7 Highly Effective Habits In Ballet Training

By Dianne M. Buxton

A key area of dancing for females is pointe work, and a key area for males is jumping. In early training, regardless of age, there are 7 highly effective habits that will contribute to excellence in both these areas. This analysis can apply to other areas of dance in the same way also, I'm choosing this one for the sake of discussion.

***First, education as to specific physical attributes and shortcomings. Every dancer would like to have long and stretchy Achilles tendons, and flexible ankles. These 2 advantages provide the biggest movement between the bottom of a demi-plie and the take-off point of a releve or jump. One of the dancers in my class at the National Ballet School of Canada had a very shallow demi-plie. Yet, she had very flexible ankles and a high arch, and this gave her the thrust to jump very high.

***Second, technical education . Regardless of physical advantages, understanding of the ideal movements and resulting positions can be obtained from an educated teacher, books, and the many DVD's available to all through internet stores. There is no restriction on our access to information.

***Third, a teacher who not only has decent credentials, but who has the required habit of demanding correctness in class. This is a variable, and inexperienced teachers do not realize how often they are going to repeat the same old correction over the years of training, to the same students.... in a million different imaginative ways, and with appreciation for your own uniqueness too.

***Fourth, knowing that there is cross-training that will help you compensate for your physical shortcomings. If you are less flexible than you would like to be, there is Pilates, massage, or Yoga. If you are flexible but weak in some areas, Pilates, and weight training will help.

***Fifth, knowing where more details count - if your habit is curiosity, that's a huge asset. If it's not, adopt it. Studying anatomy and kinesiology is a plus. (I know you already have homework or a job, or family obligations, but hey, if you are serious about dance, all this is just more fun, right?)

***Sixth, coordinating your knowledge of your physiology, and how you might be compensating detrimentally to get the deepest demi-plie and best take-off that you can, and instead compensate more with cross-training and less with bad habits. It's only a life-long process, don't get discouraged.

***Seven, a truly habitual appreciation of your own uniqueness, talents, intelligence, and determination. There will always be an invitation to doubt yourself, envy others' real or imagined superiority, and waste time thinking negative thoughts.

Proper rest and good nutrition have a lot to do with #7. Body and brain fatigue, and nutritional deficiencies are directly related to mood. Please be curious and get the information you need.

These 7 highly effective habits are just the tip of the icebergs, but they are a great guide to go with until you develop your own uniqueness in training priorities.

About the Author: Dianne M. Buxton is a graduate of the National Ballet School of Canada. She continued dance training at The Martha Graham School of Contemporary Dance, and Toronto Dance Theatre. She taught at, and choreographed for The National Ballet School, York University, and George Brown College, in Canada, and taught at Harvard University in the U.S. http://www.theballetstore.com recommends The Ballet Bible - a concise package of textual and visual education for a dance student.

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A Guide to Income Taxes for Professional Dancers

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Tax season can be frustrating, especially for dancers who work several different jobs throughout the year. As a professional dancer, it is important to keep accurate records of your income and expenses in order to complete your tax return at the end of the year. Record keeping is essential whether you are dealing with a company, pick-up jobs or both. 

Employment Forms and Deductions

What to record

by Sara Willcutt  

A Parent’s Guide to the World of Dance Education

Anyone can open a dance studio. No license or special training is required. In fact, neither the owner nor instructors even need to know how to dance. This is why it is important to learn as much as possible about dance training before you invest time and money for yourself or your child.

Because of the variation in studios and classes, a child can study dance for years, only to sadly discover when he or she reaches high school or college, that they lack the proper training to achieve their goals. Many people take years of lessons and only learn choreography rather than technique or styles of dance.

However, in spite of the lack of specific licensing or training requirements, there are many outstanding dance studios with talented instructors. By learning what to look for, you can find the quality classes and instructors that will meet your needs. Finding the proper professional instruction is not only the first step in making the best use of your investment of time and money, but also the first step toward achieving your dreams or those of your child.

You are entitled to the best instruction out there, and you can find it!

First, the level of a class can vary immensely from one facility to another. A beginner level class at one studio could be an intermediate class at another.

In general there are six categories:

• Pre-dance

• Beginner (no dance experience necessary)

• Advanced beginner (some dance background)

• Intermediate

• Advanced

• Professional

There are also six different types of studios:

Neighborhood Studio

The local studio is usually found in a strip mall or commercial building. The quality of instruction can vary greatly. Some can be a waste of time, while others can equal that of professional academies.

Make sure you visit the studio, ask questions, watch the teacher during classes, and ask yourself a few questions:

• Does the instructor keep the class under control?

• Do you want to dance like the students in the class?

Usually these studios offer class levels from pre-dance to intermediate. Some schools offer advanced classes and talented, well-trained instructors. You just have to check them out. 

Academic or Performing Arts Schools

These schools offer both academic education and concentrated dance instruction. Many schools also teach voice and music.

Admission is generally by audition and although there may be some scholarships available, tuition is considerable. Arts schools are for the serious performer.

Competition Studios

Many different levels exist here as well, but there are two main categories:

• Competition Studios that emphasize technique and excellent training in order to win titles and prepare dancers for their future, which have class levels ranging from pre-dance to professional

• Competition Studios that teach routines to win titles. Routines are fun, but in order to learn how to dance, a student must spend time learning the basic movements and dance technique. In a studio like this, a student can spend an enormous amount of time taking numerous classes and learning many routines, only to get to college and find that they are totally lacking any practical training in dance.

In order to tell the difference between the types of Competition Studios, ask questions:

• How much class time is spent on learning technique?

• How much is spent on routines?

• How many routines do the students learn a year?

• Do many of the students go on to dance professionally or in college?

You may not currently be thinking about whether you or your child will want to become a professional dancer 15 years from now. But wouldn’t you rather spend time and money toward gaining actual training in the art form of dance?

Competition Studios may have many extra costs like costumes, shoes and entry fees. But don’t get discouraged. Many people love competitions and find them to be a rewarding experience after they get involved. Just make sure to ask questions so you know what you’re getting into. The studio can provide an approximate cost for being in competitions. Look for items such as costumes, shoes, tights, accessories, entry fees and travel costs.

National Chains and Franchise Schools

Many of these schools teach social dancing and are typically for adults. In general, levels range from beginner to intermediate.

National Chains and Franchise Schools can be a great way to spend time with a partner. However, since partners are not required, they can also serve as an excellent place to socialize.

Some of these schools have expensive contracts, so make sure you check out the time and monetary commitments that are required before signing any paperwork.

Professional Schools

The professional studio is where the serious dancer eventually needs to go. They are usually located in or near major cities, and offer beginner to professional level classes. 

The curriculum includes:

• Ballet

• Jazz

• Modern

• Pointe

• Tap

Most teachers at these schools are professionals. Many are choreographers and active members in the dance community. However, be aware that talented dancers do not automatically make talented instructors. Always observe the teacher in class or take a sample class before committing to class registration.

Specialty Schools

These studios usually focus on one type of dance. Ballet and pointe are often found at specialty studios. Many of these schools have very knowledgeable teachers and offer classes extending up to the professional level. 

Most have their own dance company or are associated with a major ballet troupe.

Group and Private Lessons

Beginner students should start with group lessons. They need to learn to move in relation to the space and other dancers around them. Beginners can feel intimidated by a one-on-one setting. For beginners who are afraid of being singled out, there is definitely safety in numbers. Groups also build a sense of camaraderie, competition and confidence. Many times it is simply more fun to dance in a group.

Advanced students can also benefit from private lessons. At some point, they may need help in refining their movements and fixing bad habits. Private lessons can be beneficial if the student needs special choreography for an audition or has a particular physical problem. These classes can be expensive so make sure they are needed before making a commitment.

Some instructors give exceptional individual help during group lessons by watching a student’s movements and correcting their positioning and form. Other students in the class also benefit from the individual corrections because they can see what the teacher is talking about with another dancer. They can then transfer that knowledge to self-correct their own form and technique.

Combination classes

Combination classes can be a way of exposing a child to many types of dance, but can also be more costly and confuse the child. If your child is in a combination class, that may mean more money for shoes and recital costumes.

Each type of dance has its own warm up, movements, apparel and music. When several types of dance are incorporated into one class, the child may spend too much time changing shoes, shifting from one thing to another and starting over with a new type of dance. This may be a waste of time for some students.

Extra costs

Some studios require a month’s tuition up front. This is the norm and compensates the instructor, should you happen to leave unexpectedly. Some schools also allow students to make up a missed class, but this policy depends on the facility.

Recitals can be pricey and time consuming. Costumes, shoes, makeup, pictures, videos of the show and tickets to the recital can add up. You don’t have to participate in the recital, but if you do not, you or your child may feel left out. The costs can vary greatly, so ask the studio about the exact charges as soon as possible before spending months taking lessons. Recitals can blossom into wonderful experiences and fun memories, but just know what you’re getting into.

Recitals

Most dance schools host a yearly dance recital. Recitals require a huge time commitment for drilling and perfecting routines, and this leaves little time for actual training. However, there are many chances to perform in addition to the end of the year recital. Check to see what opportunities are available at the school you are considering. Some schools have one recital every other year to allow more focus on technique training. There are studios that teach technique and different styles of dance while also teaching creatively choreographed routines. Again, do your homework and be prepared for exactly what will be offered at a particular studio.

Discounts

Always ask about special promotions, as some schools offer the following:

• Class cards that can be used for any class and give you a reduced rate

• Discounts to professional dancers

• Discounts when more than one person in your family attends classes

• Free trial classes or workshops

• Off-season discounts

• Scholarships

• Work study programs

Alternatives

Community centers often have simple, inexpensive dance classes. The levels available are usually beginner to advanced beginner. They may not have mirrors or bars but they can still be a good place to get started. However, be very careful about the type of flooring. You should never dance on concrete!

Where to find dance classes:

• YMCA

• Community Center

• Community Colleges

• Major Universities

• Health Clubs

Many health clubs offer hip-hop or funk aerobics classes. This is a great way to get in shape and exercise. Health clubs and community center memberships also come with other perks such as stationary machines and pools. Again, check out the class before signing up for a year. Some hip-hop or funk classes are an excellent challenge for trained dancers, while others are a better fit for beginners. Classes vary greatly by the instructor, and most health clubs allow a free week or trial pass so that before making a commitment, you can check out the facilities and exactly what the club offers.

Workshops

Dance workshops are invaluable because they expose students to new styles and diverse instructors. Instructors travel all over the country to teach at workshops. It gives dancers from small communities the opportunity to take classes with instructors from Los Angeles and New York, and many different levels of classes are offered. 

Workshops vary in cost according to venue, reputations of instructors and number of classes offered. You can find listings for workshops on this website in the directory section. Dance magazines such as Dance Spirit, Dance Teacher, and Dance Magazine are great places to find a multitude of workshops.

Many companies, such as Hollywood Vibe, offer workshops in many different cities. Some combine competitions and workshops for a weekend event.  Dancers may complete a day of competition followed by two days of workshops, or they may opt to do just the competition or workshop alone.

