday favorite. It exemplifies that my grandmother's love and her traditions are being kept alive.

Watch Home Movies.

We are very lucky that we live in an age where having hours of film footage of our families enjoying holidays together is commonplace. Make viewing home movies of Christmases past a regular part of your Christmas holiday. If you have lost your loved one recently and this is the first Christmas without them, it may be too upsetting to start this tradition this year. Waiting a year or too until the pain is not quite so raw may be a wiser option. If your loved one was lost before your children were born or when they were very young, this is also an excellent way to familiarize them with your loved ones. Consider handmade ornaments with the deceased person's name as a way to keep him/her near.

Visit The Grave Site.

Paying a visit to the final resting place of your lost loved one is a wonderful way to honor them this Christmas. Making sure their grave site is neat and tidy and bringing a Poinsettia or wreath will bring you great comfort ad give you some uninterrupted peaceful time to reflect on their love and influence upon your life.

Make A Donation In Their Name.

Making contributions to charities at Christmas is a thoughtful and generous gesture that is always appreciated. Offering a donation in your lost loved one's name is a lovely way to honor them at Christmas. If your loved one passed away from Cancer or Heart Disease, making monetary donations to aid in research for new treatments to save the loves of other people's family members afflicted with the same disease will undoubtedly bring you comfort during the holiday season. Think about what was important to your deceased loved one. If your mother, father or sister was an animal lover or was passionate about the care and safety of children, make a donation int heir name to the local animal shelter or an organization that provides services to abused children.

Light a Candle

Use the link below to light a candle in honor of a deceased parent, child, sibling, friend, pet, etc.

Light A Candle

Whatever you do, celebrate the person's life. He/she will always be with you in spirit, in your heart.

Free to Dance: The Legacy of Alvin Ailey

2011-12-12T16:15:00.001-08:00

At Right - Dancers Perform in "Revelations"

The lights dim and there is a profound hush that rolls over the sold out crowd. Hearts beat loudly with anticipation as the curtains slowly open. A solitary light beams down on a strong, regal-like black woman adorned with a beautiful head wrap. She deliberately unwraps the headpiece an uses it to scrub the floor. After illuminating her trials and sorrows in movement, she eventually rises toward a life of freedom. This dance, depicting the courage and determination of an African American woman entitled, "Cry," is the type of choreography that will immortalize Alvin Ailey.

For the past fifty years, The Alvin Ailey American Dance Theater (AAADT), has not only recorded the history of the African American experience through modern dance, but has also touched the lives of children and adults with their physically awe-inspiring, technically exact and powerfully expressive performances. Internationally, they are known as cultural ambassadors of good will, promoting the uniqueness of black Americans and the preservation of the American dance heritage.

Born in Texas, January 5, 1931, Ailey was raised by his single mother. On a junior high school field trip to see The Ballet Russe de Monte Carlo he discovered a whole new world of expression, dance. Ailey began his serious dance training when a high school friend brought him to Lester Horton's classes. The influence of Horton's dance troupe, which included American Indian and Japanese influences, can be seen in later years in Mr. Ailey's multi-cultural style.

In 1958, the Ailey Company emerged from performances in New York City. This small group of dancers changed the aesthetic quality of modern dance forever. When Mr. Ailey started creating dances he drew from his childhood experiences with spirituals and blues as his inspiration. It was during this period of his life that he conceived his most loved and acclaimed work entitled, "Revelations." This trilogy portrays an array of spiritual worship, which has become a tradition to see in the "finale" of most performances.

Alvin Ailey was the first modern dance choreographer to successfully produce a "pointe" ballet entitled, "Feast of Ashes." In 1970, after traveling all over the world with their dance, the company became internationally recognized for combining Modern, Ballet, Jazz, Latino and African genres, to produce a fascinating and unique dance experience. That same year, with an original score commissioned from Duke Ellington, Ailey created, "River" for The American Ballet Theatre. This was the first ballet to convincingly merge jazz dance and ballet technique.

Ailey dancers, known for their uncanny versatility and strength, are trained in Horton technique. Ailey is famous for calling Horton a “modern tops and ballet bottoms” approach. The lower body is strong and angular while the upper body remains totally expressive.

After his untimely death in 1989, his long time prodigy, Judith Jamison, became the Artistic Director of AAADT. Following in the tradition of Mr. Ailey she continues to promote new choreographers, a multi-cultural curriculum at the Ailey Center, and initiatives to bring dance into the community through adult and children's arts programs. The Ailey Camp works with preteens, to strengthen their bodies and minds. Developing leadership and communication skills, as well as a respect for themselves and others, the children are encouraged to discover the special inner qualities that they can offer to the world.

Jamison has also blossomed into a choreographer of note. "Love Stories" is a collaboration with Modern dance wonder Robert Battle and Hip-Hop renegade Rennie Harris, set to music by Stevie Wonder. The piece was inspired by the idea of “Sankofa” the Akan word which means “go back” (Sanko) and “take” (fa). The concept means that we don’t know where we are going until we know where we have been. “Love Stories" is about whatever a dancer gets from being in a studio alone in front of a mirror…the solitude of that place,” says Jamison. “It’s about trying to be as honest with oneself as possible. That is what Alvin was always about….bringing us to our true selves.”

The AAADT has performed in most states, and in 71 countries on six continents, for over 21 million people. Dance historians can recall a time when ballet and modern dance were very different and even competitive disciplines. Alvin Ailey and his company changed that forever. During his lifetime, Mr. Ailey has received many prestigious awards including Kennedy Center Honors, in 1998 for his extraodinary contribution to American culture and achievement in the performing arts. The company remains committed to promoting the Ailey heritage in which dance as a medium honors the past, rejoices in the present and marches intrepidly into the future, making new and even more unique contributions to mankind.

Clips from Revelations

Light a Virtual Candle in Honor of a Deceased Loved One

2011-12-10T20:12:00.000-08:00

Of all my posts, the most popular has been Honoring a Dead Father on Father's Day As Christmas and a New Year approaches, I know first hand how hard these celebrations can be for the families and friends of deceased loved ones.

Please use the link below to light a candle in honor of a deceased parent, child, sibling, friend, pet, etc. this holiday season. - The group's name will be Sheri for easy idendifiation and also feel free to share stories, ways to cope, traditions, memories, and most importantly, your feelings in the comments section here. If you are angry, sad, confused, feeling no emotion, whatever the case, you might just make another person feel better by helping them to realize others are experiencing the same things.

Light A Candle

Studies Confirm that Arts Should be Part of School Curriculums

2011-12-10T14:58:00.000-08:00

It has often been debated in recent years whether the value of including the arts in school curriculum is beneficial or simply a waste of money. Research and Evidence supports the inclusion of the arts in the education system.

Here are some findings from several articles that clearly point out the inarguable benefits of the inclusion of the arts for all students.

Everyone Benefits

One of the most important reasons that the arts should be included in school curriculum is as Sylwester points out, “...they cognitively stimulate both those who do them and those who observe them." This means that everyone can benefit from the inclusion of the arts, not just those who are actively participating in them. In what ways do the arts cognitively stimulate?

Hetland explores some of these benefits as he observes that the arts “...teach habits of high-order thinking that help students develop capacities to recognize the hidden roots of problems, make careful choices in ambiguous circumstances and seek and synthesize the resources necessary to solve problems in novel ways."

Rainey expands on this when he states “through the arts, students learn discipline and teamwork. They expand their knowledge of every subject area, from language arts to math and science. They also build self-esteem." Eger also agrees with these sentiments and takes it a step further when he states “research shows that learners can reach higher levels of achievement through their engagement with the arts. In addition, learning in and through the arts can help level the playing field for disadvantaged youth."

Many Great Achievers were Artists

If these reasons are not compelling enough to support the inclusion of the arts in school curriculum, and examination of some of the great achievers from the past can demonstrate the importance of this cause. For example, as Eger points out, “...nearly all of the great inventors and scientists were also musicians, artists, writers, and poets." Some of the specific examples included in this article are, “Galileo was a poet and literary critic. Einstein was a passionate students of the violin. And Samuel Morse, the father of telecommunications and inventor of the telegraph, was a portrait painter.

Albert Schweitzer, the humanitarian and medical doctor, was a world class organist and Bach expert." What parent would not want their children to be exposed to the sources of inspiration that influenced these great men who have had such a tremendous influence on our society today? By removing the arts from school curriculum, we are limiting our children in the level of greatness that they could achieve. Rainey also states that inclusion of the arts is “...an essential step as we seek to shape our students into well rounded, thoughtful individuals who are making history, not just reciting it."

Cost vs. Benefit

Although few would argue that there are benefits to children being exposed to the arts after reviewing the above facts, some would still argue that the cost is too high. They would say that children should be exposed to the arts, but that it should be the parents' responsibility, not the school's. In response to this, Sylwester observes, “...it shouldn't depend entirely on parental ability to finance private lessons if our entire culture benefits from the abilities."

Thinking back to what Eger said regarding the arts leveling the playing field for disadvantaged youth, it is important to keep in mind that this benefit would be removed if the responsibility for exposure to the arts were left entirely to the parents. It is obvious that the parents of those youth who are considered disadvantaged, would not have the means to provide their children with exposure to the arts. Is it not our responsibility, as a society, to ensure that all of our youth are given the opportunity to reach the highest level of success possible?

It is clear from examining the benefits of the inclusion of the arts, that we as a society would be negligent if we did not include it as an element of our school curriculum. The benefits of the arts are not limited to a certain type of person, but rather, are beneficial to all students, regardless of their circumstances. In addition to the benefits for those who are actually doing the arts, there are benefits for those observing them as well.

It is clear that society as a whole will benefit from the inclusion of the arts in school curriculum, and as such, we must make this a priority. Rainey sums it all up when she quotes Pablo Picasso “Every child is an artist. The problem is how to remain an artist when we grow up."

Sources
Eger, J. (2008, March). The Arts in Contemporary Education.
Hetland, L. (2008, March). Basically, Arts are Basic.
Rainey, S. (2008, March). The Whole Picture : Arts Reside in Riverside School.
Sylwester, R. (1998, November). Art for the Brain's Sake. Educational Leadership 56 (3), 31-35.

Christmas Gifts for Dance Teachers/Other Dancers

2011-12-08T15:57:00.000-08:00

Picture - A ballet slippers ring given to me a few years ago.

The joys and headaches of having a child that takes dance lessons or taking them yourself inevitably involves the question of what to give a favorite teacher for Christmas? What about a dancer who is a relative or friend? As a dancer and teacher, here are some gift ideas:

Gift Certificates - Dance teachers purchase all their own music and gear for class. A $10 gift certificate to the music store or iTunes makes the perfect gift. A gift certificate to your local dance supply store is also a very useful gift. Even if it's only $10, that $10 can purchase a pair of tights or go towards a new outfit or some dance shoes, which are very expensive for both dancers and teachers.

Dancer Ornaments - The perfect addition to a Christmas tree. If you can handmake ornaments, all the better for a personal touch.

Lotions. I know most people think bath and body products are a cop out gift, but they aren't for a dancer. A dancer really needs to take care of their body, especially their feet. Look for special lotion for the feet, special socks, and even legwarmers could be added to make a nice little gift basket.

Calendars - Calendars are always welcome, especially if you can find one that matches the type of dance being taught.

Dance Teacher/Dancer Mugs - Fill with chocolates and candies to make it extra sweet. Tie some decorative ribbon around the handle if you'd like.

Tote Bags - Dance teachers and dancers are constantly lugging stuff around. They're typically involved in more than one dance activity. They might be on a dance team and several teach at more than one studio.

Dance Photo Frames - A dance themed picture frame is also a great gift. Put student's pictures in there or leave empty for the teacher or dancer to decide. You also can get a plain one from the craft store and decorate it yourself.

Dancer Cookies - Include cookies in the shape of dancers or in the shape of other things that may remind you of dance. You could make basic sugar or gingerbread cookies. These could even be a special treat at the end of class for each student. A cookie cutter with a recipe and the ingredients for the recipe in a little basket would also make a nice gift.

Ornaments/Figurines. I do not know how many little ballerina decorations I own. Every year someone gives me one. Many of them are beautiful, and I do not mind the collection I have accumulated at all. A small figure of a dancer might also be a nice gesture, especially if the figure looked like the student or the teacher. Or maybe it was reminiscent of a part someone had in a recital or ballet. A nutcracker however is probably overused and may not be the best choice for a figure or ornament.

Homemade. If you can sew, you may like to knit a scarf as a gift or a pair of leg warmers.

T-shirts/Apparel. You can take a trip to your local dance store, or look in a catalogue such as discount dance supply and find a shirt that says dance or has a dancer on it. Watch for a couple weeks to see what sort of clothing the person you are buying the item is for. wears. Do they wear things loose or tight fitting? Do they even wear t-shirts? Be careful when buying clothing for someone else.

Books/Videos - Another suggestion is to see what dance things a bookstore might have. A book or video on dance instruction might be something helpful. Just make sure it doesn't come across as an insult to the teacher's abilities. You may also find some classical music that could be used in the ballet class, or simply a calendar with dancers on it.

Posters/Prints - Many dance studios have posters or prints of dance on their walls. A nicely framed poster or print might be a nice addition the lobby or office of a dance studio. Or the teacher may want to hang it in their home. Likewise, dancers often collect posters.

Hair Accessories/Jewelry - Dancers must always keep their hair up out of their face, unless they are doing African or hip-hop, but typically hair is back. Ponytail elastics, hairnets, cute bobby pins, or even those pretty elastics with flowers that H&M sells are all gifts that are practical and something dancers are always running out of.

Jewelry, such as pins, necklaces, rings, bracelets, can be both a beautiful and pretty inexpensive gift.

Here are a few online stores that you might be interested in, and Head over to Danceadvantage.net for More Gift Ideas

Dance Teacher Press

You Go Girl Dancewear

Unique Ballroom Dance Gifts

Dance Extras Store

2011 Dance Calendars

Managing Winter Blues and Seasonal Affective Disorder

2011-12-04T15:39:00.000-08:00

The winter months bring more than snow-covered landscapes. For many, these months bring long bouts with depression. Here are some ways you can fight back. Feeling blue? It may be more serious than a couple of bad days.