Students can go with their studio, team or as an individual. Workshops can be a wonderful opportunity to meet students from different areas, establish new friendships and make great connections. For the serious dancer, the networking can be invaluable.

Workshops also rent space to vendors where you can get new practice wear and keep up with trends.

The Instructor

The dance teacher is the most important factor in getting a quality dance education. Exposure to different instructors and choreographers is also important. Some studios offer diverse instructors or bring in guest teachers and master teachers.

It is important that your instructor participates in continuing education. Instructors who stay up-to-date on changing styles and new trends will ultimately keep their students updated as well. A teacher who constantly challenges him or herself to grow will be a great inspiration for students to do the same.

Look for a bulletin board at the studio where there may be job listings, auditions, workshops and other opportunities. This can be a good indication that the studio and the instructors are involved in the dance community outside of that particular school. Ask the teacher if he or she takes classes, seminars or training programs.

It is essential that an instructor have basic knowledge of anatomy and an understanding of injuries common to dancers. Ask the instructor about his or her background and training. Although this information can be useful for a student who aims to become a professional, it is not essential that an exceptional teacher have formal training or experience. Some instructors may be very talented and accomplished dancers but not necessarily talented teachers. Effective teaching must involve a compassion and patience that is not necessarily present in every instructor. In addition, an instructor who teaches young children must not only love dance, but children as well. A college degree in dance or a professional career is not an essential requirement. Training can be obtained through many avenues such as workshops, classes, reading, seminars and exposure to professionals.

Make sure to observe or attend a class so that you can watch the instructor in action. The teacher should always have a class do warm up exercises before getting into more active movement.

Length of class

Classes should be at least one hour long, with the exception of creative movement for young children. Students should have enough time to warm up, do combinations, skills and get corrections.

Facilities

A talented instructor is the most important part of your dance education. However, there are also some things to look for in the actual facility.

Equipment

For ballet classes, there should be a bar which can be attached to the wall or freestanding supported bars. Some schools may not have bars if they do not offer ballet classes.

Mirrors are an important tool for learning movement and spacing, as well as learning from other dancers. A mirror will help the instructor see the movements of the dancers even when he or she is teaching a combination while facing away from the students.

The Floor

The best flooring is one that floats on spacers and allows for give upon impact.

Some floors are linoleum laid on top of wood. This can acceptable, as long as it is not too slippery. Other schools use a roll out rubber flooring over existing floors to absorb impact or to protect wood floors when they teach tap classes. This can be adequate, but students may have a hard time turning on the surface if it is too sticky.

Neither you nor your child should ever dance on concrete floors. Dancing on concrete can cause permanent damage to joints that may not become evident until later in life. Many dancers who started out as children on bad floors find themselves plagued with injuries as young adults. Concrete has no give and can cause shin splints as well as joint and back problems. Some floors are simply concrete with thin wood flooring on top and those floors are also likely to result in injuries.

Make sure to watch for:

• Open space (the size must be large enough for the number of students in each class to have room to move freely)

• Clean floors (stretching as a well as many routines include movements on the floor)

• Windows or a ventilation system

• Air conditioning or fans for summer classes

• Watch for pillars or partitions in studio areas (which can cause a collision problem)

• Clean changing facilities, with separate areas for boys and girls

• Sound system, some ballet schools will offer live accompaniment (this is not a requirement; however it is a great experience if a school offers it)

Review

What are you willing to pay for lessons and the extras that go along with them?

What are your immediate and long-term goals?

What level of instruction do you need?

What type of facility will best serve your needs?

Acupuncture for Dancers

A show of hands, who has ever thought of trying acupuncture? If you have your hand in the air, then perhaps you feel a little sheepish. You don’t really need to raise your hand, but maybe you do need to act on your curiosity and try some alternative therapy. There are many benefits to acupuncture, some recognized by traditional health organizations, and some not. Contrary to common belief, it is actually pretty painless and can even be deeply relaxing. The needles used in this process are not at all like syringes or sewing needles; they are very thin and flexible, gently gliding between the body’s tissues instead of tearing through them. The feeling is most often compared to that of a pinch, or a mosquito bite. 

Acupuncture, though still relatively new to western

culture, is already being applied to various forms of sports-related injuries and is fast becoming a big part of performance medicine. For those of you who don’t know what that is, it’s much like sports medicine, except that it is used to treat conditions specific to performing artists instead of athletes. As a part of this performance medicine trend, acupuncture is helping performers of all kinds live healthier, happier, and more productive lives.

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So what does this mean for you dancers out there? It means that if you’re suffering from chronic pain or injury – in any area of the body – acupuncture can quite possibly soothe your pain completely, help your body heal itself naturally, and shorten overall recovery time, without the use of drugs. Dancers can overcome relief from injuries such as sprains, strains, sciatica, and arthritis. It has also been known to treat many different kinds of digestive, psychological, and skin disorders. However, it is important to note that Chinese medicine heavily emphasizes the prevention of injury and illness, as opposed to solely treating an already injured and suffering body. The many artists and athletes who have experienced the benefits of acupuncture see it not only as a life-saver and secret weapon against sudden injury, illness, or pain, but as part of a complete health maintenance program. Many of the testimonials of acupuncture patients claim that it has even cured their insomnia and depression. The National Institute of Health recognizes it as effective in treating headaches, menstrual cramps, low back pain, carpal tunnel syndrome, asthma, addiction, nausea, and various other physical, emotional, and mental problems.   

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If you or someone you know is a performer who fears that their career will be delayed or cut short due to chronic pain, illness, or serious injury, acupuncture is a viable and recognized form of treatment. Whenever you are choosing a physician of any kind, whether traditional or alternative, it is important to research their training, credentials, and past track record with their patients.

America's Best Dance Crew (Season 2)

2. Vote Now! You heard what the judges had to say now it's time to give your opinion. Go vote now for your favorite crew.

3. Walk It Out With JabbaWockeeZ Shane Sparks & JabbaWockeeZ break down the hottest moves from today's biggest music videos. Watch the entire special right here.

4. Crew Photos

Hottest dance.mtv.com Moves

1. Group Dynamics

2. Poppin' Pair

3. Taking the Floor

          Go To dance.mtv.com

Auditions: From One Nervous Dancer to Another

by Ashley Collingwood

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While at a dance audition, it is easy to become overwhelmingly nervous. Auditions I have been to in the past were disastrous, and after quite a few anxious mishaps I had to ask myself, why? Why couldn't I stay calm and focused?  

Over the years, I have managed to gather a few crucial tactics for cooling my nerves. I have become a thousand times happier and more confident going into an audition, and have had more positive outcomes because of this, and I would like to share. 

First, dressing comfortably is key. If I do not feel right in my wardrobe, it is harder for me to feel comfortable with my dancing. I always make sure I am wearing the appropriate attire for each audition. Of course, some auditions require certain clothing a dancer may not be used to. In this case, I would suggest dancing in the audition clothes ahead of time. It would also be a good idea to bring all the necessary shoes, and test each pair for comfort prior to the audition. Hair and makeup are also very important, not only to look nice, but to feel good.  

Just as vital to feeling good as wardrobe is nourishment. Some dancers may not eat well before an audition, but I usually enjoy something light, healthy, and satisfying like a banana and yogurt. 

In addition to preparing physically, I find that mental preparation for an audition is necessary. Besides telling myself to just get in shape and go for it, I do a few things to get my mind focused. The night before an audition, I pack my bag with everything I might need. This simple task actually puts my mind at ease and helps me sleep soundly, knowing there is nothing I will rush around trying to do at the last minute. Preparing the night before actually does eliminate that extra stress (unnecessary anxiety is the LAST thing I need at that point!) 

Once I know that I haven't forgotten anything, I make sure to have plenty of rest and set my alarm clock, allowing myself plenty of time to get ready in the morning. Getting to the audition early enough for a proper warm up is also a good idea. I never go into an audition without loosening up and stretching. Even once this is done and I know I'm ready, I can sometimes still feel that show business fluttering in my stomach, but I throw in some deep breathing to help calm me a little more.   

Remembering why you are there is also key. For awhile, I was so concerned about what everyone else thought about me. I felt like not only the people holding the audition, but also the other dancers were judging me. This is when another question came to mind: “Who am I dancing for?!” The answer came easily after some evaluating--ME! Now, I approach each audition with a completely new outlook. I try to impress myself and take each audition as a class. I have learned that this eases a lot of tension, and I have had much better results! 

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Although it is inevitable to have some jitters at an audition, these small but important tips have helped me tremendously. It took awhile to figure most of them out, so I would like to spread the love to anyone else with similar anxieties! Most importantly, stay positive and remember what this craft is really all about. Hold fast to the energy, the inspiration, and the art that is dance.  

Ballet Dictonary

==A==

adage [Italian ad agio: "at ease"; the musical direction, adagio, means "slow."]. The second part of a ballet class: slow work with emphasis on sustained positions and on balance.

allegro [Italian: "happy"; in music, "fast"]. The third part of a ballet class: fast work, jumps, turns. Usually divided into petit ["little"] allegro and grand ["big"] allegro.

allongé ["elongated"]. With the arms stretched out as far as possible.

arabesque ["Arabic"]. A pose with one leg stretched straight out to the back and one arm usually stretched out to the front. The back leg may be on the floor or at 45, 90, or 135 degrees. (These angles are measured from the vertical; 90 degrees means parallel to the floor.)

arms, positions of. These are numbered, as are the positions of the feet, but the numbering varies from one school to the next. The four basic positions are: (a) arms down and a little in front of the legs (called bras bas ["low arms"],) (b) arms to the side, (c) arms forward (at about the height of the bottom of the breastbone), (d) arms overhead. In all positions, the arms are gently curved.

When the arms are forward, they are held as if embracing a large barrel (one large enough that the hands can't meet). The forward position is sometimes known as the "gateway," because in many port de bras,the arms pass through the gateway on the way to a higher position. The position with the arms to the side is universally known as second position. In this position, they are curved forward of the body, as if embracing a large cylinder perhaps 8 feet (2.5 m) in diameter. Arms overhead are sometimes called en couronne ("like a crown"). In this position, they should be far enough forward that you can just make out the little fingers (by peripheral vision) when looking straight ahead.

Numbering: (a) (arms down) is bras au repos according to the French school, "preparatory position" according to the Russian school, and first position according to Cecchetti. (b) (arms to the side) is universally known as second position. (c) (arms in front) is first position according to the French and Russians and fifth position en avant ["in front"] according to Cecchetti. (d) (arms overhead) is fifth position for the French, third position for the Russians, and fifth position en haut ["up high"] for Cecchetti.

assemblé ["assembled"]. A jump: plié, brushing working leg out. Jump. Bring both legs together ("assemble" them) into fifth position while in midair; land on both feet. The brush can be to the front, the side, or the back.

attitude ["attitude"]. A pose. As with the arabesque, the working leg is raised. But unlike the arabesque, it is bent, not straight, and, also unlike the arabesque, it can be done to the front, the side, or the back. In attitude to the front or the back, if the angle is 90 degrees, the calf should be as nearly horizontal as possible.