According to the article "Seasonal Affective Disorder" on the Family Doctor website, every year between 14% and 26% of Americans suffer from some sort of Seasonal Affective Disorder (SAD), also known as winter depression or winter blues. Between 4% and 6% of those individuals suffer from a severe form of SAD.

SAD is a form of depression brought on by the different seasons throughout the year. While people can be affected by SAD at any point throughout the year, SAD is most common during the winter months.

Symptoms of SAD

Some of the symptoms of SAD include:

Depression / Anxiety
Irritability / Crying for no reason
Change in appetite / Weight Gain
Fatigue / Low energy levels / Oversleeping
Social withdrawal / Loss of interest in favorite hobbies
Difficulty concentrating
You may be at greater risk for SAD if you are female, have a family history of SAD or live in climates with harsh winters and decreased sunlight.

Available Treatment for Seasonal Affective Disorder

For those who experience severe forms of SAD, there are a variety of treatment options available. These include (but are not limited to): light therapy, medication, psychotherapy. Light therapy involves exposing a person to an artificial light that mimics sunlight. Lights can be purchased for around $100 (see one example here) and are very portable and easy to use. Patients usually expose themselves to this light for approximately 30 minutes a day.

Note: While these lights can be purchased over the counter (or online), it is best to have a conversation with your doctor before usage (and use them as directed). Your doctor may want to supplement the light therapy with medication or psychotherapy.

SAD Home Remedies

For the remaining 8%-20% of Americans who suffer from a much milder form of SAD (often seen more as "winter blues" than an actual disorder), there are many lifestyle changes and at-home remedies that can be used to help bring a person through the winter months.

Outdoor Light – Studies have shown that outdoor light, even when it is cloudy and overcast, gives off more light than artificial light gives off in light therapy. Think about investing in some warm clothes and boots and taking a daily walk outside. When the days are at their shortest, consider using your lunch break at work to get in a mid-day walk. Keep your blinds and curtains open during the day and let natural light into your house as much as possible.

Exercise – Get your endorphins flowing! If possible, try to engage in outdoor exercise, but indoor exercise is better than no exercise at all. If you do not have a gym membership, think about investing in some workout DVDs. There are several free options online. Dave Farmar has yoga podcasts available on his website and Bridge Pilates in Brooklyn, NY have free pilates podcasts available here. You could create your own workouts as well, integrating different ab and arm workouts, stretches and at-home cardio (dancing, running stairs, jumping jacks, jump rope, etc.).

Healthy Eating – One of the symptoms of SAD is a change in appetite, very often having an increased craving in carbohydrates. Make an extra effort to put fruits and vegetables on your plate in the winter time. Keep a food journal to track what you are eating and drinking to help balance your food groups. Make monthly goals that include preparing new and healthy meals for you and your family.

Stress Management – Stress is a normal part of life, but learning how to manage that stress will keep you grounded during the dark of winter. Make an extra effort to keep your finances organized and your house clean and fresh.

Get Out – As much as the cold, dark days make you want to stay cozy indoors, get out and socialize! Make plans with friends, even if it is just getting together at someone's house for dinner. Socializing doesn't come naturally to people who are suffering from SAD, so making the extra effort (even when you don't feel up to it) will pay off in the long run. Consider saving some money and taking a trip to a warmer climate partway through the winter.

Spend Time With Friends

Socialising is another effective way to help you beat the winter doldrums. So, resist that deep urge to hibernate and make an effort to meet friends. Well, of course doing a big cook up is not that tantalizing on a cold day, but there is always the option to go potluck. There are added benefits to hosting a potluck dinner and clean up being a breeze is only one of them. The variety in the menu will be a nice change of pace from the typical heat and eat winter warmers gracing your dinner table.

Plan Your Next Summer Vacation

Just because the mercury has plummeted doesn't mean that you have to wallow in misery reminiscing the summer sun. What better way to spend the extra time indoors, than planning your next summer getaway. It will most likely take your mind off the cold and gloomy weather and perhaps help you grab an early bird deal. Well, booking in advance just might even allow you to afford that seemingly elusive special summer vacation - the one you longed for when the sun was high and hot.

Talk to Your Doctor – Nearly one out of every four people in the United States suffer from some degree of SAD. It is normal and nothing to be ashamed of. Even if your symptoms don't seem to be severe, a conversation with a professional is never a waste of time.

Take care of yourself this winter. Stay healthy. Stay happy!

Sources:

Mayo Clinic. "Symptoms of Seasonal Affective Disorder(SAD)"

MedicineNet.com. "Seasonal Affective Disorder"

How To Deal With Seasonal Affective Disorder by Howcast

Bunheads Review: Everything's Not Always Beautiful at the Ballet

2011-12-03T19:53:00.000-08:00

Goodreads Synopsis: As a dancer with the ultra-prestigious Manhattan Ballet Company, nineteen-year-old Hannah Ward juggles intense rehearsals, dazzling performances and complicated backstage relationships. Up until now, Hannah has happily devoted her entire life to ballet.

But when she meets a handsome musician named Jacob, Hannah’s universe begins to change, and she must decide if she wants to compete against the other “bunheads” in the company for a star soloist spot or strike out on her own in the real world. Does she dare give up the gilded confines of the ballet for the freedoms of everyday life?

"Everything was beautiful at the ballet! Graceful men lift lovely girls in white. Yes, Everything was beautiful at the ballet." - A Chorus Line

Sophie Flack’s debut novel illustrates that everything isn’t always beautiful at the ballet. There’s grueling physical work, cutthroat competition and no time for a private life. Then, the curtain rises and everything is beautiful again.

Hannah is a self-described bunhead, not a ballerina. A ballerina is the star – dancing center stage in the spotlight. A bunhead is one of the girls in the corps de ballet – dancing in precision unison in the background. The dancers make the work on stage look effortless as they glide and jump and spin, but reading Bunheads, you get a picture of the intense physical effort that is behind the beauty. Bunheads also gives an inside look at the culture of professional ballet – a place where girls who need an “undergarment” (i.e. a bra) are to be pitied, where being thin can lead to extremes, a place where people with regular lives, not a part of the dance world – pedestrians – are mocked.

Hannah is starting to move from the background – she’s getting noticed and is on the verge of becoming a ballerina, a star, instead of a bunhead, a supporting character.Then, Hannah gets a taste of pedestrian life – sweet 19 and never been kissed - she meets a musician/college student named Jacob. There is an instantaneous connection between them. But, how is Hannah’s bunhead life going to ever going to allow room for a relationship with a pedestrian?

I really enjoyed Bunheads. It was interesting to see how the world of professional ballet was accurately depicted along with ballet terms that help a non dancer understand and picture different moves.

I enjoyed the struggle as Hannah tries to figure out where she wants to go in life, who she wants to be. For most of her life, she has identified herself as a dancer – but then she gets a taste of outside life through Jacob and realizes maybe it’s not as bad as she thought. But, how is she going to make the pieces of her life fit together? If she gives Jacob the attention he wants, her ballet suffers. If she gives ballet all her time, Jacob will be gone.

Where does she want to go now? She’s on the cusp of making the leap from bunhead to ballerina – but does she truly want that? She receives prospective from her friend Bea, who states that others have been promoted not because they are better than Hannah,but because they are willing to sacrifice everything else. Another pivitol moment comes when Hannah attends a little girl's dance recital. She sees herself in that young face full of hopes and dreams and wonders when was the last time she truly smiled from the heart. It is up to Hannah to decide what she will do. No one can decide for her.

Hannah’s decisions are difficult and life-changing and I can relate to her. Her story isn’t just a story about ballet, it’s about discovering what makes you happy, about making difficult choices, about finding yourself. Sophie Flack’s debut will obviously resonate with the bunheads out there – but it’s a story everyone can relate to, dancer or not.

The Origins of Salsa Dancing

2011-12-03T09:55:00.001-08:00

By Jenny Bailey

Although salsa dancing originated in Cuba, it is not only a Cuban dance. Salsa actually takes its inspiration from several other dances. These include danzon, an English and French style of country dancing that was introduced by the French that fled Haiti, African rhumbas, flavora, a partner dance where partners move to the beat of the clave and finally Son, a Cuban dance which essentially mixes Spanish troubadours with African rhumbas. If all this sounds quite complicated then that’s because it is! Salsa is one of the hardest dances to define and many Puerto Ricans will argue that it was actually their country that invented it.

Salsa features a pattern of six steps danced over eight counts of music, making it similar to the mambo. Although both dance forms have several moves in common, the mambo is a forward and backward dance, while much of the emphasis in salsa is on sideways moves.

One can experience salsa in many Caribbean and Central American countries and all have their own variations of the dance. Countries like the Dominican Republic, Puerto Rico and Colombia took salsa bands to Mexico City, which at the time was producing lots of famous films by directors such as Perez Prado. Shortly afterwards, New York became interested in the movement and the term salsa was coined. Americans started using the name to describe any dance that was Hispanic in origin, and suddenly dances including the cha cha cha and the merengue were being described as salsa. The phrase became a catch-all to describe dances that were essentially blends of other Hispanic dances.

Nowadays the salsa most people will dance to in town halls up and down the country is more clearly defined. The bass of the music will be a Son and you’ll also hear some guarancha and cumbia in there. Salsa dancing still varies a lot depending on the location. In America and the UK, where people prefer dancing on the second beat, extra percussion has been added to Colombian songs so that participants can dance to the beat of the song, rather like a mambo.

Salsa is a dance that not only has various different origins, but it also incorporates different blends of music and dance. A salsa dancer from Puerto Rico would find it hard to dance the salsa in an American dance hall. Everyone is accustomed to their own style of salsa and this is one dance where all the different varieties should be cherished.

If you want to experience salsa for yourself then why not have a look at some of the salsa experience days offered by gift experience experts, Red Letter Days.

Technology's Effects on Dance: Pros And Cons

2011-12-01T17:59:00.000-08:00

Because society today heavily relies on technology, dance is structured by the technology that surrounds us. There are those who clamor for more dance on TV and film, for example, NYC Ballet's The Nutcracker being shown in theaters worldwide. While technology allows people to experience dance in ways that they could not many years ago, there is the risk that it could overtake the human, emotional element that defines dance.

On May 4, 2004, the Lincoln Centre in New York hosted a PBS centenary celebration/tribute to Russian-born choreographer George Balanchine, arguably the most influential figure in modern American ballet. His extraordinarily imaginative rendering of the classic Nutcracker, and his ability to take his dancers to unexplored dance territories, where they had to master exacting moves, are examples of the mentoring magic of a charismatic choreographer. Technology was not a crucial part of the Balanchine repertoire.

That being said, the incomparable Fred Astaire reveled in the flexibility and freedom technology provided for him on the cinema stage. In his later career, some of his most creative work was achieved by combining his dance skills with improvisational hand-and-leg illusions and with special effects made possible by film technology. While Fred exemplified an easygoing dance style, he was actually a tireless worker who used every device and resource to craft his timeless works of art. His autobiography, Steps in Time (1959), reveals an embrace of film technology.

Great dancing is not just about the mastery of movement, but the utilization of any means, including technology, to showcase human movement at its best. The astonishing productions of the Cirque de Soleil show just what can be achieved by using technology to push back the boundaries of innovative movement theatre.

Dance education causes students to use creative thinking. With the adaptation of technology in dance, creative thinking is broadened. The use of video and the Internet can cause a student to be more creative and to learn at his or her own pace, without being left behind in a normal dance class. Video can help students understand moves that they should be mastering in dance class. In a sense, video can help serve as a model for students and as a teaching tool for instructors.

The Internet can help students to comprehend the meaning of the dance they are attempting, as well as give them the power to interact with, and ask advice from, other teachers and students around the world. Some students, especially those with disabilities, may feel uncomfortable with movement. However, with the addition of technology, dance can bring about certain movements that previously could not be achieved among those with disabilities. Even with technological innovations, students are still able to enjoy the physical and health aspects of dance, because they must perform the dance physically.

The use of technology has allowed dancers to be more dramatic with their movements without seeming to over-emphasize the motion. The enhancement of dance is due to a combination of the advancements in customizing music, scenery, and lighting. The ability to add sounds, delete words, and slow down or speed up beats has given exaggerated dance moves a "beat" to hit, which adds attitude to a performance.

Rather than detract from dancers, the scenery and lighting in performances have actually drawn more attention to the body, by covering many imperfections, while allowing the body to become part of the story that is told with the music and backgrounds. Since technology has become such a vital part of everyday lives, it is probable that it will also be used to enhance the elements of dance.

The ability to film, photograph and record dance is important to perserving the history of dance. Through videos, dvds and YouTube, dance educators and students have the ability to watch the dance performances of the many dancers/choreographers that helped shape dance. It allows us to document choreography, movement style, costumes and music used for each piece outside of writing them down.

Cons

Technology can detract from the human element because there is no emphasis on incorporating dance into our curriculum. As a result, very few physical educators are educated as well as they should be about dance. The advanced technology allows some teachers to take a break while the VCR, television, or computer performs some of the duties that a teacher is hired to do.

Our society is changing every day. We now rely on technology for a number of things. With the new conceptions of technology being applied to dance, we must look at how this will affect the human element of dance. The human element is changed because people who once went to teachers to learn are now relying on videos to teach them. This has the advantage of making it easier to learn some dances, because people can practice them at home. However, videos/dvds should never replace going to a live dance concert. Watching dance live is a totally different experience and there is nothing like it. You feel the energy of the audience, the anticipation of the curtain opening and of course the dancers moving across the stage with strength and grace.

In the past, however, there was more emotion in the art of dance. People danced the way they felt, and different variations of movement were used. Technology is now trying to duplicate the one-on-one learning experience and mass market it to everyone. This use of technology is homogenizing the cultural influence of individuals on dance. Some things should be kept original and kept from the changes of our new society. This is one.

Dance is an expression of a person's inner being. Dance allows a person to act alone, with a partner, or in a group. When people express their feelings through movement, the human element soars. When and if technology blocks or stunts the expression of human feelings, dance runs the risk of losing its spontaneity.