==B==

balancé ["rocking"]. A waltz step. For a balancé to the right, start in fifth position. On count of 1-2-3, right foot goes out to the side and the weight is transferred to it (1). Immediately bring left foot behind right and and transfer the weight to the ball of the left foot while rising up on it (2). Put your weight back on the right foot flat on the floor (not raised up) (3). A balancé to one side is almost always followed by a balancé to the other side. Balancés can also be done to the front and back or turning.

balançoire. Short for battements en balançoire, ["battements like a seesaw"]. The dancer swings the working leg vigorously back and forth between fourth position front and fourth back, through first position. Unlike grand battements en cloche, balançoires do not require that the body be held straight.

ballon ["balloon"]. The appearance of weightlessness and of being airborne. A dancer is said to have ballon if (s)he seems to be in the air constantly with only momentary contact with the floor.

ballonné ["ball-like"]. A jump. From 5th position, right foot front, demi-plié while the right foot glides to 2nd position at 45 degrees. Jump with left while travelling in the air towards the right foot. Land on left foot with the right having come in to the position sur le cou-de-pied front. Repeat by throwing the right foot out to the side again from the position sur le cou-de-pied. Can be done in many different directions.

ballotté ["tossed"]. A jump. Begin in 5th, right leg front. Spring straight upward with both legs held tightly together, as the body begins to tilt slightly backward at the apex of the jump. The body lands on the left foot while the right is thrown open to the front. Repeat backwards, with a slight tilt to the front at the apex of the jump.

Can also be done with bent knees, as the working leg goes through rétiré position front (to go forward). In this case the repeat may start by the left leg jumping up while the right comes back in to join it; the left leg then bending to bring the foot through rétiré back before thrusting backwards as the body lands on the right leg.

barre ["bar"]. 1. The railing, about waist high, along the wall of a studio. Used by dancers as for steadying themselves in the first part of a class. 2. The first part of ballet class, consisting of exercises done with the aid of the barre.

battement ["beating"]. A generic term for various movements in which the leg is extended and then returned. See grand battement and petit battement. This is also one of those words (like pas and temps) that are frequently omitted and understood; thus, for example, frappé is short for battement frappé, etc. In this list, look under the second word (e.g.,, under frappé, not under battement frappé. The only exception to this is battement tendu.

battement tendu ["stretched beat"]. ("Tendu" for short.) Slide the working foot out until only the toes are touching the floor; then slide it back. An important exercise for learning to move the foot quickly and gracefully while maintaining placement. Balanchine considered it the most important exercise in all of ballet.

==C==

cambré ["bent"]. A bend from the waist in any direction, but especially forward or back.

chaîné turns. Short for tours chaînées déboulés, "chained, rolling turns." Fast turns on half or full point with the legs in a tight first position, rotating a half turn on one foot and the other half on the other foot. Done one after the other so they're "chained" together.

changement (short for changement de pieds ["change of the feet"]). A jump, straight up, starting from fifth position with one foot in front and landing in fifth position with the other foot in front.

chassé ["chased"]. A gliding step. The working leg slides out; put weight on working leg and draw other leg along floor to it. (In American folk dancing, this word was mispronounced, giving rise to the term "sashay.")

ciseaux ["scissors"]. Opening the legs, like the blades of a pair of scissors, to a wide second position; may be jumped. Not to be confused with sissonne.

class (in French, also leçon ["lesson"]). A ballet class is a carefully graded sequence of exercises lasting, typically, an hour and a half. The work falls into three parts. The first part consists of stretching and warming-up exercises done with the support of the barre. You may spend anywhere from forty minutes to an hour at the barre. Then you move to the center of the studio to work without support. The second part of class, called adage, consists of slow work in which the emphasis is on sustaining positions and on balance. The final part of class, allegro, consists of fast work, mostly combinations (sequences of steps) with the big jumps and turns that make ballet such an impressive and dazzling sight.

combination. A series of steps linked together, usually as an exercise in class.

cou-de-pied ["neck of the foot"]. The thinnest part of the calf, just above the ankle.

cou-de-pied, sur le ["on the neck of the foot"]. A position. A foot is sur le cou-de-pied if it is placed on the the calf just above the ankle. In the Russian school, the foot is actually wrapped around the ankle, with the heel forward and the toes back. It may be placed on the front of the calf in this position, at the side, or in back. The back position is sometimes called, incorrectly, coupé.

coupé ["cut"]. A linking step in which the working foot displaces the supporting foot (cuts it away). Sometimes used, incorrectly, for the position sur le cou-de-pied in back or, less often, in front.

croisé ["crossed"]. A position on stage in which the dancer faces one of the front corners with the legs crossed. In croisé devant, the downstage leg is in fourth position to the front; in croisé derrière, the upstage leg is in fourth position to the back.

croix, en ["in (the form of) a cross"]. Usually applied to exercises at the barre: the exercise is done first with the working leg moving to the front, then to the side, then to the back, and then to the (same) side again.

==D==

dedans, en ["inward"]. Used to describe motion toward the front of the body. In a pirouette en dedans, the dancer turns so the raised leg rotates toward the front. In a rond de jambe en dedans, the working leg moves in a half-circle from the back toward the front.

dégagé ["disengaged"]. A movement or position in which the working leg is lifted off the floor.

dehors, en ["outward"]. Used to describe motion away from the front of the body. In a pirouette en dehors, the dancer turns so the raised leg rotates away from the front. In a rond de jambe en dehors, the working leg moves in a half-circle away from the front toward the back.

derrière ["behind"]. Directed behind the body. À la quatrième derrière is with the leg pointing back from the body.

dessous ["under"]. Describes motion of the working foot under (i.e., behind) the supporting foot. English speakers have trouble with the difference between the French -ou- and -u-, so they tend to use "under" and "over" in preference to dessous and dessus.

dessus ["over"]. Describes motion of the working foot over (i.e., in front of) the supporting foot. English speakers have trouble with the difference between the French -ou- and -u-, so they tend to use "under" and "over" in preference to dessous and dessus.

détourné ["turned aside"]. A smooth turn made by pivoting on the toes in relevé.

devant ["ahead"]. Directed in front of the body. À la quatrième devant is with the leg pointing ahead of the body.

developpé ["developed"]. A movement in which the working leg is drawn up to the knee of the supporting leg and from there smoothly out to a position in the air, usually at 90 degrees (i.e., parallel to the floor).

==E==

écarté ["separated"]. A position on stage in which the dancer faces one of the front corners with the working leg in second position, either on or off the floor. The body is tilted slightly away from the working leg. The arm on the side of the working leg is raised; the arm on the side of the supporting leg is in second. If the working leg and raised arm are downstage (toward the audience), this is écarté devant; if they are upstage, this is écarté derrière.

échappé ["escaped"]. A movement in which the legs move from fifth position out to second position or, occasionally, to fourth position.

effacé ["effaced"]. A position on stage in which the dancer faces one of the downstage corners with the legs crossed, upstage leg forward. The downstage arm is usually raised in this position, so that the face is shaded, or effaced; hence the name.

élancer ["to dart"]. One of the seven movements in dance (see movements.

elevation. The ability to jump high in the air. A step of elevation is a jump.

emboité ["boxed"]. A jump. Start in 5th; assume the right leg is in front. Jump up, bend the right leg to 45 degrees. Land on the right foot with the left leg slightly bent and the left foot in front of the right ankle. The feet fit closely together, like a lid on a box; hence the name. Usually repeated to the other side: jump off right foot onto the left and land with right foot in front of the left ankle. This movement is often done while turning and travelling.

en face ["facing"]. A position on stage facing directly forward, toward the audience.

en l'air ["in the air"]. Used to describe movements in which the working leg is raised a considerable distance off the ground. Antonym: terre-à-terre.

enchaînement ["chaining"]. A series of steps linked (chained) together.

entrechat ["braided, interwoven"]. A jump in which the dancer's legs cross each other--from fifth in front to fifth in back--several times in the air. The number of crossings is indicated by a number after the word, and each crossing is counted twice (once for going out from fifth and once for returning to fifth). In even-numbered entrechats, the dancer lands on both feet, in fifth. In odd- numbered ones, the dancer lands with one foot sur le cou-de-pied. For example, in entrechat quatre the dancer starts in fifth position. If the right foot is in front, he jumps, changes his feet to left foot in front and back, and lands with the right foot in front again. (I suppose you could call a simple changement an entrechat deux, but I've never heard this.)

épaulement ["shouldering"]. Rotation of the shoulders and head (relative to the hips) to add beauty or expressiveness to a pose, step, or movement.

étendre ["to stretch"]. One of the seven movements in dance (see movements.

extension. The ability to raise the working leg high in the air. Good extension comes from a combination of inborn flexibility and training.

==F==

failli ["giving way"]. 5th position, right foot front. Demi-plié, jump up vertically, feet together. Turn the body efface in the air. The body is lowered into demi-plié on the right foot, while the left leg, fully extended, is opened to 45 degrees in effacé back. Without hesitation, the left foot glides through first position and ends in croisé in demi-plié.

feet, positions of. There are five basic positions of the feet in ballet. 1: feet in line with heels together; 2. feet in line, heels apart (separated by about the length of one's foot); 3. feet touching, one foot in front of the other and overlapping by about half the length of the foot; 4. feet apart, separated about the length of a foot, one foot in front of the other; 5. feet touching, one foot in front, heel to toe and toe to heel. In a Cecchetti fifth, the feet do not overlap completely; in a Russian fifth, they do. Fourth position is sometimes qualified as an open fourth (like first position except for the separation of the feet) and a closed fourth (like fifth position except for the separation of the feet). 

      
fondu ["melted"]. Any movement that lowers the body by bending one leg. In a plié, both legs support the body; in a fondu, only one leg supports the body.
fouetté ["whipped"]. Typically, a movement in which the working leg is brushed vigorously either forward or backward. You then use the inertia of the leg to turn the body around, so that the body turns 180 degrees away from the leg, which remains where it was.

fouetté en tournant ["turning fouetté"]. A turn in which a whipping motion of the working leg makes the body go round. Usually but not always done en dehors, which is the description that follows. The working leg opens to 2nd position at 45 degrees. The working leg whips in behind the calf of the supporting leg, while the arms come in, the body turns en dehors, and the supporting leg rises to releve. Quickly, the working foot is brought to the front of the calf and is opened to 2nd at 45 degrees while the working foot is lowered into demi-plié. While in this position, the arms open to second in preparation for a repeat of the movement. When you hear of "32 fouettés" in Swan Lake or some other ballet, this is what they mean.

frappé ["struck"], in full, battement frappé, "struck beat". Working foot rests lightly on the ankle of the supporting foot. Throw the working leg forcefully out to a dégagé position so that it strikes the floor 1/3 of the way out. Hold the leg out as long as possible, returning it to its initial position at the last moment. (Russian frappés start in tendu, darting to the supporting leg and back out again.) Can be done to the front, side, or back.