Technology helps preserve dance history, but we cannot forget about all of the great books on dance history as well. There are so many dance writers, critics and dance historians that can teach and inspire through the written word.

The use of technology does not necessarily detract from the human element of any activity. It is when people allow the technology to infiltrate their thinking that technology may hinder the human aspect of movement. This is true in dance, sport, and all forms of human movement. The trick is to use the science of technology to enhance the art of human movement, not stifle its creativity. Yes, you can study dance and movement, but how can you analyze "joy"?

In today's world, physical educators must provide students the opportunity for expression through dance. Dance provides an outlet for beauty, form, and free will. Technology can augment human movement as long as it is the technology that is used by the human element, not the technology that directs the human expression through movement.

Merging Social Issues with Dance: Anna Sokolow

2011-12-01T10:50:00.000-08:00

"I felt a deep social sense about what I wanted to express, and the things that affected me deeply personally [are] what I did, and commented on." Anna Sokolow

ANNA SOKOLOW (1910-2000), a dancer and choreographer, was a major female figure in modern dance in America.

A key figure in the development of modern dance in both Israel and Mexico, Sokolow worked in numerous countries, from Holland to Japan. She also worked with a variety of theater forms; in addition to regular involvement with both Broadway and off-Broadway stage productions, she often experimented with combining dance, mime and the spoken word into a single piece.

She believed passionately that dance could and should be used to express and explore contemporary social issues, and her choreography explored themes ranging from the Great Depression, to the Holocaust, to the alienation of modern life.

EARLY LIFE AND TRAINING

Sokolow was born February 9, 1910 in Hartford, Connecticut, to Russian immigrant parents. The family moved to New York City when she was two. Her early childhood was difficult; her father developed Parkinson's disease and her mother had to work in the garment industry to support her family.

From about the age of ten, she began attending dance classes sponsored by the Emanuel Sisterhood of Personal Service on the Lower East Side. She fell in love with dance. At about the age of fifteen, she went on to train full-time at the Neighbourhood Playhouse, where she studied with the likes of Martha Graham, Blanche Talmud and Bird Larson.

She started her professional career in 1929, joining Martha Graham's company. She stayed with the company until 1938. During that period, she also studied with Louis Horst, Graham's partner and musical director, quickly becoming his most outstanding composition student and his assistant. By 1936, she had started her first company, Dance Unit.

DANCE AND THE SOCIAL CONDITION

Sokolow was influenced by having grown up in the Lower East Side, among the left-wing movements of New York's Jewish immigrant communities, where she became very much aware of political and social injustice. Thus, it was not surprising that from the beginning of her career, she aligned herself with the radical dance movement. Throughout the 1930s and 1940s, she performed and choreographed many solo and ensemble pieces, works that explored the social, political, and human conflicts of the time, such as Anti-War Cycle (1933), Strange American Funeral (1935) and Slaughter of the Innocents (1937). She was also linked with the socially conscious collectives the New Dance Group and the Workers Dance League.

Sokolow herself said that her intense, theatrical style was only fully developed in the 1950s. In the following decades, she would create a body of work that challenged her audiences to reflect on, and react to what's happening in the world around them. For example, one of her major works, Rooms (1955), dealt with urban alienation. Another work, Dreams (1961) was based on the horrors of the Holocaust. Her other well-known modern dance works include Lyric Suite (1954), Odes (1965), Opus 65 (1965), Ballade (1965) and Deserts (1967). Her dances were often called alienated, reflecting the anxieties of modern life.

In the late 1950s, Sokolow became the first modern dance choreographer to have her work, Rooms, shown on national television. And, in 1971, she started an evolving unit, the Players Project, to perform her works and produce her new pieces.

INTERNATIONAL WORK

Sokolow's work was not limited to the United States. In particular, she played a significant role in the development of modern dance in Mexico and Israel. She was also invited to many other countries, including Holland and Japan.

Her connection with Mexico came as early as 1939 when she was invited to teach and perform there. She would spend half of each of the next nine years in Mexico, and was instrumental in establishing Mexico's National Academy of Dance.

In 1953, she began a similar arrangement with the Inbal Dance Theatre in Israel, teaching and choreographing for them. In 1962, she established the Lyric Theatre there.

BROADWAY

As a choreographer, she was very versatile, putting on diverse works. Her choreography for the Broadway stage was noteworthy, and includes Street Scene (1947), Regina (1949) and Candide (1956). In 1967, she choreographed the original (off-Broadway) production of Hair.

TEACHING

Teaching was another area that Sokolow made her mark in. She was a faculty member of The Juilliard School, where she taught what she called "method dancing" from 1958 to 1993. She also taught at various other American colleges and universities, including Bennington, Ohio State, Radcliffe, Smith, and Sarah Lawrence.

She was a founding member of The Actors Studio, where she taught dance and movement to actors. She also trained actors at the Lincoln Center Repertory Theatre School and the HB Studio. Among her students were Richard Boone, Faye Dunaway, Julie Harris and Jean Stapleton.

DEATH AND LEGACY

She passed away in her home in New York City on March 29, 2000, at the age of 90, much admired and honored for her contributions to modern dance.

Among the many awards she had received over the years were Honorary Doctorate degrees from Ohio State University, Brandeis University and the Boston Conservatory of Music. She had also been awarded a Fulbright Fellowship to Japan. For her work in Israel and Mexico, she had received a Lifetime Achievement Award from the American/Israeli Cultural Foundation, and the Encomienda, Aztec Eagle Honor (the highest civilian honour awarded to a foreigner by Mexico). Other awards include a Dance Magazine Award, the Samuel H. Scripps American Dance Festival Award, and induction into the National Museum of Dance's Dance Hall of Fame.

Although Anna Sokolow's company, the Players' Project, was dissolved in 2004, her works continue to be performed by the Sokolow Theatre/Dance Ensemble under the direction of her protege, Jim May, as well as numerous other companies around the world. Also, several of her works were filmed and are held at the New York Public Library in its Dance Division.

Even when dealing with the darkest of subjects, Sokolow's appreciation of the dignity of the human spirit and its resilience in the face of trouble and despair was evident. As a reviewer wrote in 1967, "Miss Sokolow cares—if only to the extent of pointing out that the world is bleeding. I find hope in such pessimism.

Anna Sokolow in "Bullfight"

Top 10 Inspirational Dance Movies

2011-11-28T15:03:00.000-08:00

Guest post by Natalie Dawson.

It may be all the rage on television, but movies have been dance oriented since the days of Gene Kelly. Dance movies can be hilarious, disturbing, and even inspirational. To help you see how much inspiration can come from a dance film, we have gathered a few of the most inspirational films that involved dance below.

Singin’ in the Rain – The film also brings dancing in addition to the singing. Although it was made in the 50’s, the story takes place in the era where silent films are becoming a thing of the past. Gene Kelly, Donald O’Connor, and Debbie Reynolds star. It received two Oscar nominations and won the Golden Globe for actor Donald O’Connor.

The Red Shoes – This 1948 British film centers on the life of a ballet dancer. In addition to being one of the most inspirational dance films, it also employed the “story within a story” methods of film. It won the Academy Award for Best Art and a Golden Globe for Best Original Score.

Billy Elliot – Young Billy is a man trying to find himself in Ireland. In this coming of age film, he must choose between boxing, a traditional sport for boys, or dancing, his true passion. The film is inspirational for following your heart and standing up for yourself.

Dirty Dancing – The awkward girl known as Baby grows up when she goes to a Catskills resort and meets a dance instructor. Although often criticized as a meaningless romance, the themes of growing up, following your heart, and standing up for who and what you believe them make the film inspirational. It also captures the beauty of Patrick Swayze’s dancing.

Footloose – Also proving that dancing can be a bold statement was this film. Kevin Bacon plays a newcomer into a town where dancing is banned. With courage and friends, he is able to get everyone dancing and even a remake.

Saturday Night Fever – Even if you hate disco, you can’t hate this 1977 classic for John Travolta’s break out performance. He plays a down on his luck Brooklyn kid who finds a new life and glory on the dance floor. He also finds love and his true calling.

Strictly Ballroom – This Australian film is all about a ballroom dancer who seeks to expand his craft. He and his partner seek to shake up the dancing world while dealing with family issues. A must see for lovers of ballroom dance.

Mad Hot Ballroom – Who says all dance movies have to be scripted? In this documentary, a group of elementary school children is followed as they are taught how to dance in the ballroom style. Also a good choice for those who think they can’t dance.

Fame – The dancers in this film literally seek to live forever by becoming famous dancers. It takes place in a performing arts school in New York City. It even comes with all the fashion and flare of the 80’s.

Scent of a Woman – It isn’t a dance movie, but it is an inspirational one. Al Pacino plays a suicidal blind man out on his last hoorah. He instead finds reason to live and one of the best uses of dance in the film when he performs a tango and inspires the line “when you get tangled up, tango on.”

Natalie Dawson owns the site Masters Degrees. She enjoys writing articles about everything in the education field.

Harvey Hysell: Choreographer and Costume Designer Extraordinaire

2011-11-28T09:03:00.000-08:00

Harvey Hysell in Camina Burana as the Roasted Swan, 1969

Reflecting in 1994 on a 25-year career in New Orleans, choreographer, teacher, and costume designer Harvey Hysell wrote, “What has this shy little preacher’s boy accomplished?…I sigh and ponder and finally say, ‘You did your best, and you succeeded in producing Beauty, on stage and occasionally by helping people dance to find the Beauty in themselves.”

Harvey Benson Hysell was born in New Orleans in 1936 to a Methodist minister and a church pianist. As a young boy he occasionally observed the ballet classes his mother accompanied at Newcomb College and immediately developed an interest in the art form. When Hysell was 11, his mother enrolled him with Lelia Haller, a prominent New Orleans ballet instructor and the first American dancer appointed première danseuse of the Paris Opera Ballet. Hysell was a natural and soon began performing with Haller’s Crescent City Ballet before attending high school in Shreveport, Louisiana, where he continued to be active in the performing arts. He attended Texas Christian University on full scholarship and, in 1960, became the first male in the country to receive a bachelor of fine arts degree in ballet.

In addition to dance classes, Hysell’s TCU curriculum included coursework in choreography and costume design. He excelled in both, making him particularly desirable in the world of professional dance. Upon graduation, Hysell moved to New York where he refined his technique under the tutelage of Vincenzo Celli, one of the most respected ballet instructors in the world. While in New York, Hysell designed costumes for such ballet luminaries as Royes Fernandez, the New Orleans–born principal dancer with the American Ballet Theatre; Paula Tennyson, soloist with the Ballet Russe de Monte Carlo; and Maria Tallchief, the first Native American prima ballerina who was then with the New York City Ballet. In 1962 Hysell was signed as the premier danseur for the new company Allegro American Ballet, and within a few months he was performing the lead male roles for Swan Lake and Giselle. Shortly thereafter he became the company’s principal costume designer. After touring nationally with Ruth Page’s Chicago Opera Ballet in 1965, Hysell turned his focus solely to costume design.

Two students posing in Ballet Hysell School Studio

He moved back to New Orleans with friend and business partner Lewis “Jamie” Greenleaf in 1966 and set up Greenleaf-Hysell Associates Inc., a costume design firm specializing in work for Mardi Gras krewes and local theater groups.

The firm’s work in New Orleans quickly won acclaim. While reviewing the Gallery Circle Theatre’s 1966 production ofOnce Upon a Mattress,Times-Picayune critic Frank Gagnard noted, “Greenleaf and Hysell…have realized their ideas with wit, consistency of style and a professionalism that announces two classy designers have just settled in New Orleans.”

Hysell never lost his love of ballet, and he made occasional appearances in local dance performances. In 1969 he collaborated with the New Orleans Concert Choir on a production of Carl Orff’s Carmina Burana, performing as well as providing the choreography and costume design. Later that year he formed the semiprofessional company Ballet Hysell, and in 1971 he opened Ballet Hysell School, located on Magazine Street until 1978, when it was moved to a renovated church just off St. Charles Avenue.

Right - Sketch of Waltz of the Flowers Costume by Harvey Hysell

Ballet Hysell garnered immediate attention and praise for its sumptuous productions. It was the first company in New Orleans to stage Tchaikovsky’s The Nutcracker in its entirety, and two of its early productions, A Day for Flower Children and King David, were aired on regional PBS-affiliated television stations. As momentum grew, Hysell’s reputation became great enough to bring ballet luminaries such as Fernando Bujones and Natalia Makarova (both with the American Ballet Theatre) to perform with his company.

In 1976 Ballet Hysell became the New Orleans Ballet, with more professional personnel and stronger financial support. One of the company’s highlights was receiving a commission from Elizabeth Arden to stage a ballet named after its latest perfume, Cabriole. The company toured this ballet along with other pieces in Guatemala in September 1982.

The New Orleans Ballet was dissolved in 1982, but Hysell remained busy as guest choreographer for various local and national companies and as the director of the very successful Ballet Hysell School. With the help of longtime associate Diane Carney, Hysell intensified the school’s class schedule. They instituted summer workshops that attracted students from Alaska to Maine to study with Hysell, Carney, and a roster of important instructors and performers. Throughout the years, Ballet Hysell School trained many leading artists, including Rosalie O’Connor (American Ballet Theatre), Mireille Hassenboehler (Houston Ballet), and Devon Carney (associate artistic director, Cincinnati Ballet).

Hysell was clearly not alone in thinking he succeeded in producing beauty both on stage and within his dancers. In 1988 he and Carney reestablished Ballet Hysell, which became the recipient of numerous awards. Hysell was honored in 1995 with the Big Easy Awards Lifetime Achievement Award and again in 1996 with the Mayor’s Arts Awards Lifetime Achievement Award. In 1998 he and Carney closed the Hysell Ballet School and later began teaching at the New Orleans Dance Academy, which since 1990 had been operating out of the Magazine Street building that originally housed Hysell’s school. Though Hysell passed away in 2008, his legacy is kept alive in his dancers and in Ballet Hysell, which can still be seen in its annual production of The Nutcracker and various other performances throughout the year.