==G==

glissade ["glide"]. A connecting step. Start in plié; move the right foot out to pointe tendu; then move onto that leg, closing the left foot and landing in plié. Can be done in any direction.

glisser ["to glide"]. One of the seven movements in dance (see movements.

grand battement ["big beat"]. A "kick" in which the working leg is raised as high as possible while keeping the rest of the body still. "Kick" is in quotes because the battement should be a controlled lift, not a throwing of the leg into the air, and the leg must be controlled while coming down. The kicks one associates with a chorus line are grands battements. There's a terrific grand battement in W. C. Fields's short, "The Fatal Glass of Beer"--not (unfortunately) executed by Fields himself.

grand battement en cloche ["grand battement like a bell"]. Grand battements in which the leg swings continually between fourth position front and fourth position in back, the body being held erect.

grand jeté ["big thrown (step)"]. A long horizontal jump, usually forward, starting from one leg and landing on the other. In the middle of the jump, the dancer may be doing a split in midair. One of the most memorable of all ballet jumps; the dancer seems to float in the air, as a result of the shift of his center of gravity from the split.

==H==
==I==
==J==

jeté ["thrown"]. A jump from one foot to the other foot, throwing the working leg out. See petit jete and grand jete.

jumps. Jumps have been classified as follows: (1) from both feet to both feet (e.g. changements); (2) from both feet to one foot (e.g. sissonnes); (3) from one foot to both feet (e.g., assemblés); (4) from one foot to the same foot (e.g., temps levés); (5) from one foot to the other foot (e.g., jetés).

==K==
==L==
==M==

movements Early in ballet history some master analyzed all balletic movements into seven basic categories. These are: plier, to bend; étendre, to stretch; relever, to rise; sauter, to leap; élancer, to dart; glisser, to glide; and tourner, to turn. I do not know who first drew up this list; an early version is to be found in Feuillet's Chorégraphie which dates from 1700.

==N==
==O==

opposition. Movement (or position) of the arms in opposite direction to movement (or position) of the legs--as we move our arms when we walk.

==P==

pas. A step. Many of the common names of steps in ballet are adjectives (or participles) instead of nouns; these names have the word "pas" understood: thus, for example, "coupé" (which everybody says) is actually short for "pas coupé" ["cut step"] (which nobody says). Also used to refer to a dance, as pas de deux, a dance for two; pas de quatre, a dance for four.

pas de Basque ["Basque step"]. Starts in 5th position; assume right foot front. On the upbeat, demi-plié; the right foot glides forward in croisé and continues with a demi-rond de jambe en dehors to the side, while the left foot remains in plié. A small jump occurs onto the right foot in demi-plié. The left foot now glides through 1st position into croisé forward. On the final count, the weight is transferred to the left foot and a small jump is made to bring the feet together where the left one was placed. The movement finishes in 5th croisé.

pas de bourrée ["bourrée step," the bourrée being an old folk dance]. This term has at least two meanings. 1. One of the simplest connecting steps, used to link other steps in a combination. The commonest form is probably the pas de bourrée dessous. Assume your right foot is in front: left foot on half pointe; step on it and put your weight on it; move the right foot to the side, transfer your weight to it (also in relevé); move the left foot to the front of the right and put your weight on both feet in a plié. 2. (properly called pas de bourrée couru, "running pas de bourrée" or pas de bourrée suivi, "followed pas de bourrée"). A gliding movement by a dancer on pointe consisting of many very small steps taken with the feet close together. When a dancer uses bourrée as a verb ("Then you bourrée downstage"), she usually means pas de bourrée couru.

pas de chat ["step of the cat"]. A jump. Leap off the left leg, starting from a plié and raising the right leg into retiré. In midair, raise the left leg into retiré, too, so your legs form a diamond shape in the air. Land on the right leg with the left leg still in retiré; then bring it down, landing in another plié. In the famous dance in Swan Lake in which the four cygnets dance with interlaced arms, they do sixteen pas de chat.

pas de cheval ["step of the horse"]. Starting with the working leg in pointe tendu, draw it along the floor back to the supporting leg; then, without pausing, move it up to cou-de-pied and back out to pointe tendu in a small developpé. The step resembles the pawing of a horse.

passé ["passed"]. A movement in which the pointed foot of the working leg is made to pass the knee of the supporting leg. Frequently used--incorrectly--as a synonym for retiré.

penché ["leaning"]. A tilting of the body to achieve an exteme picture. An example is when the dancer is in an arabesque at 90 degrees. She then pushes her working leg upward and over, pushing the body down towards the supporting leg to achieve a much greater angle between legs, often resulting in a 180-degree split.

petit battement ["little beat"]. An exercise for speed and agility in the lower leg. In the starting position, the working leg is sur le cou-de-pied. It opens in the direction of 2nd position but only half way, as the leg does not fully extend at the knee. The working leg then closes to sur le cou-de-pied opposite of where it started (in back if it started in front and vice versa). Done repeatedly, back and front. The knee and thigh of the working leg stay in the same place and do not move during the exercise.

petit jeté ["little jump"]. A jump: brush the working foot out, hop off the supporting leg, and land on the working foot with the other foot sur le cou-de-pied behind. Can be done to the front, the side, or the back.

pirouette ["spin"]. A complete turn on one leg. The dancer usually goes round more than once. The raised leg is most commonly held in rétiré, but pirouettes with the leg in other positions are not uncommon. If the direction of the turn rotates the raised leg away from the front of the body, the pirouette is en dehors; if it rotates the leg toward the front, it is en dedans. The dancer spots (see "spotting") in order to avoid becoming disoriented. Pirouettes are usually fast, but supported pirouettes, in which a partner steadies the soloist, may be done very slowly.

placement. Roughly, alignment of the body. Becoming properly placed means learning to stand up straight, with hips level and even, shoulders open but relaxed and centered over the hips, pelvis straight (neither protruding nor tucked under), back straight, head up, weight centered evenly between the feet. This posture is frequently described as "pulled up," but it is also a relaxed posture; you aren't tensed up like a soldier standing at attention. (A teacher once said you should imagine that you are suspended by a thread attached to the top of your head. This suggests both the "pulled-up" and relaxed aspects of good ballet posture.) And as you dance, you seek to maintain this posture except when the step requires something different, like épaulement, or like the slight forward arch of the spine that accompanies an arabesque.

plier ["to bend"]. One of the seven movements in dance (see movements.

plié ["bent"]. Knee bends, done with the legs turned out. Normally the first exercise in a ballet class. Demi-plié ["half-bent"] is a shallow bend (in all positions but second, as far down as you can go without lifting the heels off the floor); grand plié ["big plié"] is a deep bend, down to where the thighs are almost horizontal. In all positions except second, the heels release from the floor in a grand plié.

pointe ["point"] (demi ["half"], quarter, three-quarter, sur les pointes ["on the points"]). The point of the foot. Demi-pointe, etc., refer to how far the heel is raised off the floor in a relevé. Definitions vary, but this will do for starters: quarter point is with the heel just off the floor; three-quarter point is a straight line from the knee to the ball of the foot. Demi pointe is half way between. Sur les pointes, or "on pointe," is on the tips of the toes--literally. Children should not be allowed to go on pointe until the bones of their feet are fully developed--typically about the age of 11 or 12.

pointe tendu ["stretched point (of the foot)"]. A position in which the working leg is stretched straight out in any direction with only the tip of the foot touching the floor.

port de bras ["carriage of the arms"]. 1. How a dancer uses his arms. 2. Specific movements of the arms, as first port de bras, second port de bras, etc. 3. Sometimes used instead of cambré. A grand port de bras is a circular bend, either toward the barre, then down, then up away from the barre, and then backward and back toward the barre: or the same thing in the opposite direction.

positions: see feet, positions of and arms, positions of.

positions on stage. See: Croisé, effacé, en face, écarté.

promenade ["walk"]. A pivot turn in which the dancer moves slowly around by shifting the heel of the supporting leg. The rest of the body may be in arabesque or attitude. In a supported promenade, the partner turns the soloist.

==Q==

quatrième ["fourth"]. Fourth position. (See feet, positions of and arms, positions of.)

quatrième, à la ["in the fourth"]. À la quatrième devant is with the working leg stretched out to the front; à la quatrième derrière is with the working leg stretched to the back.

==R==

relever ["to rise"]. One of the seven movements in dance (see movements.

relevé ["raised"]. A movement in which the heels are raised off the floor. The rise may be smooth or aided by a slight spring, depending on the school. A dancer in such a position is said to be "in relevé."

retiré ["withdrawn"]. A position in which the working foot is drawn up to the knee of the supporting leg. Also frequently (and incorrectly) called passé.

rond de jambe ["circular movement of the leg"]. A movement in which the working leg is made to describe a letter D about the supporting leg. May be done with the working foot on the floor or in the air. In a rond de jambe en dehors ("outward") on the floor, the working leg moves from first (or fifth) position to pointe tendu forward, makes a half circle to pointe tendu in back, and then returns to first, if the rond de jambe is to be repeated, and otherwise to first or fifth. A wonderful exercise for turnout. In a rond de jambe en dedans ("inward"), the direction of movement is reversed. In a demi rond de jambe, the working leg goes only half-way around, stopping in second position. A grand rond de jambe, is executed with the supporting leg in plié. A rond de jambe en l'air ("in the air") is done with the working leg raised off the floor, frequently at an angle of 90 degrees (parallel to the floor).

==S==

sauter ["to leap"]. One of the seven movements in dance (see movements.

seconde, à la ["in second"]. In second position, i.e., to the side. (See feet, positions of and arms, positions of.)

sissonne [Named for its inventor]. A type of jump that has several forms, among them: sissonne simple, sissonne ouverte, sissonne fermée, sissonne fondue, and others. Not to be confused with ciseaux.

In sissonne simple, the most elementary form, the movement begins in 5th position. Jump straight up, with the legs together and the feet pointed. Land on one foot in demi-plié, with the other foot sur le cou-de-pied either in front or back (corresponding to whether the foot sur le cou-de-pied began in front or back--it does not change).

soubresaut ["sudden leap"]. A jump from both feet to both feet. Beginning in 5th croisé, the feet push off the floor so that the body flies forward with feet pointed and legs together. Before the jump, the body inclines forward, and then during the jump bends forcefully back, so that the legs remain at the back. The movement ends in 5th croisé. The arms are free and depend only on the design of what is being sought after; when studying, they usually begin in preparatory, come up to first during the jump, and end in preparatory again.

sous-sus ["under-over"] (or sus-sous ["over-under"]). A relevé in a tight fifth position with one foot almost on top of the other.

soutenu ["sustained"]. (a) Performed smoothly and slowly. (b) Also used to indicate a smooth détourné. For (a), can be: where from 5th position, the working leg is taken out to the front, 2nd position, or to the back, while the supporting leg is lowers to demi-plié. Then the supporting leg rises to demi or full pointe while the working leg is drawn into it, ending in a tight sus-sous position.

spotting. A technique for for keeping oriented and avoiding dizziness during turns. Pick a spot (some conspicuous object); keep looking at it as you turn until you can't any longer; then quickly turn your head so you are looking at it again.

sur le cou-de-pied. See cou-de-pied, sur le.