Quick Energy Foods for Dancers and Everyone

2011-11-26T21:22:00.000-08:00

We all seem to need extra bursts of energy from time to time, especially during hectic holiday shopping and party going. When your “get up and go” has “got up and went” what foods are the best to give you that needed pickup? While many energy-boosting products are on the market and do supply quick energy, more practical and less expensive methods for adding a little quick energy are available right in your kitchen.

Carbohydrates provide quick energy. The human body can break carbs down quickly. Foods naturally high in carbohydrates are normally low in calories and high in fiber, which is ideal. These types of carbohydrates are available in fruits and whole wheat products.

Protein provides a longer lasting type of energy. While they take longer for the body to break down to use as energy, they do the important job of sending oxygen to the blood and maintaining a lot of essential organs. Protein is available from both animal and vegetable sources.

Fat is a much maligned food source to a lot of people. However, the body needs some fat on a daily basis. Stored fat provides protection for internal organs and helps move essential vitamins such as A and D through the body. Furthermore it is holds stored energy and keeps it available for exercise. Saturated fats are found in products such as eggs, meat, and milk. Quantities should be limited as they can raise cholesterol. Unsaturated fats are obtained by eating foods such as fish, almonds, and soybeans.

Sugar provides energy almost immediately. But don’t reach for that candy bar just yet. Fruits are naturally high in sugar in the form of fructose. They still provide quick energy, but also provide healthy vitamins and fiber. Secondly, they don’t cause blood sugar levels to spike and drop dramatically in the way that refined sugar does.

Which types of snacks are the best?

Sandwiches are a good way to combine a quick pick-up from carbohydrates as well as a longer-lasting energy from protein. Whole grain bread is best, providing more fiber and less refined sugar than white bread. Sandwich fillings such as peanut butter, cheese or lean meat such as chicken provide a good source of protein.

Whole grain cereal and bread can lift both energy and mood. The healthy carbohydrates in whole grains provide the body with its preferable fuel source and help raise levels of serotonin in the body.

Bananas supply carbohydrates, protein and fiber. Fiber helps provide a steady source of energy.

Apples and peanut butter provide carbohydrates, fructose, and protein.

Citrus fruits provide fructose and healthy amounts of vitamin C.

Yogurt and milk provide protein and calcium. Try adding a few berries, nuts, or crunchy cereal to your yogurt. Yogurt can be easier to digest than milk for those who are lactose intolerant. Check the label to make sure your yogurt of choice is not too high in refined sugar.

Nuts such as almonds and cashews not only provide protein, but are a good source of magnesium, which actually helps the body convert sugar to energy.

Vegetables such as sprouts, broccoli, and spinach provide nutrition and fiber, as well as a healthy boost of energy. A snack of fresh vegetables of almost any sort will not leave you with that lazy, overstuffed feeling either.

Snacks for quick energy can be found in any food group. While products such as coffee, energy drinks and bars, and energy pills do provide a burst of energy, there are numerous easy, healthy, obtainable, and less expensive options as close as your refrigerator.

Ideas and Quotes to Celebrate the True Meaning of Thanksgiving

2011-11-19T19:47:00.000-08:00

Thanksgiving is the day of the year where we should reflect on what we have to be truly thankful for. We should keep these things in our mind all year round. It should be a special day for us because we do have a lot to be thankful for. We live in a free country and for that we are so blessed. Also, we all have family of some sort. Be thankful for each of your family.

What is your traditional Thanksgiving day? Do you just go to your family's home, stuff yourself with all the delicious food, and then regret how much you ate? Why not do something nice for someone else on Thanksgiving? Think of the others who are going without. Think of the others who cannot afford to feed their family a big dinner on Thanksgiving. Share what you have been blessed with! I guarantee that you will receive greater joy in seeing someone benefiting from something you were able to do for them. This is truly what the holiday is about.

Here are some ideas to help make Thanksgiving special, along with quotes and a video.

Make a list of things you are thankful for. Then, reflect on those things. If you are thankful for someone in your life, act upon it. Go and tell them how much you appreciate them, and you can even give them a small gift to show that gratitude.

Have a Tthanksgiving box. Each day during the month of November, have your family write down something they are thankful for and put it into the box. On Thanksgiving day, read what your family members wrote. If you have young children, you could use a visual such as a picture of a turkey. Write the things they are thankful for onto feathers cut out of paper, and attach the feathers to the turkey.

Reach out to others who don't have or aren't able to visit their family. Think about the widows, singles, or college students that you know, and invite some of them to join your family for Thanksgiving dinner.

Do a service project with your family. Help out at a homeless shelter, weed an elderly neighbor's garden, prepare a thanksgiving dinner and take it to someone who is homebound. The opportunities to serve are endless. Look around your community and find a way that you can give back.

Make plates of goodies and drop them off at the homes of neighbors and friends. Take treats to a retirement home and stay to visit for awhile. Don't forget community service workers who must work on Thanksgiving, such as firefighters and police officers.

Gather together pictures and mementos from the past year. Make a scrapbook page for each person in the family. Have your family members write down what they are thankful for and any other thoughts they have on the page. Spend some time looking at the scrapbook pages from the previous years.

Buy a tablecloth specifically for Thanksgiving. Every year, have your family and guests write something they are thankful for or a thought on the tablecloth, along with their name and the date. It's fun to look at the tablecloth and see what people have said in past years. This can also be done with a journal.

This Thanksgiving Day, let's remember what we truly have to be thankful for. Let's take a good, hard look around us and realize that while we may not have everything we want, what we want is not always what we need. Think of the true meaning of this great American holiday as you celebrate with friends and family.

Here are 10 Thanksgiving quotes to celebrate and ponder.

1. "The Pilgrims made seven times more graves than huts. No Americans have been more impoverished than these who, nevertheless, set aside a day of thanksgiving." ~ H.U. Westermayer

2. "Thanksgiving Day comes, by statute, once a year; to the honest man it comes as frequently as the heart of gratitude will allow." ~ Edward Sandford Martin

3. "There is one day that is ours. There is one day when all we Americans who are not self-made go back to the old home to eat saleratus biscuits and marvel how much nearer to the porch the old pump looks than it used to. Thanksgiving Day is the one day that is purely American." ~ O. Henry

4. "You say, 'If I had a little more, I should be very satisfied.' You make a mistake. If you are not content with what you have, you would not be satisfied if it were doubled." ~ Charles Haddon Spurgeon

5. "As we express our gratitude, we must never forget that the highest appreciation is not to utter words, but to live by them." ~ John Fitzgerald Kennedy

6. "We would worry less if we praised more. Thanksgiving is the enemy of discontent and dissatisfaction." ~ Harry A. Ironside

7. "It must be an odd feeling to be thankful to nobody in particular. Christians in public institutions often see this odd thing happening on Thanksgiving Day. Everyone in the institution seems to be thankful 'in general.' It's very strange. It's a little like being married in general." ~ Cornelius Plantinga, Jr.

8. "It is literally true, as the thankless say, that they have nothing to be thankful for. He who sits by the fire, thankless for the fire, is just as if he had no fire. Nothing is possessed save in appreciation, of which thankfulness is the indispensable ingredient. But a thankful heart hath a continual feast." ~ W. J. Cameron

9. "Gratitude is not only the greatest of virtues, but the parent of all the others." ~ Cicero

10. "Thanksgiving Day is a jewel, to set in the hearts of honest men, but be careful that you do not take the day and leave out the gratitude." ~ E.P. Powell

As an extra, here's a video that sums up what this holiday means. Enjoy:

Thanks to Noel Jameson for these beautiful quotes.

In an Uncertain World - Why Dance Matters

2011-11-18T15:08:00.000-08:00

Dance has always played an important part in the history of the world. If you would take a peek at the old civilizations, dance was always a signal that something important had happened, will happen or is happening in their worlds. There have been dances that thanked the universe for bountiful harvests while there have also been dances that sought respite from drought and famine. Dances were also used to prepare warriors for battle, to crown Kings and to celebrate marriages. Vaudeville, Broadway and movie musicals brought about new dance styles to be admired and copied.

The importance of dance, in our world today, is significant for a number of different reasons.

We have the freedom to dance. The freedom of dance cannot go unacknowledged, as people from many parts of the globe still do not know the full meaning of true liberty.

Dance can be and often is, a joyful expression of that freedom.

The use of dance in reality shows is a unique phenomenon for our era. Reality shows are now being televised and shown globally. Dancing on an open stage, directly in front of a live audience, while being filmed by television cameras, is only one potential source of entertainment. When this dancing is unedited, people comprehend it on a totally different level. Even the worst would-be dancer, who dances with two left feet, can relate to it.

Internationally, dancing is a very significant and appropriate art form. Dance is loved by people all over the world, because it is such a true expression of human art. It helps people to explore their own lives and worlds, as well as to set their bodies, minds and spirits free, while allowing the manifestation of their full artistic potential.

Dancing competitions represent an international challenge. Almost everyone enjoys attempting to do something new. Competing in dance, on various levels, makes it even more exciting. At the same time, all of us can develop an understanding and appreciation of dancing, simply because dancing challenges us mentally, physically and emotionally.

Dancing is an excellent form of physical exercise for anyone, young or old, as it requires the full use of one's energy and physical participation by every part of the body. No one can dispute the health benefits of dance.Likewise, dance offers the unique opportunity of venting our frustrations, of stomping away anger, of leaping with pure joy,of speaking our needs without words, of connecting movement to music that soothes and heals our mind and spirit as well as soul.

Dancing is being taken to new heights. We are currently witnessing the unique phenomenon of dancers performing, while undergoing an open critique of their dancing by heavy-handed critics. Whether this is good or bad, remains to be seen. As a direct result of the open criticism, the skills of the dancers are being developed on a higher level, while the dance form itself is being refined.

How does it make you feel when you watch a video of a Flash Mob executing a spontaneous public display of personal spirited abandonment? Don't you wish you were there when it happened? Don't you wish you were uninhibited enough to do it?

What if we all decided on a tune and focused on traveling in the same direction to the beat of the same drummer, with one goal in mind? What if that goal was to make everyone feel happiness and a sense of oneness in simply being human?

Imagine yourself standing in the long line at the local Wal-mart for awhile and starting to get cranky. In this same fantasy, the guy next to you starts to dance to the piped-in music, and you give him an oddball look like he's nuts. It probably even makes you feel uncomfortable and embarrassed for him.

But what if he started to sing out loud, and dance with more purpose, and then the woman in front of him started to, and the kid in the next line, and on through the store. Could you resist the urge to at least smile if not jump in yourself?

Could you argue about politics? Spread hateful rhetoric? Bomb your neighbors? Dwell on what makes you different when it really doesn't matter at all? How can you hate someone you sing and dance with?

Dance entertains. It gives joy and sadness, hope and longing, love and fear to both spectators and the dancers themselves. It shares the story of life.

Does the world acknowledge the importance of dance? Probably not. Is the world in love with dance? I think the answer to that is definitely yes.

From Missouri Rockets to Manhattan: History of the Rockettess

2011-11-17T17:43:00.000-08:00

At Right - Russell Markert and the then "Missouri Rockets."

The Radio City Rockettes are known the world over for their precision dance routines, spectacular costumes and most of all their eye-high kicks. Besides being representatives for Radio City Music Hall in New York City, the Rockettes have also appeared in Super Bowl Halftime shows and Presidential Inaugurations. They are frequent guests on both early morning and late night talk shows.

Of course, they have also been a staple and highlight of the Macy’s Thanksgiving Day Parade since 1957. With the annual Radio City Christmas Spectacular, the Rockettes are part of one of the most watched live shows in the United States with over 2 million viewers per year. So where did this dance group originate from?

From Missouri to Manhattan

Inspired by the John Tiller Girls in the Ziegfeld Follies of 1922, Russell Markert said, “If I ever got a chance to get a group of American girls who would be taller and have longer legs and could do really complicated tap routines and eye-high kicks... they'd knock your socks off!" So he founded a group of American precision dancers in St. Louis, Missouri, in 1925 called the “Missouri Rockets.”

Showman and impresario S.L. “Roxy” Rothafel discovered the dance troupe and brought them to perform at his Roxy Theatre in New York City, dubbing them the “Roxyettes.” They shared the stage with 17 diverse acts, including the Flying Wallendas, Martha Graham and Ray Bolger.

When Rothafel left the Roxy Theatre to open Radio City Music Hall, the largest indoor theatre of it’s time, he brought the dancers with him. They performed during opening night of Radio City Music hall on December 27, 1932, and their name changed to the Rockettes in 1934.

They were an instant sensation. Markert had created the quintessential American chorus line - an exciting precision drill team with great style. Starting with just 16 women, the numbers grew over the years to what is now a 36-member Rockette kick line.

In 1933, Radio City featured a new movie and a lavish stage production every week starring the Rockettes. Russell Markert's stringent requirements never varied, and he continued to stage and choreograph productions at the Music Hall until his retirement in 1971. This concept of the dance line was to achieve absolute precision. The audience saw 36 Rockettes perform intricate routines, but always moving as "one dancer." Everything - the height, the costumes and steps - was kept completely identical. The illusion of uniform height is maintained to this day by putting the tallest dancers in the center, and gradually decreasing the height with the shortest women at either end.

Radio City Ambassadors

In addition to starring in the many Radio City Spectaculars that have made the Rockettes world famous, the dance group has also spread the magic of Radio City Music Hall far beyond New York. They've toured in Broadway productions such as "Can Can," and with performers including Peter Allen, Liberace, Ann-Margret, Chita Rivera and Paula Abdul, among many others. They danced at the premieres of "Miracle on 34th Street," "102 Dalmatians" and the premiere engagement of Disney's "The Lion King."

Today's Rockettes

Today, the Rockettes play an integral role in many Radio City theatrical productions, special events and television productions. They star annually in The Radio City Christmas Spectacular in New York and around the country. They've tapped their way through the dreams of thousands of young girls, many of whom hope to add their own legs to that world-famous kick line.

In addition to performing across North America, each year the Rockettes appear in the nationally televised Macy's Thanksgiving Day Parade, inspiring scores of young dancers nationwide. For several years, they've opened the "Daytime Emmy Awards," broadcast live from Radio City Music Hall on ABC, and they have appeared on "Late Night with Conan O'Brien" and the "The Tonight Show with Jay Leno." They are even the inspiration for their own Rockette doll.