==T==

temps. Literally, "time," but perhaps "moment" would be better. A movement that forms part of a step. Grant says a part in which there is no transfer of weight, which raises some interesting questions about temps lié.

temps levé ["raised movement"]. Temps levé is the very simplest jump from one foot onto the same foot with the other foot raised.

temps lié ["joined movement"]. This is a term for a whole series of conventionally connected movements executed in the center of the room, often during an adagio. However, it is also the term for an independent form of a step.

In the basic form of the temps lié, stand in 5th position croiseé, arms in preparatory position. The working leg is drawn, without taking the toe off the floor, into croisé devant, while the supporting leg bends into demi-plié; simultaneously, the arms are raised into 1st position with the head slightly inclining towards the shoulder corresponding to the supporting leg. Then, the weight is transferred through demi-plié to croisé derrière onto what was the working leg. Here, both legs are completely stretched with the now working leg stretched toe to the floor in back. At the moment of weight transfer, the arm that corresponds to the now working leg is raised overhead, while the other arm opens sideward; the head turns towards the sideward arm. Finally, the working leg closes in 5th back; arms may remain or stay.

tendu ["stretched"]. See: battement tendu and pointe tendu.

terre-à-terre ["ground to ground"]. Used to describe steps in which the dancer's feet do not leave the floor. Antonym: movements.

travesti, en ["in disguise"]. Of a female dancer: dancing a male role in a man's costume; of a male dancer: dancing a female role in a woman's costume.

turnout. The balletic stance in which the legs are rotated outward so that the legs (and feet) point in opposite directions. A dancer adopting this position is said to be "turned out." Usage varies, but most people seem to measure the degree of turnout by the angle between the foot and the mid-saggital plane of the body. The ideal, with both feet in a straight line, is thus 90 degrees of turnout. Turnout must begin at the hip. Forcing the feet and letting everything else follow puts severe strain on the joints, especially the knees, and defeats the purpose of turnout, which is to rotate the thigh bone to permit greater extension, especially to the side.

Ballet Shoes - Tips For A Proper Fit

By Julia Godoy

A ballet dancers best friend are her ballet shoes. The wrong shoes can result in disater. Ballet shoes that are not well fitted can cause a dancer to improperly execute ballet techniques. Injury and improper balance can also occur when ballet shoes are not properly fitted. Any ballet dancer with a little experience knows that properly fitted ballet shoes are critical to good performance.

Ballet shoes have five components: The binding, quarters, drawstrings, side seams, and pleats. Each of these parts must be adjusted to fit the dancer’s foot exactly. Properly fitted ballet shoes will ensure the dancer can feel the floor beneath them. In other words, ballet shoes should fit like a glove.

Grace, poise, and technique is the essence of ballet. To accomplish this a ballet dancer must have excellent fitting ballet shoes. For the best fitting ballet shoes, there are necessary steps that must be taken. Here are four tips to help a ballet dancer achieve this.

Number One - Realize your feet can be different sizes, meaning your ballet shoes may not be exactly the same. It is sometimes necessary for ballet dancers to have two different sized ballet shoes. Try on various ballet shoes to see what fits best.

Number Two - Make sure to wear tights when fitting your ballet shoes, just as you would when wearing your ballet shoes to dance. This will ensure a better fit. Never try on ballet shoes without wearing tights.

Number Three - When you first put on your ballet shoes, pay close attention to your toes. Stand flat on the floor. If your toes curl, you need to change your size, as your ballet shoes are not fitting correctly. If your toes curl you cannot achieve proper technique while dancing and you will have a poor performance. Injury may also occur if you cannot perform the proper dance techniques because of your toes curling. If your ballet shoes are too large you will curl your toes in an effort to keep the ballet shoes on. This can also result in a poor performance, bad technique, and possible injury.

Number Four - The last step is to criss-cross your drawstrings, then “pointe” your foot. There should be no gap in the width of your ballet shoes. Simply put, this means there should be no extra space at any part of your ballet shoes. There should also be absolutely no toe room. If there is toe room you will not be able to properly “pointe” your foot. You will also not be able to feel the floor beneath you. Hence you cannot perform any dance techniques properly.

Properly fitted ballet shoes are crucial for a ballet dancer. With these tips in mind you will be able to properly fit your ballet shoes, and be on your way to a beautiful dance performance.

Source: www.isnare.com
Permanent Link: http://www.isnare.com/?aid=171961&ca=Recreation

Ballroom Dance: It Takes Two Types of Tango

 By Johanna Orca Handyside

Thanks to its exotic origins, sultry music and the creative spices that have flavored its development, the tango has moved from the slums of Argentina to the living rooms of millions of television viewers. Ballroom Tango is renowned for its inherent passion and restrained aggression and has gained newfound notoriety thanks to shows such as “Dancing With The Stars” and “So You Think You Can Dance.” Due to this renewed fame, many people are strapping on their high heels and buttoning up their suits to discover the origins this dance and how to release its fire and poise.

The Tango is agreed to have developed around the turn of the late century and grew in the cities of Argentina. The dance may have inherited its risqué reputation from the Buenos Aires brothels, where it was supposedly created, and was considered too bawdy for popular social consumption. Another explanation is that the Tango was born not in but around these houses of ill repute, but by men aiming to woo the women inside. Street performers playing the flute, guitar, and violin supposedly provided the music that allowed the minds and bodies of different cultures to mix and mingle in creating this dance form. These artists and their music also laid the foundation for the seductive tones that accompany this explosive dance.

As knowledge of the Tango spread it found acceptance in other countries as well as varying social classes. In the early 1900s, the first Tango dancers from Buenos Aires took their show on the road to Europe, making their mark most notably in Paris. From this point, the dance spread to London and New York. The Ballroom Tango merged characteristics during these and other travels to create the forms that now compose it: International and American Tango. Its popularity soon grew wildly to the middle and upper classes, who soon revered it. The cause of this rapid rise was that the Tango was unlike anything anyone had ever seen before - it bordered the line between inappropriate and fashionable and broke the mold of the dances of the time.

The American Tango, considered the simplest form of the Tango, was named for the country where it was initially performed by leading man Rudolph Valentino in the 1921 film The Four Horsemen of the Apocalypse. It is the highly stylized offspring of the Argentinean and International Tangos and is seen in social as well as competitive settings. The hold in the American Tango is typically closed but may open, allowing room for improvisation.  The positioning in this dance places the woman just to the right of the man with their hips in close proximity. The American Tango is based on slow steps, relying on quick steps for accent.

The International Tango, unlike the American form, is not as open in terms of position or improvisation. Also called the English Tango, it is performed on the competitive dance circuit and is chronicled in early English standardization manuals. It is a very advanced form of dance involving speed, aggression, and sharp movements. The International Tango is danced in a Smooth or Standard rhythm, far removed from its Latin origins and named because of the steady, unbroken vertical plane of the dancers; no dips or raises interrupt their elevation. Unlike the American form, the International Tango works on a base of quick steps with slow ones used in contrast. The hold in this dance is a strictly closed, and passionately punctuated with dramatic disdain towards one’s partner. 

As a regulated form of ballroom dance, Ballroom Tango always makes use of the promenade position, walks, and links, and others. The promenade position involves both dancers walking forward with mirrored footwork while maintaining their hold. A walk is self explanatory, but is done with the heels leading. Finally, links punctuate the previous motion, adding sharp movements between walks. When performing these or any other moves a dancer’s body stays perfectly in line with their foot at each step, moving resolutely on bent knees.

Ballroom Tango has a contested past, but the characteristics that define it are definite. From the backstreets of Buenos Aires to the brightly lit arena of prime time television, this dance form has overcome differences in class and sensibilities to gain fame as an aggressive and technically prized art form. It doesn’t only take two to Tango, though there are two kinds of Tango that can be found in the ballroom. The American Tango is danced socially, and in competition the International Tango takes the stage. These forms may be only two of the many that constitute Tango as an artistic subgenre, but they add an immeasurable amount of heat to cold television sets and tepid dance floors.

Becoming a better dance team coach

By Sara Willcutt

The best thing that I have done as a coach is to study dance myself. I have found that taking ballet classes has giving me invaluable tools to teach technique to my dancers. After I take a class I write down what I learned and work that into my practice plans. I also take hip hop classes at both dance studios and heath clubs. It’s a great way to get choreographic inspiration and gain a handle on this very popular style of dance.

Benefit Of Pilates For Dancers

By Evan Margolin

We all know the rigorous training involved in being a dancer. The long hours, sore feet and the strain placed on the body from continuous working of the joints and muscles can take its toll. This continuous strain on the body can be very draining and even cause injury to many dancers. This is why Pilates has always been so essential to the rehabilitation and avoidance of injury.

Pilates emphasis on posture, strength and flexibility have made it a popular workout choice for dancers alike. It’s an excellent exercise routine encompassing a strong focus on upper body strength for better balance, alignment, posture, turns and other points of work. It is also very effective at strengthening body parts - especially ankles and feet, which are essential to dance.

Pilates engages the body making you feel alert and leaving your body and mind in a state of feeling revived and focused. As each movement intricately takes into account each individual muscle group, while also sustaining balance and agility, the structure of Pilates is specific and works every body part.

The reason why dance coaches use and recommend this method of exercise with their dancers is because it improves and restores the dancers muscles and movements adding strength and agility without injury.

The rigorous work routines of dancers are very demanding. Pilates works the body while also avoiding injury – which is a common occurrence with most other conventional strength training methods like weight training or other aerobic activity.

The rhythmic style of dance with abrupt movements sometimes interchanged with simple shorter movements can be hard on the body. That is why Pilates and dance are an excellent compliment.

Imagine restoring your body back into shape with an exercise program that rewards you with the grace of a dancer while at the same time toning and building muscle to give your body perfect posture along with muscular definition. Pilates has been the secret exercise program for millions over the years, especially dancers.

Pilates does not only work isolated muscle groups, but it works all the muscle groups helping to restore and rebuild any damaged muscles or soft tissue but also building strength to avoid any further damage – which is a common occurrence with many dancers.

The physical and mental conditioning of Pilates has made it the common exercise choice for many dancers. It’s fun, relaxing and improves alertness. But best of all, it’s a great way to bond with fellow dancers and friends alike. No need for heavy equipment with this exercise program.

A simple floor mat and the proper knowledge of the techniques and positions used in Pilates is the perfect formula to restore and strengthen any dancers physique.

About the Author: Evan Margolin shares his passion for salsa through his premier salsa studio DancsSF, in the Bay Area. Evan says, “If you want to achieve the Dancer’s body, you have got to try PilatesforDancers.” (http://www.PilatesforDancers.com)

Source: www.isnare.com

Photo by Deborah Secco 

Best Known Dance Films

By Brenda Williams

Ever since Al Jolson spoke the first words on screen in 1927's The Jazz Singer, singing and dancing have been a big part of the movies. Here are some of the best-known films involving dancing over the years:

Saturday Night Fever (1977): John Travolta became an icon in this tale of a working-class Brooklyn guy who comes alive when he hits the dance floor each night. The Bee Gees-saturated soundtrack became one of the best-selling albums of all time, and Travolta's white disco suit was later purchased by film critic Gene Siskel. Travolta has since become known for dancing in many of his biggest hits, including Grease and Pulp Fiction. A sequel to this film, Stayin' Alive, was directed by Sylvester Stallone, though it proved unsuccessful with critics and audiences.

Flashdance (1983): Jennifer Beals became a star in this story of welder who burns off steam as an exotic dancer by night, all while dreaming of becoming a ballerina. Ironically, Beals didn't do her own dancing in this film; clever editing and photography let several doubles, including a gymnast and a man, perform her most complicated moves. Like Fever, this had a hit soundtrack, highlighted by the Oscar-winning "What a Feeling."

Footloose (1984): Though Kevin Bacon has gone on to play many other types of roles (and starred with nearly every other actor in Hollywood in the process), for many fans, he'll be best-known for this peppy tale of a teen who finds himself in a small town where a zealous reverend (John Lithgow) has outlawed dancing. This had yet another hit soundtrack, which spawned two number-one hits and sold 15 million copies.

Dirty Dancing (1987): This surprise hit about a young woman (Jennifer Grey) who finds love on the dance floor with a fleet-footed dance instructor (Patrick Swayze) while on vacation also won an Oscar for best song ("I've Had the Time of My Life") and became a sensation, inspiring a short-lived TV series and a live stage show. It was also responsible for boosting attendance in dance classes across the country. Ironically, Grey and Swayze had worked together before on the action film Red Dawn - and couldn't stand each other.

Save the Last Dance (2001): Julia Stiles and Sean Patrick Thomas star in this tale of a former ballerina who gains the inspiration to dance again when learning the style of a local dance club. The film became a huge hit with fans of MTV, which produced the film. It wound up grossing nearly 10 times its budget in the U.S. alone.

Step Up (2006): Despite little advance hype, this story of a dancer (Jenna Dewan) who becomes involved with a street tough sentenced to do community service at the Maryland School of the Arts, became a surprise hit, grossing almost double its budget in its first weekend. A sequel, Step Up 2 the Streets, was released in early 2008, featuring different characters but set against the same backdrop. It's enjoyed similar success so far - meaning that more Step Up films might be on their way soon.

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Broadway Baby: Dancing for Musical Theater

Brook Burke takes the Disco Ball Trophy

Careers in Dance: Dance and Movement Therapy

By Katjusa Cisar

Like most professional dance/movement therapists, Mariah LeFeber loved dancing growing up. She took the “typical” line-up: ballet, jazz and tap.

But when she got to college, she wanted to expand beyond dance. She struggled with what she perceived as the fleeting impact of dance performance and sought out a career that combined her love of dance with her desire to help people.

“There’s something inherently selfish in dance performance. There’s so much focus on me, on my body. Your body is your tool, so you have to be selfish,” LeFeber said.

Dance therapy allows “the movement to become accessible to people,” long after the impact of a dance performance has faded in the minds of an audience, LeFeber also said.

LeFeber just finished her graduate degree in dance/movement therapy at Columbia College in Chicago, one of five accredited programs in the United States, and is now working with autistic children at Common Threads in Madison, Wis.

Despite so few universities offering certification, dance/movement therapy is a growing occupational field. Membership in the American Dance Therapy Association has grown thirty percent in the last ten years and is attracting many new students, according to an association spokesperson.

LeFeber encourages young dancers to check out dance therapy as a career option, especially for those who want to keep dance in their lives but don’t want to have to struggle financially or wait tables on the side.

“I can bring myself as an artist into dance therapy,” she says.

So what exactly is dance therapy?

Therapists at the Movement Therapy Hancock Center for Dance/Movement Therapy, Wis., where LeFeber was a graduate intern, are quick to stress that a dance therapy session is not a lesson in dance technique.

Rena Kornblum, executive director of the center, boils the philosophy of dance therapy down to this: “The way that we hold and move our body indicates how we feel. If you change how you move, that change will affect your emotions.”

“We look at body, space, time and force: how the person relates to the space with their body, how they assert themselves through space and what their natural rhythm and attitudes are,” Robyn Halsten, who has been working as a dance therapist for 20 years, 14 at the Hancock Center, said.

Halsten facilitates sessions with groups of women who are survivors of sexual abuse. Many of these women “have come to realize that sitting and talking about their problems has only been able to bring them so far,” Halsten states.

Most of the women she helps “feel cut off from their body. They live in their head and carry around this thing called their “body.”

Each group therapy session is different and caters to the needs of the individuals in the group, but Halsten says that for many women, even being seen doing simple movements together in a nonjudgmental environment is a powerful experience.

Ann Wingate, another long-time therapist at the Hancock Center, uses “lots of props, scarves and streamers” to help groups of autistic teenagers relate to one another.

“In Western psychology, there’s been a real split between mind and body. Dance therapy weaves together the intellectual, the psychological and the spirit. I think it works more quickly because you’re integrating the different parts of the person that makes them whole,” she says.

The Hancock Center’s therapists also conduct group sessions with kids at area elementary schools. This is where Bessie Cherry, mother of a six-year-old daughter, first discovered dance therapy.

Her daughter, then five, had started having all kinds of behavioral problems, possibly triggered by a cross-country move.

“She tried to poke out my eyes. She was a loose cannon and very angry. She didn’t know how to calm herself down, and I was at the end of my rope,” Cherry said.

Within a month of going to group and private dance therapy sessions, Cherry says her daughter had learned techniques to help control her own behavior and was well on her way to being her old self, “a happy-go-lucky, sweet, well-behaved kid.”

“It worked like a charm for her. She became more aware of her body’s reactions and how to turn them into positive movements,” says Cherry, who admits being skeptical of dance therapy at first, thinking it was just another “frou-frou hippie granola thing.”

Now she says she wishes more people knew about it: “It’s not what people think. It was an eye opener.”

Children’s Dance Theme Party Plans

Ballet Birthday Party-Any age

Party Prep:

At the party:

Menu:

Cake:

Sesame Street Disco Party 4-7 years

Invitation:

Menu:

Party favors:

Disco Diva Dance Party 7-9Years

Prep work:

Hint:

Project time:

Time to dance:

Party favor ideas:

Cheerleading Birthday Party 8-11 Years

At the Party:

Angelina Ballerina Party 3-9 years

Coloring Sheets

Competition or Recital Check list for Parents

Apparel

_ Costumes

_ Costume Accessories

_ Dance Shoes

_ Tights

_ Extra Tights

_ Camisole

_ Robe or Cover-up

_ Slippers, Slipper Socks or Flip-Flops

_ Street Clothes

_ Team Jacket and Pants

_ Underwear

_ Pop-up Laundry Basket

Make Up

_ Blush

_ Concealer

_ Eye Lashes and Glue

_ Eye Liner

_ Eye Shadow

_ Foundation

_ Glitter

_ Lip Liner

_ Lipstick

_ Mascara

_ Powder

_ Shimmer

Hair Products

_ Comb and Brush

_ Hair Bands or Elastics

_ Hair Gel

_ Hair Nets

_ Hair Pins and Bobby Pins

_ Hair Spray

Beauty Aids

_ Baby Wipes

_ Clear Gel Deodorant

_ Clear Nail Polish

_ Cotton Balls or Pads

_ Makeup Remover Pads

_ Mirror

_ Nail Clippers2

_ Nail File

_ Nail Polish Remover

_ Q-tips

_ Tissues

_ Vaseline

Costume Care

_ Double-sided Tape

_ Elastic for Ballet Shoes

_ Lint Brush

_ Needles and Thread

_ Safety Pins

_ Scissors

_ Shoe Laces

_ Shoe Polish

_ Static Guard

_ Straight Pins

_ Super Glue

First Aid

_ Antacid

_ Clear Band Aids

_ Children’s / Adults Pain Reliever

_ Feminine Hygiene Products

_ First Aid Kit

_ Heating Pad

_ Ice Pack

_ Knee / Ankle Brace

Food and Beverages

_ Bottled Water

_ Crackers

_ Fruit

_ Granola / Power Bars (be peanut sensitive)

Music

_ Backup CDs of Music

_ MP3 Player w/ Speakers or Boom Box

Cleaning

_ Garbage Bag

_ Handiwipes

_ Paper Towels

_ “Tide To Go” Pen

_ Ziploc Bags

Miscellaneous

_ Blanket and Pillow

_ Book or Magazine

_ Camera

_ Cell Phone

_ Highlighter

_ Money

_ Pens

_ Pin Light Flashlight

_ Something to Occupy Small Children

_ Watch

Dance Dance Revolution (DDR) As A Fun Exercise Program

Dance Helps the Developmentally Disable Express Themselves

By Colleen Beres

Ask anyone who dances why they do it, and chances are, they’ll tell
you that it helps them express themselves. And who needs help
expressing themselves more than children who have developmental
disabilities? Many dance companies and special needs foundations have
realized this and have thus created classes or entire studios dedicated
to teaching developmentally disabled children how to dance.

Companies across the country such as Expressive Therapeutic
Movement, the American Dance Therapy Association and VSA Arts of
Wisconsin, are melding dance’s awareness of movement and expression
with the therapeutic skills of counseling, therapy and rehabilitation.
By these companies’ definition, ‘disabled’ can mean anything from
Down’s syndrome and Autism, to a physical handicap such as paraplegism
or a debilitating disease such as Cystic Fibrosis. Using the universal
language of dance, these students can gain a confidence and a sense of
inclusion that they might not have access to in other avenues of their
life.

Although dance therapy seems like a newly developed resource, it’s
actually just experiencing a national resurgence. According to the
American Dance Therapy Association, dance therapy became a recognized
profession in the ‘40’s, prompting the association to form in 1966.
Since then, the association has developed to provide members in 48
states and 24 countries around the world. It is practiced in
environments as far reaching as day cares, nursing homes, mental health
rehabilitation centers and medical and educational centers, and
encompasses teachers and students of all ages and races.

Instructors of therapeutic dance must be highly skilled and trained
because each student has very individual and specific limits to their
abilities. Their physical and mental restraints must always be taken
into account when developing their lessons. Thus, the American Dance
Therapy Association requires a master’s level of training and education
before they are given the title “Dance Therapist Registered.” This
training includes 700 hours of supervised, clinical internship. Once
the pending instructor reaches 3,640 hours of supervised training in an
institute, agency or school, and additional training from the ADTR,
they are declared part of the “Academy of Dance Therapists”.

If you would like to become involved in dance therapy, you can contact the American Dance Therapy Association at info@adta.org, or go to their website, www.adta.org to find a local chapter. You can also reach VSA Arts at www.vsarts.org.
In addition to their Wisconsin chapter, they have locations all across
the United States. Both of these associations, as well as many others
across the country, appreciate any involvement you can offer, from
being part of their mailing list, to making donations, to volunteering
or becoming an instructor. You can be a part of the growing dance
therapy movement, and help the developmentally disabled have a voice!