Since 1932, more than 3,000 women have danced as Rockettes. Each year, in cities across America, hundreds of young women audition to be members of the internationally known troupe. Radio City Rockettes must be between 5'5" and 5'10" and must demonstrate proficiency in tap, jazz, ballet and modern dance. They must also display a radiant energy that will shine across the footlights to their audience.

Rockettes As A National Treasure

The Radio City Rockettes perform with a signature precision that perpetually delights every new audience. Indeed, these "dancing daughters" - as their founder, Russell Markert always referred to them - have not only persevered for more than 75 years, but are thriving now more than ever.

Some Facts about the Rockettes

The Rockettes performed at President George W. Bush’s 2001 Inauguration Ceremony and danced down the steps of the Lincoln Memorial.

They were featured in the motion picture Annie in 1982, during the scene when Annie, Daddy Warbucks and Grace go to Radio City Music Hall to watch the movie Camille.

African Americans were not allowed in the Rockettes until 1987 for a fear of disrupting the unity of the dance line.

During their trademark eye-high kicks, it appears the Rockettes are holding on to each other’s waists. In actuality, they barely touch each other so as not to disturb the other’s balance.

They performed in the halftime show during Super Bowl XXII in 1988.

The longest running numbers are “The Parade of Wooden Soldiers” and “The Living Nativity,” which have been part of Radio City’s holiday tradition since 1933.

Whether they are dancing in the Macy’s Thanksgiving Day Parade or helping with the NBC Rockefeller Center Tree-Lighting Ceremony, the Radio City Rockettes are the model of the American chorus line. With their exquisite costumes, constant smiles and of course those eye-high kicks, the Rockettes have been entertaining audiences for more than eighty years.

Building Trust: Talking to Your Dance Teacher

2011-11-14T15:24:00.001-08:00

If you're feeling frustrated, it might seem hard to talk to your teacher or director, especially if you didn't get the role that you wanted or can't seem to master that pesky move. Here are a few do’s and don’ts of talking to your teacher or director.

Feelings Are Important

The only thing worse than having to talk with your teacher is not talking with your teacher. You may hear others tell you to put your feelings aside, bottle them up, not complain, and act like a good role model of a dancer; but this advice won’t help your dancing or your career. If you approach a teacher or director the right way, you’ll end up not only forging a better relationship, but you’ll also get rid of bottled-up feelings that can get in the way of your dancing.

Don’t freak out and build up anxiety about meeting with your teacher or director. Remember that every teacher was a dancer once too, and probably knows just what you’re going through. There’s no need to be intimidated or nervous; a one-on-one talk with a teacher should be a positive experience, not a negative one.

Don’t Demand

When you get around to setting up a time to talk privately with your teacher, make sure that you don’t react in an overly-emotional way. Demanding a meeting angrily and stomping your feet won’t get you the response you want. Plus, it will make you look immature and unprepared to handle the duties of being a lead dancer, which include being a role model to younger students.

As you first approach your teacher or director, do so in a calm, polite, and inquisitive way. Go to your teacher after class and say something pleasant and diplomatic that will make your point without offending anyone. For example: “Hello Madame, I was just wondering when would be a good time to talk to you about some things I had on my mind in ballet. When do you think we can meet?”
This comes across a lot better than: “I cannot believe you cast her in that role and not me! We have to talk right now, or I’m leaving.”

Ask How You Can Improve

If you didn’t get the role you wanted, don’t tell the director it was a bad decision or that you’re a better dancer. These statements come across as arrogant and rude. Instead, ask what you can do to improve your dancing, and ask what qualities the lead dancer possesses that you can work on emulating. This can be a wonderful opportunity to get one-on-one advice from your teacher.

Ask your director for specific things you can work on; it can be a technical or artistic aspect, or even an issue about classroom etiquette and attendance. Make sure to ask for ways to improve, such as exercises or private lessons. This tells your teacher that you’re genuinely interested in improving, not just in getting a better role.

Don’t Put Others Down

Never put down another dancer who got a role you thought you deserved. This is a serious mistake that tells your teacher you lack the basic etiquette and humility required of a lead dancer. Instead, use the opportunity to ask what the other dancer does well. This isn’t so you can contradict the decision; it’s an opportunity for you to find out what makes the other dancer more suited for that role, and how you can emulate it.

For example, if your teacher explains that another dancer has better extensions, and those are required for the role, ask what makes hers look so pretty and how you can get yours to look more like it. If it’s about stage presence, ask what would make you able to have more of it, and what qualities that role requires. This will help you to better understand what you need to do to get the parts you want.

Show That You Are Listening

After you talk with your teacher, make sure to show in every subsequent class that you heard your teacher’s words and are taking them to heart. What makes a great student is not the ability to do quadruple pirouettes, but the ability to take corrections and apply them quickly and seriously. By demonstrating hard work and consistent improvement in class and rehearsal, you send a message to your teacher that you’re listening and ready to work as hard as you can — a great indicator of your abilities.

Write Thoughts Down

You should always keep a dance journal to take note of your corrections, feelings, and progress. Bring this with you to your meeting and write down everything your teacher says. This will help you remember what you need to work on, and also show your teacher the dedication you have to ballet.

Be Gracious

Even if you didn’t get the role you wanted in the show, be glad to have a role, and make the most of it. You may think that no one cares about the snowflake in the last row, but director will notice your performance, and the hard work you put into your role will show both on stage and in rehearsals. Directors are ambivalent to promote a dancer who resents being in the corps. But if you shine and embrace your role, you’ll demonstrate a good attitude and the ability to work hard in any position, which will get you noticed.

The Sugarless Plum - A Ballerina's Journey And Triumph Over Diabetes

2011-11-13T15:38:00.001-08:00

November is American Diabetes Month. Over 24 million children and adults in the U.S. have either type 1 or type 2 diabetes. An additional 57 million are at risk for having diabetes. The trend is growing and becoming an epidemic. If it is not stopped, one in three children born today will become a diabetic at some point in their life. The ADA is asking Americans to confront the disease, fight it and stop it.

Symptoms of Diabetes

Zippora Karz was at the beginning of her career as a ballerina with the New York City Ballet when she began to experience excessive thirst, frequent urination, unexplainable non-healing sores in her underarms, and extreme fatigue and exhaustion. At the suggestion of her dermatologist, she saw an internist and had some blood work done. But then for weeks she ignored the urgent message to call the internist back.

When she finally made the call and went to see the internist, she received news she never expected to hear. She was diagnosed with diabetes. She didn’t have time to learn about the disease and how to care for herself until she was so exhausted she couldn’t carry on. At first she ignored it and lived in denial.

Misdiagnosed with Type 2 Diabetes

As she began her treatment, she was originally thought to be type 2, but was unable to gain adequate control of her blood sugars. Karz did not go willingly into this arena. Like many people who receive the diagnosis of diabetes, she spent a lot of time in denial and yet in intense fear of developing the possible complications she was warned about such as stroke, heart attack, kidney failure and blindness.

When Karz was finally correctly diagnosed with type 1 diabetes because her body fails to produce insulin, she began to gain glycemic control. However, trying to balance her blood sugar, insulin and the demands of her career as a dancer, Karz attempted to adjust her own insulin dose and almost paid for it with her life.

Denial, Shame and Rage

As she finally began to put herself first and learned more about her disease and treatment, she gained control of her disease. To do this, Karz journeyed through her own deep denial and feelings of shame. She raged at the disease for the ways it limited her life and career. When she finally got good information and education, she was able to turn things around and lived the life she always wanted as a soloist with the NYC Ballet despite being insulin-dependent.

After 16 years, Karz retired from the ballet and became a diabetic educator. She also set out to write her own story to share her struggles with others. In The Sugarless Plum A Ballerina’s Triumph Over Diabetes, Karz takes the reader on her journey. The book is easy to read and captures the reader on page one and doesn’t let go until the story is has been told.

Anyone struggling with a diagnosis of diabetes and how to incorporate the strict regimen into their lifestyle will greatly appreciate the passion and intense honesty Karz shares. She takes the reader through her own experiences to be inspired, and gain confidence and understanding that until diabetes is stopped, those who are diagnosed can triumph and adapt.

The Sugarless Plum A Ballerina’s Triumph Over Diabetes can be purchased at Amazon or bookstores in your area.

Choosing the Right Shoes for Ballroom Dancing

2011-11-12T17:54:00.000-08:00

What kind of shoes should I wear to dance in? is a common question asked by people interested in ballroom dancing. The very best choice are those designed especially for ballroom dancing and even more specifically for the exact dance style you plan to be doing. But until you are experienced enough and dedicated, practicing in street shoes is perfectly acceptable.

Ballroom dancing shoes need to be lightweight (so they don't weigh your feet down) and fit snugly - don't allow any "growing room", but don't have them so tight that they scrunch your toes. Be warned - even some so-called "professional" ballroom shoes are made narrow to look good, and they will not only harm your feet but affect your balance and your stamina on the dance floor.

Shoes need to have a secure fastening - for men, lace-ups; for ladies, lace-ups, a T-bar or ankle strap. For ladies, don't wear a flat shoe. Dancing in heels feels very different from dancing on the flat, and you need to get used to it from the start. Start with a small- to mid-sized heel until you are more experienced and confident with your balance.

The dance floor itself plays a part in the comfort level of your feet. Professional ballroom shoes have suede soles, but they are designed for use on properly-maintained wooden dance floors. At a dance school or community hall, you may be dancing on a range of surfaces, and on some of them, suede can be dangerously slippery.

Some studios have the proper flooring for dancing, which usually includes a cushiony, almost spring-like underflooring. This type floor enables dancers to dance for hours without feeling much effect...IF their shoes are also adequately comfortable. But some dance studios are built on a concrete slab, with only a layer of hardwood over it, and on those floors your poor feet will take a pounding.

The best shoes for ballroom dance are ones with leather soles. Leather soles provide enough traction that you don't slide as though you're on ice, but they pivot and slide smoothly, without placing undue strain on your knees. Many dress shoes still come with smooth leather or composite soles, and companies even sell leather soled "dance shoes" which are specifically designed for the dance floor. These latter can be quite expensive. For people who don't care for dress shoes, there is another option. Most shoe repair stores can attach a new sole to any pair of shoes. The sole you want for dance is "chrome leather". You can even take your most comfortable pair of sneakers to the local shoe repair, and have the leather soles added, either by simply gluing them to the molded rubber of your existing soles, or by replacing the soles. That will depend on the shoe. Either way, your comfy sneakers have then become comfy dancing shoes (with your own style to boot).

When you decide that this is an activity that you'd like to spend a considerable amount of time doing, and you'd like to have a pair of actual dance shoes, you'll see that many of the features of the shoes serve practical purposes. The ankle straps are not just eye-appealing, they actually help your feet stay firmly in your shoes. Some of the pump styles have elasticized rims on the uppers which 'hugs' the shoe to your foot. The heels are different heights and widths, depending on the style of dance they're designed for. The soles are typically suede, which gives you the ability to literally 'glide' as you dance across the floor, and are especially helpful when doing turns and spins. To preserve the life of these suede soles, dance shoes should never be worn outside. Two other accessories that will extend the wear of your dance shoes - a carrying case for transporting them, and a sole brush to lift the nap of the suede every couple of weeks or so.

One thing to really consider when choosing your dance shoes is support. Appearance is nice and sole is necessary, but if you plan to spend several hours moving about the floor, you do need the proper support to protect your joints and muscles. The dance floor is just as good a place to pick up injuries and sore muscles as the gym if you aren't careful. When you try on shoes, check for proper arch support, a little cushioning, and a width that keeps your foot from sliding side to side. Make sure that you spend several minutes going through basic dancing motions in the new shoes. Walking isn't going to tell you how they'll perform on the floor. Put them through the paces; the salesperson will understand.

Shop around a bit. Prices and styles vary and the selection is almost endless. Prices can range from $30-50 on the low end to well over $200 on the high end. Dance shoes are designed not only to be best suited for dancing, but to enhance the overall aesthetics of your dance - you'll simply look better out there on the floor.

One final note - dance shoes (or any other shoe, for that matter) should be tried on in the late afternoon or evening, when your feet are typically at their largest. You'll be requiring a lot of your feet over the span of your dancing experience...treat them right, dress them properly and you'll have a great foundation on which to build a lifetime of ballroom dancing.

The Origins of Jazz Dance

2011-11-06T16:05:00.000-08:00

At Right - Photo of Jack Cole

The style of dance known as jazz has its roots in the African culture imported by the slaves to America. Africans in their native countries danced to celebrate life, to express their cultural beliefs. On the journey to America, the slave traders wanted them to keep physically fit, so dancing was often allowed.

On the plantations in the South, the original steps were influenced by the European background of the owners. Out of the European jigs, the American culture and the movements of the African slaves came the jazz dance.

One of the first American professional dancers, John Durang, included "shuffles," a movement of slave dancers, in his routine in 1789. Thomas Rice in 1828 did the "Jump Jim Crow," a dance imitating slave dancers. The Minstrel show, popular from 1845 to 1900, was another big influence on the jazz dance.

In the early 1900's, jazz dancing was closely related to tap dancing which was popular in the vaudeville shows of that era. Joe Frisco is called the first American "jazz dancer." His shuffles, turns and camel walks were incorporated into his stand-up comedy act. With his stuttering voice, Derby hat and big cigar, he appeared in the Ziegfeld Follies in 1918.

After World War I a social revolution occurred in the United States. The "flapper" with her short skirts, rolled stockings and dropped waist dresses was scandalizing the older generations by her dancing in the speakeasies and cabarets. Jazz was the kind of music that suited this generation. Different dance types emerged during this time, such as the Fox-trot, Charleston, Shimmy and Black Bottom. Later, the Jitterbug, Boogie Woogie and Swing all owed their development to jazz.

Jazz dance has been constantly evolving since the 1920s along with the changes in popular culture. Jack Cole Cole was one of the first jazz choreographers. He was an inspiration to Jerome Robbins, Bob Fosse, Gwen Verdon and many other well known dancers today. Jack Cole started evolving jazz dance in his musicals. He evolved jazz “theatre dance” with choreography and director credits in productions or movies such as Some Like it Hot, Man of La Mancha, There’s No Business Like Show Business, Gilda, Kismet and The Merry Widow.