Dance in Musicals

By Lindsey Huster  

From the advent of Al Jolson in The Jazz Singer, to more recent Zac Efron moves in High School Musical, one component of the film musical genre has remained constant: dance.

“Dance provides another level of emotional expression, taking the characters beyond where they function within the traditional confines of the narrative and beyond where they sing,” said Jerome Delamater, author of Dance in the Hollywood Musical and professor of communications at Hofstra University.

With roots in cabaret, operas, vaudeville and theater, film in the 1930s began to take on a different shape, combining elements of both song and dance to create the film musical.   Now, with almost a half of a century under its belt, the film musical has come a long way and has subsequently provided a few favorites to choose from.

West Side Story (Full Screen Edition)
West Side Story (1961)
Choreographed by Jerome Robins

A not-so-typical Romeo and Juliet love story strongly reflected in dance sequences marked with cultural flare.  In particular, the gym scene readily displays the dualistic nature of the Jets and Sharks through their different approaches to the mambo. Other dance sequences, such as “America” reflect the perceived cultural differences between America and Puerto Rico.

“West Side Story is the perfect marriage of passionate composer Leonard Bernstein and Jerome Robbins, a choreographer grounded in classical ballet,” said Rick Heiman, artistic Director of Hollywood Ballet and Southern California Dance Company.

Singing in the Rain (1952)
Choreographed by Stanley Donen and Gene Kelly

Nothing can dampen Gene Kelly’s opening tap dancing scene as he hangs off lamp posts and skips puddles and police officers, proving that love can dispel even bad weather.

“In the ‘Singin’ in the Rain’ number, the character learns something about himself because he has danced those feelings and as a result of the dance….can have a meaningful relationship with his love interest,” said Delamater.  

This enthusiasm is equally matched with a tap dancing sequence found in “Good Morning” as the dancing trio, Gene Kelly, Donald O’Connor, Debbie Reynolds, trip over couches, up stairs and down.

Hairspray (Full-Screen Edition)Hairspray (1988, 2007)

Choreographed by Jerry Mitchell

With a recent musical reincarnation of the John Waters film, Hairspray’s best moves are not just a blast from the past. With the help of plus-sized Tracy Turnblad and her best friend Penny Pingleton, songs like “You Can’t Stop the Beat” show off the best moves of the 60s, including the Twist and the Mashed Potato.  The most updated version, that stars High School Musical’s Zac Efron’s, has as much bubble-gum sweetness as the Broadway musical.

“Hairspray is both serious and fancy free at the same time,” said Diane White, a dancer from Milwaukee, Wisconsin.  “It combines music, dance and dialog with ease making for a fun musical to watch.”

Chicago (Widescreen Edition)Chicago (2002)
Choreographed by Bob Fosse

The entire film musical moves with the beat of the jazz-era mixed with a fosse-flare.  A favorite for most fans is the Cell block Tango, a piece that describes  the unapologetic murders of fellow inmates of Roxy Hart and Velma Kelly, which mixes modern with the slinky, seductive, (and perhaps deadly) quality of the Tango.  With all that jazz, (and tap too) it’s not hard to love this film musical.

Regardless of the genre and musical styling, dance continually plays a significant component to any film musical. “Dance has become an integral part of the musical’s storyline and creates multidimensionality in telling the story,” said Heiman.

Edited By Angie Rentmeester

Dance Jobs

 

Dance Legend Cyd Charisse Dies at 87

Cyd Charisse, 86, Silken Dancer of Movies, Dies

By ROBERT BERKVIST

Published: June 18, 2008

Ms. Charisse came of age in a sparkling era of Hollywood musicals, in which she achieved her lasting renown.

Dance News

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America's Best Dance Crew 

 So You Think You Can Dance

Dancelife

Mtv Making The Band

The Wade Robson Project -

Dance Quotes 1

Dance is the poetic baring of the soul through motion.

~ Scott Nilsson © 2001

Dance is an art that imprints on the soul. It is with you every moment;it expresses itself in everything you do.~ Shirley MacLaine  

Never give a sword to a man who can't dance.

~ Confucius

The dancer, or dancers, must transform the stage for the audienceas well as for themselves into an autonomous, complete, virtual realm,and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirelyin the dance illusion.~ Susanne K. Langer

To dance is to challenge the body which is also the self.

To generate an action which has a force of its own and allow the movement to penetrate the inner sensibilities, or to calculate the action and try to tune out – this is difficult, perhaps impossible.

~ Katherine Litz

 Football isn't a contact sport; it's a collision sport.  Dancing is a contact sport.~ Vince Lombardi 

Dancers aren’t pompous; they’re too tired.

~ José Limón

Thousands of emotions well up inside me through out the day.

They are released when I dance.~ Abraham Lincoln 

Dancers work and live from the inside.They drive themselves constantly producing a glowthat lights not only themselves but audience after audience.~ Murray Louis 

Poetry is like dancing.Not all of us can be ballet dancers, but all of us dance.Everyone has a poet inside of him struggling to get out.~ Marks and Spencer

We ought to dance with rapture that we might be alive...and part of the living, incarnate cosmos.~ D. H. Lawrence

To touch, to move, to inspire.This is the true gift of dance.~ Aubrey Lynch 

When come the lights shining on you from above. You are a performer.You forget all you learned, the process of technique, the fear, the pain,you even forget who you are you become one with the music, the lights, indeed one with the dance.~ Shirley MacLaine  

Dancers are an admirable bunch of people.The way they work.  The stress is extraordinary.It's a difficult career.  I think it's hellish;the fact that they are over the hill as they're emotionally maturing.That calls for a terrific strength of character.~ Lady D. MacMillan 

Even the ears must dance.~ Natalia Makarova

When one lifts a ballerina,it is not her weight but her nature that causes the problem.~ Maris Liepa

Dancing should look easy; like an optical illusion.It should seem effortless.  When you do a difficult variation, the audience is aware that it is demanding and that you havethe power and strength to do it.  But in the end, when you take your bow, you should look as if you were saying, ‘Oh, it was nothing. I could do it again.’~ Bruce Marks

Wives are people who feel they don't dance enough.

~ Groucho Marx

They dined on mince, and slices of quince,

Which they ate with a runcible spoon;And hand in hand, on the edge of the sand, They danced by the light of the moon.~ Edward Lear

Scientists are complaining that the new dinosaur movie shows dinosaurs with lemurs, who didn't evolve for another million years.

They're afraid the movie will give kids a mistaken impression.

What about the fact that the dinosaurs are singing and dancing?

~  Jay Leno

The Marquesan girls dance all over;not only do their feet dance,but their arms, hands, fingers, ay,their very eyes seem to dance in their heads.~ Herman Melville

 Technique – bodily control – must be masteredonly because the body must not stand in the way of the soul's expression.~ La Meri

Bleeding feet will bond us.~ Liza Minelli

 All the ills of mankind,All the tragic misfortunes that fill the history books,All the political blunders,All the failures of the great leaders,Have arisen merely from a lack of skill at dancing.~ from a Molière play

He [Gene Kelly] once told me dancing was a man's game,as much of a sport as baseball itself. And he made us believe that.He changed our minds and suddenly,all of America wanted to dance just like Gene Kelly.~ Liza Minnelli 

Come & trip it as ye go

On the light fantastic toe.~ John Milton 

It's the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I'd be able to do something quite honest.~ Graeme Murphy

Some are less giving, others are more reticent and you actually have to create for them.

Others have within them the next step.~ Graeme Murphy

We were tap-dancers but we put more style into it, more bodywork, instead of just footwork.~ Harold Nicholas

We should consider every day lostduring which we have not danced at least once.~ Friedrich Wilhelm Nietzsche  

Dancing in all its forms cannot be excluded from the curriculum of all noble education:

dancing with the feet, with ideas, with words, and, need I addthat one must also be able to dance with the pen?~ Friedrich Wilhelm Nietzsche 

It may be possible to do without dancing entirely.

Instances have been known of young people passing many, many months successively, without being at any ball of any description, and no material injury accrue either to body or mind; but when a beginning is made – when the felicities of rapid motion have been once, though slightly felt – it must be a very heavy set that does not ask for more.~ Jane Austen, "Emma"

 A dance is a measured pace,as a verse is a measured speech.~ Sir Francis Bacon

A violinist had a violin, a painter his palette.All I had was myself.I was the instrument that I must care for.~ Josephine Baker

You haven't got anything to dance aboutuntil you're over thirty-five anyway.~ Bert Balladine

Ballet dancing is arduous, strenuous activity.Students are engaged in physical training that rivals the training Olympic athletes undergo.At the same time, they strive for physical perfection not for the prowess alonebut as a way of achieving the means necessary to express the pure nature of their art.~ George Balanchine 

Ballet is important and significant – yes. But first of all, it is a pleasure.

~ George Balanchine 

(Choreography) is simpler than you think.

Just go and do, and don't think so much about it.

Just make something interesting.

~ George Balanchine 

Dance is music made visible.~ George Balanchine 

Dancers are instruments,like a piano the choreographer plays.~ George Balanchine

There are short cuts to happiness,and dancing is one of them.~ Vicki Baum

Dance first. Think later.It's the natural order.~ Samuel Beckett

There are two ways of being creative.

One can sing and dance.

 Or one can create an environment in which singers and dancers flourish.

~ Warren G. Bennis

Leaders must encourage their organizations to dance to forms of music yet to be heard. ~ Warren G. Bennis

There are those who dance to the rhythm that is played to them, those who only dance to their own rhythm, and those who don't dance at all.

~ José Bergamín

Let's face the music and dance.

~ Irving Berlin

A silent figure is the dancer, true but still, words become dance, and all things there express'd.

~ André Bjerke

A correct execution of an adagiois the ne plus ultra of our art;and I look on it as the touchstone of the dancer.~ Carlo Blasis 

Let us keep the dance of rain our fathers kept and tread our dreams beneath the jungle sky.~ Arna Bontemps

It's not magic! It's physics.

The speed of the turn is what keeps you upright.~ Deborah Bull 

You can't reduce lactic acid, but you can increase your tolerance to it.

I do this through running or cycling, but it's a good idea

to match your training bout to the type of dance you do. ~ Deborah Bull

Young dancers are training at a very vulnerable time in their lives... So train the whole person, not just the dancer.~ Deborah Bull

In life, as in art, the beautiful moves in curves.~ Edward Bulwer-Lytton

 Our profession creates illusions.

It is not a matter of having a perfect body, but of dancing in such a way as to look perfect.

~ Wilheim Burmann

On with the dance!  Let joy be unconfined.~ Lord George Gordon Byron

Dance then wherever you may be,

I am the Lord of the Dance, said he,

And I'll lead you all.