Jack started out a modern dancer. He actually was a student and performer of the Denishawn Dance Company who was created by world renowned modern dancer Ruth St. Dennis and Ted Shawn. Dancers such as Martha Graham and Doris Humphrey came from the same school.

Modern dance shaped the way Cole would later define jazz. He merged the modern dance motivation for movement with popular jazz dance steps to make a more technical and artistic jazz dance. He also took from his modern dance training, the idea of being "low to the ground". He incorporated a very low plie into much of the movement he developed. This redefined his style, which turned into a bonafide technique. This gave jazz movement a sense of power and gravity. Jack was also extremely interested in the aspect of isolation and syncopation, all which are a huge part of jazz today.

Individuality and improvisation, required in jazz dance, are components that made it alluring to all dancers through the years. There are no limits to the creativity available to jazz dancers. It can go from peppy and bright to flowing and soulful. Jazz dance teachers often teach classical ballet first to their students so they can develop the strength and agility to perform properly the leaps, turns and kicks that are prevalent in jazz.

Jazz Styles

There are four main styles of jazz, which are Classical, Latin, Lyrical and Theatrical.

Jack Cole developed the classical jazz technique when he used his modern dance background and put it to jazz music. Along with Jack Cole came Bob Fosse and Jerome Robbins who really sparked it up when they added theatrical arrangements to the technique. They translated it to the stage and into the movie scene as well. Then enter Jose Limon who made a huge mark on the technique as well with his Latin flair. We also saw jazz evolving into a lyrical technique, which embodied fluid movement but was still considered “jazz dancing”. As a result, we see known choreographers, like Mia Michaels, from So You Think You Can Dance, making their mark in lyrical jazz history.

All four of these techniques are now required of the jazz dancer. It isn’t enough to be an expert in just classical jazz. Cross-training is essential: one has to really know their way around all of the jazz styles! It’s a good idea to take Latin dancing on top of jazz dancing and to know how to dazzle it up with a hat and cane. Ballet technique is equally important for the lyrical dancer as tap dancing is for the classical jazz dancer. Each of the following styles is vital to a jazz dancing career.

Classical jazz technique as we know it today is very involved. A dancer has to go beyond the competition “tricks” to really get into the technique. Scissor kicks and axel turns are not all there is. A dancer has to reach into the soul in order to find the primal rhythm and depth of kinetic translation. The most interesting and engaging movements can be the transitions and the accents. The small movement can become larger than life with projected energy. It need not be a talent show of ability, although knowing how to do the big jumps and turns are indeed important to a professional dancer’s career. Classical jazz is sleek, domineering and sensual.

Theatrical jazz creates a whole other dynamic to the world of “jazz”. We now think of hats, canes and staged musicals. An element of theatrical jazz that must be developed is the ability to embody a character. A dancer has to know how to be charming, funny and even outright ridiculous if the choreography calls for it. The use of props also becomes quite important to theatrical jazz dancing for these very reasons. To really be prepared for theatrical dancing, a dancer should know how to do chair and stair work, a great hat grab and to properly twirl a cane on queue. Theatrical jazz oftentimes involves more simple jazz movement in order to accommodate singers and props.

Latin jazz is one of the oldest forms of jazz. Being that jazz began its roots within the Latin realm, it makes this style a very important one. Jazz dancing often calls for a Latin flair that includes hip movement which sometimes calls for the opposite of a classical jazz hip movement. It’s a good bet this style will pop up within an audition or dance number. Learning the salsa, meringue, samba, mambo, is a great way to cross-train. Developing that Latin finesse within the jazz dance framework will ensure more opportunities and more audition placements. Be sure to learn how to dance in heels, this is essential!

Lyrical jazz is one of many new developments in jazz dancing. It stems from contemporary ballet and modern dance. Lyrical jazz dancing involves a great deal of balance, extension and turning. The movement is fluid and powerful. The best thing a lyrical jazz dancer can do is to work on their ballet technique. Consider it a blend of the two. The ability to display emotion is a top priority of the lyrical dancer.

Notable Directors, Dancers, and Choreographers:

Katherine Dunham: Considered the grandmaster of jazz dance technique. She was a key inspiration to most modern jazz dance legends.

Matt Mattox: A protégé of Jack Cole. He took the fluid, animalistic style of Jack Cole and merged it with his own vast background in ballet technique to create a technique for jazz dance that is clean, powerful, and extremely challenging.

Eugene Louis Facciuto:(aka "Luigi"): an accomplished dancer who, after suffering a crippling automobile accident in the 1950s, created a new style of jazz dance based on the warm-up exercises he invented to circumvent his physical handicaps.

Bob Fosse: A noted jazz choreographer who created a new form of jazz dance that was inspired by Fred Astaire and the burlesque and vaudeville styles.

Gus Giordano: An influential jazz dancer, master teacher and choreographer, the creator of the Jazz Dance World Congress, and the author of the Anthology of American Jazz Dance, the first book on jazz dance.

Jerome Robbins: Choreographer for a number of hit musicals, including Peter Pan, The King and I, Fiddler on the Roof, Gypsy, Funny Girl, and West Side Story.

Gwen Verdon: known for her roles in Damn Yankees, Chicago, and Sweet Charity.

Footage of a Documentary About Jack Cole

The Real Story Behind Ballet Black's New Ballet, Storyville

2011-11-05T17:43:00.000-07:00

Storyville is a new creation for Ballet Black's Christopher Hampson. As someone who is familiar with New Orleans, I'd like to add a little history of Storyville and its culture.

Storyville, a 20-block area in the Fauborg Treme, was America's most notorious red-light district where prostitution flourished. A city Ordinance drafted in 1897 created the district to limit prostitution to one area of town and banned prostitution in New Orleans outside Storyville. The New Orleans city government studied the red light districts of German and Dutch ports and set up Storyville in a similar fashion.

The nickname Storyville refers to City Alderman Sidney Story who wrote the legislation setting up the district. Black and white brothels coexisted, however, black men were barred purchasing services in either black or white brothels From 1895 and 1915 guides to prostitution called blue books were published in Storyville. These books were the yellow pages listing the houses, girls, services and prices for many of the 700 women who worked there.

Though not the birthplace of Jazz Storyville was a place where Jazz was coming into its own. Louis Armstrong was raised there. Jelly Roll Morton by the age of 12 was playing piano in the Storyville. Tony Jackson, Clarence Williams, King Oliver and Manuel Perez were a few of the musicians who captivated Storyville audiences nightly. Storyville officially closed on November 12, 1917 and many prostitutes returned to the streets. The District was shut down by the Secretary of the Navy Josephus Daniels as a bad influence during World War I. The closure was over the strong objections of the New Orleans city government.

Almost all the buildings in Storyville were demolished in the 1930's to clear the land for the building of the Iberville Housing Project. Storyville still lives on in the new Storyville District, a joint effort between Quint Davis of the New Orleans Jazz and Heritage and restaurateur Ralph Brennan, featuring restaurants and continuous live entertainment. The District was also lives on in the movie Pretty Baby.

Ballet Black's Ballet

Christopher Hampson desribes Storyville's Characters as Follows:

Lulu White - a real person, a 'madam' that ran Mahogany Hall in Storyville, New Orleans. She is played by Sarah Kundi, and everyday this character becomes more and more controlling.

Mack - not particularly based on a real person, more a mix of the sorts of crooks that would have been plentiful in Storyville around 1915. The name 'Mack' is a reference to the anti-hero of Kurt Weill's Threepenny Opera (some of which makes up the score for Storyville). Jazmon Voss is fleshing out this villian, and strangely it seems to come very naturally.

Nola - is the principal character of the story. Like Mack, she is a ficticious person, but once again, her story would have been the story of many like her at that time. Young and impressionable, it is her journey that dancer Cira Robinson has the task of bringing to life.

The Lover - He, like Nola has an innocence and a romantic nature. Damien Johnson is working with Cira to create the love affair between Nola and The Lover. Who knows, he might even have a name by opening night.

Storyville - So, this isn't exactly a person, but the town, Storyville, is a character too. It is the foundation for the whole narrative and was a very real place. Sayaka Ichikawa, Kanika Carr and Joe (what's your surname goddamit) are giving us a strong idea of the rest of the people that hang out at Mahogany Hall, Storyville, New Orleans, Louisiana.
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For more info about Storyville and Christopher Hampson, visit his website

From Story to Ballet: Interesting History of The Nutcracker

2011-11-02T17:09:00.000-07:00

Every holiday season, both the young and young at heart flock to see one of the world's most famous ballets: The Nutcracker.

But where did the story behind The Nutcracker ballet originate, and how did a little wooden novelty become one of the world's most recognizable protagonists?

The Nutcracker Ballet is based on a story called "The Nutcracker and the Mouse King" written by an 18th-century German writer, composer, and critic known as E.T.A. Hoffman (E.T.A. Hoffman being his pen-name; his actual name was Ernst Theodor Wilhelm Hoffman).

Hoffman wrote Romanctic stories of horror and fantasy, and "The Nutcracker and the Mouse King," written in 1816, incorporates elements of both; indeed, the story combines love, violence, and the grotesque in a way that rivals the works of Byron and even Poe.

Hoffman's Original Story

Those familiar with The Nutcracker ballet will be familiar with the story that frames "The Nutcracker and the Mouse King"; this framing narrative involves a little girl named Marie and her brother Fritz who receive a nutcracker from their godfather, an inventor named Drosselmeyer. Fritz plays too roughly with the toy and breaks some of its teeth, but the gentle Marie bandages it and stays up late to nurse it back to health. After everyone else has fallen asleep, Marie witnesses an extraordinary sight as the house is suddenly filled with mice who threaten Marie and the nutcracker, but the nutcracker and other Christmas toys all inexplicably come to life and fight back.

This is where the story begins to differ from the ballet version. Marie watches the battle between the mice and toys until she eventually faints, and the next morning her parents explain that she must have imagined or dreamed the event. Then Drosselmeyer tells Marie a story about a princess named Pirlipat who, after a bizarre series of events, is turned into a strange creature with a wooden head and white beard by a vengeful mouse queen. Drosselmeyer explains that his own nephew was the one who eventually cured the princess, but in the process, he himself was transformed into a similarly grotesque creature, thus becoming the nutcracker.

That night, the relentless army of mice returns, and for several nights afterward Marie and the nutcracker must fight them off. Eventually the mice are vanquished. Shortly after, Marie proclaims that she will always love the nutcracker in spite of his appearance, and the nutcracker turns back into who he really was all along: Drosselmeyer's nephew, who was cursed to remain in his doll form until he found love. The two are married and depart to reign over the Doll Kingdom.

The Ballet Adaptation

Of course, this all seems quite convoluted when compared with the plot of the ballet. However, Hoffman's version was streamlined by famed French writer Alexander Dumas in the 1844. Dumas called his version "The Story of a Hazlenut-cracker," and in the 19th century, Director of the Imperial Theaters Ivan Alexandrovitch Vsevolojsky came up with the idea of adapting this version into a ballet. He approached choreographer Marius Petipa and composer Peter Tchaikovsky with the idea.

When The Nutcracker was first performed in Russia in 1892, it was poorly received. It would go though several revisions over the coming decades, and finally be re-imaginged in 1954 by famed choreographer George Balanchine, before becoming the international hit it is today. Diaghilev's Ballets Russes presented a two act version of Swan Lake (1910) in which Nijinski danced a solo as Prince Siegfried to the music of the Sugar Plum Fairy. Ten years later, same company, same music, but this time used for the Lilac Fairy in The Sleeping Beauty. This also included the Danse Arabe and Danse Chinoise from The Nutcracker in the last act. Anna Pavlova toured the world with Snowflakes, choreographed by Ivan Clustine to music including Nutcracker's snow scene. This is seemingly the first occasion in which a pas de deux was danced to this music.

In England, the first Nutcracker was mounted by Sergeyev for the Vic-Wells Ballet, a predecessor of the Royal Ballet, in 1934. Sergeyev had left Russia after the October Revolution of 1917 and mounted this version based on Stepanov notation scores of the Maryinsky production that he had brought with him. His untraditional contribution to this version was to cast the actress Elsa Lanchester in the Arabian dance. He had seen her perform Ariel in The Tempest and decided that he must have the "Dramateek lady." Margot Fonteyn made her stage debut in this staging of The Nutcracker, April 21, 1934. She danced as a snowflake. In 1951, Sir Frederick Ashton premiered a one act version of The Nutcracker which countered critics of earlier productions who found the first act story uninteresting. He dispensed with the story altogether and made a plotless dance fantasy. When the Ballet Russes de Monte Carlo staged a one act version in New York, the prince and Marie grew up to adults who danced the grand pas de deux in Act 2. At one performance in Hollywood, future President Reagan's daughter Maureen played the role of Clara.

The first complete Nutcracker was staged in London by the Vic-Wells Ballet in 1934, based on choreographic notation by Nicholas Sergeyev. Ten years later saw the first US version by San Francisco Ballet (1944) and another ten years brought George Balanchine’s blockbusting version for NYCB (1954), now staged every year by several US ballet companies. By the 1980s, 300 separate productions were touring the US.

Sir Peter Wright's 1984 version of The Nutcracker for The Royal Ballet, still performed by the Company, stays close to Hoffmann’s original tale. It emphasises Drosselmeyer’s mission to find a young girl – Clara – who can break the curse imposed by the Mouse King on his nephew Hans Peter and thus restore him to human form. References to Nuremberg and German Christmas traditions are present in the settings, with a kingdom of marzipan featured in Act 2. Equally successful is his 1990 version for The Birmingham Royal Ballet, this one closer to the Russian tradition of having Clara double up as the Sugar Plum Fairy, but with a slight twist: it is Clara’s alter ego ballerina doll who turns into the Fairy.

Nureyev’s production for POB has a clear emphasis on symbology and the subconscious: Clara wanders down the stairs at midnight to find her family and friends turned into rats and bats while Drosselmeyer transforms into a handsome prince.

Mikhail Baryshnikov‘s 1976 popular version for ABT turns the Christmas dream into a coming-of-age tale. There is no Sugar Plum Fairy nor Prince Koklush, the focus being Clara’s encounter with the Nutcracker Prince as orchestrated by her Godfather Drosselmeyer. As the ballet ends so does Clara’s fantasy.

In the United States, the Nutcracker was originally presented as a suite of highlights comprising some of the most famous musical selections from the full-length ballet. These include the "March of the Toy Soldiers," the "Waltz of the Flowers," and the various dances representing different cultures and foods, which make up much of the ballet's second act. Led by William Christensen, The San Francisco Ballet performed the first American full length production of The Nutcracker ballet in 1944, and since then, unabridged productions have become a holiday theatre tradition. Here are a few of the most notable U.S. Nutcracker productions.

* The New York City Ballet. Perhaps the classic iconic American production of the full-length Nutcracker ballet belongs to the New York City Ballet, choreographed by the late George Ballanchine, according to the Petipa version from St. Petersburg. Complete with an enormous growing Christmas tree, falling snowflakes, and a sleigh that flies across the stage to take Carla and the Nutcracker Prince away at the end of the Second Act, this version, performed in New York's Lincoln Center, is one of the iconic American Nutcracker productions.

* The San Francisco Ballet. In addition to having bragging rights for being the first U.S. unabridged Nutcracker production, the San Francisco Ballet offers an extravagant stage setting: hundreds of thousands of dollars of scenery and handmade costumes, along with a cast of more than 175 dancers.

* The Pacific Northwest Ballet. Here's a new take on an old theme: The Nutcracker ballet production of the Pacific Northwest Ballet in Seattle has stage sets and costumes that take their inspiration from Maurice Sendak's popular children's books.

* Boston Ballet, The Boston Ballet's version of the Nutcracker features some twists on the traditional production. The stage setting shows Carla dreaming that she is mouse-sized. As the props get bigger, Clara seems to shrink, and she witnesses the battle between the toy soldiers and the mice from the vantage point of a mouse-sized human. A balloon whisks Clara and her prince into the second act, where they are treated to extravagant performances celebrating dance and, of course, candy, at the Palace of Sweets.

* Houston Ballet. Any production of the Nutcracker has its share of humor, what with Drossylmeyer's goofy gifts and the war between the mice and the soldiers. But the Houston Ballet kicks it up a notch, turning the normally staid introductory party scene into a series of mini comedies, and opening Act II with flying chef-angels on hand to concoct the confections.

Video of The Nutcracker's History

Ginger Rogers and the Art of Fashion Enhancing Dance

2011-11-01T14:45:00.000-07:00

At Right - Ginger & a Close-up Pic of her Amethyst Ring

By way of explanation for bringing excess luggage to London in 1969 for her year-long stint on stage as Mame, Ginger Rogers said: “I believe in dressing for the occasion. There’s a time for sweater, sneakers and Levis and a time for the full-dress jazz. As for the little touches, well, a year is quite a long time and they make one feel at home.”

But “dressing for the occasion” frequently extended to designing many of the lavish gowns she wore on film. Ginger seemed to sense that the delightful flows and spirals of a dance are just as much a function of the dress as the dancer or the even dance steps. As Jody Sperling, explains: “When you move through space, you displace air and create a wake of spiralling eddies around your body. What the fabric does is render these vortices visible to the eye.”

Right - Ginger's Ostrich Feather Dress from "Top Hat" and Hilary Swank at the 2011 Oscars.

This is beautifully demonstrated in one of the most famous gowns in Hollywood history – the ostrich feather dress from Top Hat. Ostrich feathers have properties that make them very desirable in dressmaking. With a remarkable combination of softness, silkiness, durability, and flexibility, they also have a unique ability to remain static free.

When Fred serenades Ginger across a beautiful (if unrealistic) Venetian bridge, we are not asking if her feet are in perfect time, but standing back in amazement at how the dress glides and floats in an almost ethereal manner. The words of Cheek To Cheek are pronouned by the softness of the feathers. Their light, drifting quality imparts an airiness and femininity to the dance beyond the power of dance steps alone.

From being a mere mortal trying to avoid his advances, her character is now in love, and as dreamlike as any goddess. Ostrich dresses are still in fashion, and on the red carpet at this year’s Oscars – “Hilary Swank had her goddess moment in a sequined and feathered strapless Gucci Premiere gown accented with ostrich feathers.

Ginger claimed that: “To be a desirable dancing partner you don't have to do all the intricate fancy steps that happen to be in vogue. All you have to do is be a good average dancer and anybody who spends the time and effort can accomplish this.” If Ginger took dancing seriously, it was behind acting and fashion in her list of priorities.

The Top Hat ostrich dress gave rise to a brief falling out with Fred and the production team. The gown, she had instructed, would be made of figure-hugging shimmering satin, then encircled with ostrich feathers about neck and shoulders, and again from the hips downwards. The only additions would be art-deco style diamante jewels at the neckline, and a satin bow at the bottom of the back. The gown has a very low back in keeping with the fashion of the time (and the censorship that prevented showing cleavage). No bras were worn, and the designs cling to the body provocatively. The bias-cut – a hallmark of the Thirties – allowed dresses to match the fluid curves of the woman dancer’s body by having the material cut on the diagonal.

Fred, however, found that the feathers were getting all over his tuxedo. He was the studio’s heavyweight and it came as no surprise when director Mark Sandrich asked Rogers to wear a dress she had worn before in The Gay Divorcee. Choreographer Hermes Pan would later join Astaire in a parody of the song, altering the lyrics to:

“Feathers. I hate feathers And I hate them so that I can hardly speak And I never find the happiness I seek With those chicken feathers dancing Cheek to cheek.”

Ginger's manager and mother, Lela Rogers, joined the stand-off, saying that Ginger would walk off the movie unless the dress was reinstated. Rogers won, and as soon as the team saw the rushes, everyone agreed it was the right decision. Fred presented Ginger with a gold feather for her charm bracelet afterwards by way of making up and nicknamed her "Feathers."

For the studios, costume – and elaborate ball gowns in particular – had a more financial element in these films over any love of portraying dance. Most of Fred and Ginger’s films coincided with the Great Depression. They promoted an idea of escape to a magical world where the troubles of Wall Street crash poverty could be left behind, and also an American philosophy of consumerism.

The ideas encouraged people to think that goods were within their reach, and that only personal failure would keep anyone from enjoying them. These were the fantasies that kept people coming back to the cinemas through difficult times – and so the studios benefitted by creating them. The publicity material for Top Hat refers to costume not as an expression of character but of consumerist display, of luxury that allows audiences to enjoy momentary vicarious pleasure from contemplating the privileges of wealth.

Right - "Swing Time" White Dress

Shortly after Top Hat, Ginger and Fred would make Swing Time together – featuring once more an iconic dress from film history. Rogers in white, Astaire in black, they dance to The Way You Look Tonight/Never Gonna Dance against a backdrop of curving black staircases climbing the lavish, shimmering white deco of their surroundings. Ginger’s gown is made of silk georgette, cut on the bias and with hand-applied sequins. Small weights in the hem add to its properties on the dance floor. As the number picks up, Ginger holds one of the trailing hems to create swirling patterns through the air as she spins and climbs the stairs. Technically, it is one of their most accomplished dances together, but the effect is created to a great extent by the dress design.

Ginger remained very dress-conscious all her life. She once recalled details of a navy blue satin dress her mother made her as a child and went into great detail when it was messed up during a chiding. In later life, she said that she liked the musicals, “because I could wear pretty dresses."

As censorship eased, dresses became more revealing. Accepting an Oscar for her performance in Kitty Foyle, Ginger’ s outfit caused a stir. The outfit dispensed with modesty to combine a lacy lingerie-style décolletage tailoring down to grey peau de soie. Attention to the low neckline was further enhanced by diamonds cascading from her neck. The design, by ‘Irene’ (Irene Lentz), scaled back on imported materials as befitted the time.

In accepting her award, Ginger had already, once again, created a fashion trend – the Kitty Foyle look – one which permanently entered the terminology of fashion. Nearly every one of designer Jill Richards’ collections, for instance, included a version of the ‘Kitty Foyle’ look – a dark-colored dress or suit with a white collar, inspired by an outfit Ginger wore in the 1940 movie of the same name.

At Right - Ginger's Gold Lame Dress worn in The Barkleys of Broaday

In the 1970s, Ginger would finally fullfil a costume-designing dream. She would become fashion consultant and spokeswoman for the American chain JC Penney, creating a 20-piece wardrobe for 700 stores across the US. She also had her own clothing factory in Rock Island, Tennessee for her label, Form Fit Rogers. Her influence persists. “Inspired by the iconic film stars Ginger Rogers and Fred Astaire”, Vogue Nippon commissioned a special spread in March 2011.

Ginger, through her movies, will always delight viewers with her dresses that seemed to float through the air as much as her dances, a reminder of the glamour of Hollywood that was and still is, a part of our lives.

Ballet and the Dance Boom of the 1960's And 70's

2011-10-29T20:24:00.000-07:00

At right - Politicians making war in Kurt Joos’s GREEN TABLE created in Germany between World Wars 1&2, staged by the Joffrey Ballet

Balletomania - extraordinary enthusiasm for ballet - resurges from time to time. During the 1960's and 1970's a convergence of creativity, talent, vision, politics and money created what is known as the dance boom. is remembered by many as the dance boom.

Ballet, usually relegated to the back of the arts section, as front page news. The newspapers were full of ballet, which is normally kept for the back of the arts section. Ballet dancing even made the front pages. Many outstanding ballet dancers defected from the Soviet Union and seized the world's attention. The most prominent defectors included Rudolf Nureyev, Natalia Makarova and Mikhail Baryshnikov. These ballet dancers sparked a renaissance in classical ballet and nonclassical items were reinvented. Suddenly new first rate ballets started appearing and ballet was the hip thing to do.

And there was money for it. During the 60's and 70's the federal government established the National endowment for the Arts, individual states created their own arts councils and private organisations like the Ford Foundation gave generously to dance and dance education.

Today, a Russian dancer can move to New York without too much difficulty, but before the fall of communism, it was unthinkable. Russia did not allow people, especially prized ballet dancers, to emigrate. When Russian dancers had tours to Western countries, they were under constant surveillance and were not permitted to go on tour at all if the government harboured suspicions about them. Ballet dancers lived in fear for their families that were left behind in case the government retaliated against them. If they did defect, they had to assume that they would never see their loved ones or their homeland again. Artistic freedom came at an enormous price and huge risk.

Nureyev dominated the stage with his magnetism and put male dancing in the spotlight again. Makarova brought with her exquisite line and expressive phrasing along with brilliant technique. Baryshnikov will be remembered for his astounding leaps and turns that just seemed to come out of nowhere.

Nineteenth century ballets got a much needed boost, and new classics were in full production. In Europe, Cranko, MacMillan and Ashton choreographed important and enduring ballets. In New York, Arthur Mitchell founded the Dance Ttheatre of Harlem. At New York City Ballet, allanchine and Robbins created some of their finest work. With NYCB's move to Lincoln Center in 1964, the advent of dance on television, creativity seemed boundless and endless. The 1972 Stravinsky Festival offered 22 premieres on one week, 10 by Ballanchine.

Robert Joffrey demonstrated how ballet could rouse an audience to political protest. The Joffrey Ballet revived important but rarely seen ballets from the distant and not-so-distant past. It also presented new work by then unknown choreographers like Tharp, Forsythe and Morris. In 1967 Joffrey revived Kurt Jones's 1932 harrowing antiwar ballet, The Green Table Two years later, when the Vietnam War as at its height, Joffrey put The Green Table on the program. During the performance, each dancer wore a black armband when his or her character was taken by Death; their final group appearance at the end creating an eloquent silent protest. Audience members were moved to follow the dancers out onto the streets of New York to join the demonstration.

Today, original voices have emerged,usually borrowing from fresh idioms. Chinese opera training may be at the root of Shen Wei's vocabulary, but this Chinese-born choreographer's abstract treatments of Stravinsky and other Western composers are startlingly innovative. Ronald K. Brown has adapted the fluency of African dances with remarkable creativity for Alvin Ailey's company and his own. The freshest novelty is break dancing, as restylized and theatricalized. It is a limited idiom, but you would not know it from the works of Rennie Harris and the French company Kafig.

All that said, everyone knows that the dance boom has ended. It fell victim to drastic cuts in government and private financing that curtailed touring and put some companies out of business. The creative drive of that exciting time has also petered out. Douglas Dunne no longer lies on a crate for hours. Ms. Tharp no longer investigates the limits of perception, daring audiences to follow her dancers from room to room or up and down staircases in museums.

Old-timers will tell you, rightly, that dancers value technique over artistry today. But this is not true in all cases, especially in the way Balanchine works are danced 23 weeks a year at New York City Ballet, the only company in the world that can attract a public for that long in one city. Professional Balanchine mourners: move on. Doomsayers of the dance world: stand by; any art form is greater than a single individual, be it choreographer or superstar. We are in an interlude waiting for the next boom. In the end is the beginning.

Interview/Documentary from Dance in America with the Joffrey Ballet in 1976. Includes Robert Joffrey briefly interviewing Kurt Jooss about "The Green Table"

The Man Behind Fred Astaire's Dancing: Choreographer Hermes Pan

2011-10-22T12:52:00.000-07:00

At Right: Hermes Working with Fred

Lovers of the work of Fred Astaire have Hermes Pan to thank. A man who physically looked and danced like Fred, it was almost as if fate brought these two creative geniuses together.

He and Astaire met in an RKO rehearsal studio in 1933 (Hermes was 24, broke, and moving in the middle of the night from house to house with his mother and his sister Ditty.

Hermes had been hired by the studio Dance Director (there were no choreographers in those days) Dave Gould to work with Fred since Gould didn’t know how to dance.

Born in Tennessee, the son of a Greek candy manufacturer and distributor, as a little boy his “mammy,” as black housekeepers were called in those days, used to take him home at night sometimes to the part of town known as Black Bottom, a common name for the black ghetto in Southern cities.

The influence of the culture of Black Bottom is incalculable historically: great music and dancing emerged from these communities. Hermes would recall late in his life how those trips to Black Bottom were always exciting to the child because there was nightlife in the streets and musicians with tubs, broomsticks and strings that played what was then called “gut bucket jazz.” Today it would be called Rock-n-Roll.

Hermes remembered that music as getting into his bones. He recalled that its effect on him was almost sensual (probably was entirely). It was a dance movement that began with The Shuffle. He took that with him to New York as a teenager after his father had died suddenly and he put it to work. It was the mid 1920s and he and his sister supported themselves and their mother with song and dance jobs.

One of his jobs was a show called “Top Speed” with a newcomer named Ginger Rogers. Ginger told Hermes she was going to Hollywood where they were looking for musical comedy talent, including dancers. So after “Top Speed” closed in 1931, the Pans bought an old Model T and with $75, they drove across the continent to Hollywood.

The first two years were tough and they practically starved but then came the fateful day when Hermes was hired (at $75 a week) to work with Fred Astaire in “Flying Down To Rio,” only Astaire’s second picture and the first teamed with Ginger Rogers.

The two men had very different personalities but compatible sensibilities when it came to dance and music and humor. Actually when it came to music, Hermes being ten years younger, was naturally more in tune with the “latest” and Fred who was nothing if not shrewd about his business, recognized that. Hermes would rehearse with Fred in Ginger's role as they created dances, then rehearse with Ginger portraying Fred's role.

It was a collaboration that lasted for the rest of the men’s lives. Of all of Fred’s few real friendships, Hermes’ bond had an additional quality because of the dance.

Reflecting on his career, he acknowledged that the dancing that the world knew as Fred Astaire was mainly African in its roots. Astaire was very drawn to percussive sounds and rhythms. There were rumors that he took some lessons from John Bubbles of Buck-n-Bubbles. Mr. Bubbles was a vaudevillian, entertainer, dancer. He played “Sportin’ Life” in the original Gershwin “Porgy and Bess” and he was regarded by many as a genius. Astaire was a follower.

The movements and ideas that Hermes brought to the dance floor for Fred Astaire were those that he’d acquired as a small child in Black Bottom, thanks to his mammy and the boys who played gut bucket jazz in the streets. No one knew at the time, but it was all headed for Fred Astaire and the American dance musical.

Hermes had the longest career as a dance director/choreographer and hired a number of major American dancers for their first Hollywood jobs including Bob Fosse and Jack Cole. He won an Oscar for “Damsel in Distress” in 1936. After Fred and Ginger broke up, he went over to 20th Century Fox where he worked and danced(uncredited) with Betty Grable, who was then the number one box office star in America as well as Rita Hayworth. In the 1950s he joined the Pasternak unit at Metro-Goldwyn-Mayer, where he choreographed and appeared in "Kiss Me Kate"(1953) In the 1960s Joe Mankiewicz hired him to stage Elizabeth Taylor’s version of Cleopatra entering Rome.

“Dancers,” he once said; “are like children. That’s the only way they can do what they do.”

He won an Emmy Award for the 1958 television special "An Evening with Fred Astaire," and was recognized with a National Film Award in 1980 and by the Joffrey Ballet.

He died at his home in Beverly Hills a few months before his 81st birthday. He’d goten up that day and fed his cat and made his bacon and eggs, toast and coffee. After he finished his breakfast he sat down in his favorite chair in his livingroom overlooking his patio and swimming pool. Later that afternoon, a family member who hadn’t been able to reach him, found him still sitting there, already having departed for higher places.

Hermes and Betty Grable in "Footlight Serenade"

Remembering Rita Hayworth: The Dancer as Well as Actress

2011-10-16T17:27:00.000-07:00

Rita with her Father and Grandfather

Behind the aura of sexiness that Rita Hayworth oozed on screen during her heyday hid Margarita Cansino, a shy, lonely woman whose lifelong quest for love and happiness disastrously led her into the arms of several men who either controlled her or used her in a way or another, ultimately breaking her heart.

When she finally did break free from those men, Alzheimer's disease slowly crept in, ultimately claiming her life in 1987 - the first documented case of the disease in a celebrity.

Born Margarita Carmen Cansino on October 17, 1918, in Brooklyn, New York, the daughter of Spanish flamenco dancer Eduardo Cansino and English/Irish-American Ziegfeld girl Volga Hayworth. Rita was an exceptionally talented dancer, and her performances showed a strength and sensitivity that set her apart from other actresses, and made her just as popular with female audiences as with male. Dancing-wise, she held her own opposite Fred Astaire, Gene Kelly and more. In fact, she regarded her two films with Fred as her favorites. Rita loved dancing, and it showed. In a quirk of fate, Rita's mother's brother, Vinton Hayworth, (Rita's uncle) was married to Ginger's mother's sister, Jean Owens (Ginger's aunt)

Rita's aunt Elisa was Eduardo's dancing partner, but eventually "Margarita" replaced her when she was only 13 years old. "There was the Depression at that time", Rita said, from an interview conducted shortly before Alzheimer's took over. "When we needed money, I worked with my father in a place in Tijuana."

She eventually began landing movie roles after movie executives showed interest in her, and ended up landing a contract with Fox pictures, something that didn't last long once the studio's chief, Darryl Zanuck, found that he couldn't find suitable roles for her.

Through the contacts and investment of the first husband, Ed Judson (a 40-year-old man she married when she was merely 18 years old), she ultimately landed a contract with Columbia Studios, which revamped her image and shortened her name to Rita. In addition to that, the last name, Cansino, was changed to Hayworth, her mother's maiden name, which the studio thought sounded more refined.

That was not all. In order to make her look more "American", the studio's heads also worked to give her a visual makeover. "She used to have very black hair", says friend Ann Miller, "and they lightened it. And she had kind of a low hairline. They had to take about an inch out of her hair with electrolysis to give her a higher kind of a forehead, but that was very painful."

After several movie roles, Rita finally reached stardom in Blood And Sand, a remake of the 1918 Valentino movie in which she played Doña Sol, the femme fatale that leads the bullfighter to a disgraceful demise. What made her a sex symbol, however, was the famous Life Magazine pin-up.

Rita divorced her first husband in 1942 after she fell in love and got engaged to Victor Mature, her costar in My Gal Sal. But as Mature headed to World War II, Orson Welles began to romance her and ultimately won her over. They married on September 7th, 1943 in a quiet ceremony during a break in the shooting of Covergirl, a musical with Gene Kelly.

At the peak of her stardom, Rita got pregnant (studio chief Harry Cohen was furious at her for that), and Rebecca Wells was born on December 17th, 1944. She was reportedly happy as her dreams had come true: she had a family and apparent security, but sadly things were not in Rita's favor. Her marriage quickly went sour as Welles' workaholic and philandering tendencies took the best of their relationship. They separated in 1945.

During that time, she was working on Gilda, the movie that would forever cement her sensual image. To her surprise, the public expected her to be her character, something she was not only unable, but also unwilling to do. Rita, however, fought to keep her personal life private, so she rarely spoke to the press - especially gossip columnists Noelle Parsons and Hedda Hopper.

Although separated from Orson Welles, Rita used her star image to press studio chief Larry Cohen to back The Lady From Shanghai (1948). At that time, Welles had been practically blacklisted by Hollywood for the flak he got from Citizen Kane. She was his costar, but the film ultimately didn't work with the public. As one critic put it, The Lady From Shanghai was "an experiment on what not to do." Today, however, both films are considered cult classics.

After wrapping the film, Orson Welles and Rita Hayworth's marriage was finally over.
During a vacation in Europe, Rita met playboy Prince Ali Khan, who Rita described as "fabulous". They fell in love, and after untangling their legal statuses, they married, and Rita left Hollywood to become Princess Margarita Ali Khan. Unfortunately, his jet-set lifestyle was too much for the quiet-loving Hayworth.

Rita kept trying to lead a happy life, and she was very joyful when her second child, Princess Yasmin Aga Khan was born in December 1949. Even though Khan was a good father for both of Rita's children, the never-ending lack of privacy was too much for her, and she finally returned to America after two years of marriage.

She returned home to her career as a single mom, although she wasn't exactly happy about it. Affair in Trinidad (1952), a mediocre film in retrospect, was her comeback vehicle, but despite the bad script, she threw herself into the role, and her dance scenes are nothing but memorable.
During the making of Salome, she met nightclub singer Dick Haymes, who she ultimately married. Later Rita would say she only married him to help him out with his troubles with the IRS and to stop his deportation to Argentina.

Rita filed for divorce in 1955, and after four years without making any movies, she had her second comeback in a dramatic role in Fire Down Below (1957). The same year, she co-starred with Frank Sinatra in Pal Joey, which would be her final film with Columbia studios.
Her next role was in Separate Tables, a film co-produced by her final husband(whom she married in 1958), James Hill. In that role, she plays(alongside Burt Lancaster) an "aging, once beautiful lady, and her essential problem(in the words of director Delbert Mann) is her desperate fear of growing old - particularly of growing old alone".

The marriage with Hill didn't work. As with Orson Welles in the forties, Hill was a workaholic, and he saw in his relationship with Hayworth and opportunity to make movies, while Rita longed for some quiet time. They divorced in the fall of 1961.

After coming to terms with living alone and spending time with her family, she slowly began to show the symptoms of the illness that would claim her life. Rita was losing her short-term memory, and she was having various mood swings and moments of odd behavior that were augmented with her growing alcoholism, which had been fueled out of her frustration of not being able to remember her lines.

She continued to pursue movie roles during the 1960s and 70s, but her illness made her unable to memorize her lines. She had to use cue cards by the end of her career. Her last film was The Wrath of God (1972), opposite Robert Mitchum.

After various manic episodes of erratic behavior that many attributed to her drinking, she was finally diagnosed with Alzheimer's disease in a Los Angeles hospital.

Rita Hayworth died in New York on May 14th, 1987 after spending her last days bedridden and unable to walk, talk or take care of herself - indeed a sad ending for a woman who, during her lifetime had inspired so many for decades with her selfless dance and gracious moves. Her memory, though, lives on, and we have her films, which continue to impress us and shall continue to do so for years to come.

A Montage of Clips Showing Rita's Dancing

Intergenerational Dance: Alive and Well

2011-10-15T15:57:00.001-07:00

If people were slaves to conventional wisdom, they might accept the idea that professional dancers need to retire before age 50, turning to choreography and teaching to remain active in the field. But a growing number of elder dancers in the Boston area are saying that they still want to dance professionally. Some even seek to include the youngest beginner dancers in intergenerational performances to keep the opportunities and challenges flowing.

Back Porch Dancers

These intergenerational projects are necessarily and joyously collaborative, and what the dancers learn from one group is likely to be carried forward to the next. Perhaps the earliest of these groups was Back Porch Dancers founded in 1985 by Joan Green and Vicki Solomon, and this interracial group of women spanning three generations dissolved in 2001. According to the Cambridge Women’s Heritage Project, their eldest performer was Evelyn Tyner.

Ms. Tyner, a former World War II welder, was 82 in 2000 when the group performed a dance work celebrating women’s lives and work in Cambridge at MIT. The youngest Back Porch Dancer was a high school sophomore in Cambridge at the time. In this work of dance theater, combining movement and narrative, Ms. Tyner actually performed a story of her own experience, as reported by Iris Fanger in Dance Magazine (2000)

Prometheus Dance and The Elders Ensemble

Two years after the Back Porch Dancers began, in 1987, co-founders Diane Arvaintes and Tommy Neblett launched Boston’s venerable, internationally touring company Prometheus Dance, a group of 10 dancers, who continue to offer an athletic and graceful repertoire.

When the Back Porch Dancers disbanded, Joan Green moved on to join the Prometheus Elders, a company of 8 dancers.

These post-professional dancers range in age from 60-88 years old. In addition to performing original, narrative works, they give back to the community by performing at senior centers and other community service organizations. The special focus of this company on the elder dancer has enabled them to work on material and interpretations of human history that remain challenging and deep and assert the value of life experience in human enlightenment. In 2011, they performed a work called “Parish Blues.”

Across the Ages Dance Project

Prometheus Elders' post-performance discussions empower the audience members to achieve a similar enrichment. These elders also come from a rich dance heritage; many have studied with modern dance luminaries, including Martha Graham, Jose Limon, and Alwin Nikolai.

As a member of the Prometheus Elders, Joan Green made the acquaintance of post professional dancers Marcie Mitler and Eliza Mallouk. The three have currently joined forces to produce an intergenerational dance event called Across the Ages Dance Project (ATAD), which features participants as young as age 4 and well as elders. Mallouk and Mitler are co-producers of ATAD and dancing in a number of pieces, while Green is choreographer of a multimedia, intergenerational story.

Additional choreographers crossing generations include Cat Wagner, Audra Carabetta, Melody Ruffin Ward, and Daniel McCusker, a Tufts professor and Cambridge dance teacher who has danced with Lucinda Childs and currently instructs classes for many of the participants. Mallouk continues to dance with Prometheus Elders, and all have gained in confidence and desire since first testing the limits of child dancers and adult post professionals.

Across the Ages Dance Project Documentary-Excerpts from Deborah Greenhut on Vimeo.

Back Pocket Dancers

Joan Green has expanded the creative synthesis in yet another direction by developing Back Pocket Dancers, who perform for elder dancers in common spaces found in elder venues.

Creative Aging

People throughout the U.S. and elsewhere are recognizing the value of performing arts for quality of elder life. Recreational initiatives in dance are exemplified outside of Boston by the Creative Aging movement, exemplified by Kairos Dance, founded by Martha Genne during 1999. Kairos is the only intergenerational dance company in Minnesota. Featuring participants aged 7-98, their work incorporates dance in elder care by including dancers, care teams, family members, and the elders in movement explorations that are beneficial to their health.

In Brooklyn, Spoke the Hub Dance offers dance mentoring for beginning, middle, and elder dancers. This company, featuring performances that include newborns through octogenarians, was founded by Elyse Long in 1979.

The Boston Area has long been supportive of modern dance, and, for the contra and swing dancing enthusiasts, the city hosts Boston Intergenerational Dance Advocates that promotes both traditional dance and intergenerational activity. Opportunities continue to grow as the population grows in the elder direction and people discover their natural gifts of movement.