~ Sydney Carter

Classical dancing is like being a mother:if you've never done it,you can't imagine how hard it is.~ Harriet Cavalli

One may judge a kingby the state of dancing during his reign.~ Chinese proverb

Dancing is at once rational and healthful:it gives animal spirits;it is the natural amusement of young people,and such it has been from the days of Moses.~ William Cobbett 

We have no adequate conceptionof the perfection of the ancient tragic dance.The pleasure which the Greeks received from ithad for its basis difference; and the more unfit the vehicle,the more lively was the curiosity & intense the delightsat seeing the difficulty overcome.~ S. T. Coleridge 

How inimitably graceful children are in general –before they learn to dance.~ S. T. Coleridge

The dance is the mother of all languages.~ R. G. Collingwood  

Dancing is like dreaming with your feet!~ Constanze 

Dancers dance through their pain.

I shrink from mine.

~ Mason Cooley

Ballet is only good when it is great.

~ Arlene Croce

Good choreography fuses eye, ear and mind.~ Arlene Croce

If Balanchine had any secret, it was one that has endured through two hundred years of classical ballet.

It is that dancing correctly in three dimensions, on the music, creates the fourth dimension of meaning.

~ Arlene Croce

It is through strength of technique that the body stays in possession of music.

~ Arlene Croce, on Balanchine’s philosophy

1. Beginning Dancer: knows nothing.2. Intermediate Dancer: knows everything; too good to dance with beginners.3. Hotshot Dancer: too good to dance with anyone.4. Advanced Dancer: dances everything, especially with beginners.~ Dick Crum 

An art process in not essentially a natural process; it is an invented one.It can take actions of organization from the way nature functions,but essentially man invents the process. And from or for that processhe derives a discipline to make and keep the process functioning.That discipline too is not a natural process. The daily discipline,the continued keeping of the elasticity of the muscles,the continued control of the mind over the body’s actions,the constant hoped-for flow of the spirit into physical movement,both new and renewed, is not a natural way.It is unnatural in its demands on all the sources of energy.But the final synthesis can be a natural one, natural in the sense thatthe mind, body and spirit function as one.~ Merce Cunningham 

The most essential thing in dance discipline is devotion,the steadfast and willing devotion to the laborthat makes the class work not a gymnastic hour and a half,or at the lowest level, a daily drudgery, but a devotion that allows the classroom disciplineto become moments of dancing too...~ Merce Cunningham

The only way to do it is to do it.~ Merce Cunningham 

Dance is your pulse, your heartbeat, your breathing.It's the rhythm of your life.It’s the expression in time and movement,in happiness, joy, sadness and envy.~ Jacques d'Amboise 

Enjoy the process of learning to dance.The process of our profession,and not its final achievement,is the heart and soul of dance.~ Jacques d'Amboise 

You can't see a painter or a writer or a musician if you just look at them,but you can see a dancer in a child if they've studied ballet for a year.~ The Dancer and the Dance (film) 

It's not just for its influence on us, but to know that we can play a part in it, to understand the influence that we have outside our own existence.~ Siobhan Davies

The dance world is too small in lots of ways -  it's too intense, it rattles around itself, and it needs exposing to other ideas.~ Siobhan Davies

Tap dancing all started with the old clog waltz.

~ Sammy Davis, Jr.

Dance Quotes 2

I should not believein a God who does not dance.~ Friedrich Wilhelm Nietzsche
 
 
Those who danced were thought to be quite insane by those who could not hear the music.
~ Angela Monet
 
 
There is nothing more notable in Socrates  than that he found time, when he was an old man, to learn music and dancing, and thought it time well spent.
~ Michel de Montaigne
Life's a dance you learn as you go.
~ John Michael Montgomery
 
 
Dancing is wonderful training for girls; it's the first way you learn to guess what a man is going to do before he does it.~ Christopher Morley
 
 
I'm not interested in a group of people with some sort of incredible homogeny, a group that can do the movement I want.
I'm interested in people who can take the movement somewhere.~ Graeme Murphy
 
 
A cat is never a presentation, but an innocent happening.
~ Alwin Nikolais
 
 
Life is better with a little drama in it.
~ Scott Nilsson © 2000
 
 
I would not know what the spirit of a philosopher might more wish to be than a good dancer. For the dance is his ideal, also his fine art; finally also the only kind of piety he knows, his divine service.~ Friedrich Wilhelm Nietzsche
 
 
Basic dance – and I should qualify the word basic - is primarily concerned with motion.
So immediately you will say but the basketball player is concerned with motion.
That is so – but he is not concerned with it primarily. His action is a means  towards an end beyond motion. In basic dance the motion is its own end – that is,
it is concerned with nothing beyond itself.
~ Alwin Nikolais
 
 
Dance - no translation needed.
~ Kristy Nilsson © 1999
 
 
Dance is the poetic baring of the soul through movement.
~ Scott Nilsson © 2001
 
 
It is not the movements that make a dance beautiful, it is the emotions that inspired the movements that make it beautiful.
~ Kristy Nilsson © 2002
 
      
 A pas de deux is a dialogue of love.
How can there be conversation if one partner is dumb?~ Rudolf Nureyev 
 
We danced with one body, one soul...  For me,
Margot is my family. She is all I have, only her.
~ Rudolf Nureyev on his partnership with Dame Margot Fonteyn
 
 
 
The easiest part should be the best part; don't ignore the little steps.
~ Kristy Nilsson © 2006
 
 
 
I will make an average man into an average dancer, provided he be passably well made. I will teach him how to move his arms and legs, to turn his head. I will give him steadiness, brilliancy and speed; but I cannot endow him with that fire and intelligence, those graces and that expression of feeling which is the soul of true pantomime.~ Jean Georges Noverre
 
 
If I can not dance, I shall die!~ Anna Pavlova 
 
Master technique and then forget about it and be natural.~ Anna Pavlova
 
 
Musicality is when the dancers' movements appear to create the music - and not the other way around.
~ Kristy Nilsson © 2002
 
 
When the music and dance create with accord...their magic captivates both the heart and the mind.~ Jean Georges Noverre
 
 
It is a temptation to exploit one's technique because an audience is easily reached this way, but they cannot be moved by technique alone and to move an audience is the role of dance as an art.
~ Alla Ossipenko 
 
I danced from the moment I could stand.~ Anna Pavlova
 
No one can arrive from being talented alone.
God gives talent; work transforms talent into genius.
~ Anna Pavlova
 
 
My feet are dogs.~ Rudolf Nureyev 
 
Technique is what you fall back on when you run out of inspiration.~ Rudolf Nureyev 
 
 
Where there is no heart there is no art.~ Anna Pavlova 
 
Hence it is from the representation of things spoken by means of posture and gesture that the whole of the art of dance has been elaborated.~ Plato 
 
Learning ballet is wonderful for children even if they never become dancers.
It is wonderful because it teaches discipline, grace, and manners.
~ Anna Paskevska
 
 
To dance is to give oneself up to the rhythms of all life.~ Dr. Maya V. Patel 
 
Classical ballet is so unforgiving.~ Francis Patrellel
 
 
 
To sing well and to dance is to be well educated.~ Plato
 
 
I told you to sell it, not give it away.~ Jerome Robbins 
 
 
It's the easiest things that cause the most problems.~ Monet Robier 
 
The people who do not dance are dead.~ Jerry Rose of Dance Caravan 
 
I was a ballerina. I had to quit after I injured a groin muscle. It wasn't mine.~ Rita Rudner 
     
Whosoever knoweth the power of the dance, dwelleth in God.~ Rumi  
 
The dance is the mother of the arts. Music and poetry exist in time; painting and architecture in space. But the dance lives at once in time and space.~ Curt Sachs 
 
But in reality we are accompanied by the whole dancing universe.~ Ruth St. Denis 
 
I have performed for thousands when they found me exotic, the vogue, daring, but I have danced, at any given time, for about ten people...They were the ones that left the theater forever different from the way they were when they came in. All of my long, long life, I have danced for those ten.~ Ruth St. Denis 
 
I see dance being used as communication between body and soul, to express what it too deep, too fine for words.~ Ruth St. Denis 
 
It is not a question of who dances but of who or what does not dance.~ Ruth St. Denis 
 
Either you do the pirouette or you shoot yourself.One or the other, but something must happen.~ Monet Robier
 
 
You and I are but specks of that rhythmic urge which is Brahma, which is Allah, which is God.~ Ruth St. Denis 
 
Talk about dance?  Dance is not something to talk about.  Dance is to dance.~ Peter Saint James 
 
A teacher must possess many qualities –firmness and softness, patience and perseverance and sturdiness…But above all is love for children,desire to train them up, all of them, both week and strong.And, creativity in one's approach to one's task is also above all…~  Lyudmila Sakharova 
 
To those of us with real understanding, dancing is the only pure art form.~ Charles Schulz as Snoopy, Peanuts 
 
To live is to dance, to dance is to live.~ Charles Schulz as Snoopy, Peanuts 
 
To dance is to share – to share is to teach.
~ Selayma
 
All the gestures of children are graceful; the reign of distortion and unnatural attitudes commences with the introduction of the dancing master.~ Sir Joshua Reynolds 
 
My hope is to shed light, provoke thought, entertain, and move through dance.
~ Dwight Rhoden
 
Dance is like life, it exists as you're flitting through it,and when it's over, it's done.~ Jerome Robbins 
  
And men must walk at least before they dance.~ Alexander Pope
 
Ballet technique is arbitrary and very difficult.
It never becomes easy... it becomes possible.
~ Agnes de Mille
 
 
But remember that intent is everything.
One does not just jump, one lifts into the air, one rises.
In the same way the lifted leg of an arabesque becomes a wing,
and not a mechanical leverage like a raised trap door.
This is the precise difference between dancing and acrobatics.
The dancer tries to express something;
the acrobat merely pulls, raises, stretches and grinds.
The acrobat is lost in a web of muscles;
the dancer is all but invisible in projected idea.
~ Agnes de Mille
 
 
Modern dancers
give a sinister portent about our times.
~ Agnes de Mille
 
 
The artist never entirely knows. We guess.
We may be wrong, but we take leap after leap in the dark.
~ Agnes de Mille
 
 
The effort involved in making a dancer's body
is so long and relentless, in many instances painful,
the effort to maintain the technique so grueling
that unless a certain satisfaction is derived
from the disciplining and the punishing,
the pace could not be maintained.
~ Agnes de Mille
 
 
The practice mirror is to be used
for the correction of faults,
not for a love affair,
and the figure you watch
should not become your dearest friend.
~ Agnes de Mille
 
 
The truest expression of a people
is in its dance and in its music.
Bodies never lie.
~ Agnes de Mille
 
 
The universe lies before you on the floor, in the air,
in the mysterious bodies of your dancers, in your mind.
From this voyage no one returns poor or weary.
~ Agnes de Mille
 
 
When you perform you are out of your self -
larger and more potent, more beautiful.
You are for minutes heroic.
This is power. This is is glory on earth.
And it is yours for the taking.
~ Agnes de Mille
 
 
Toe dancing is a dandy attention getter,
second only to screaming.
~ Agnes de Mille
 
 
When I dance I am really meditating
rather then performing for an audience.
I am completely absorbed by the music
and the steps I choose to respond to the music.
~ Agnes de Mille
 
     
Ballet is the one form of theater where nobody speaks a foolish word all evening - nobody on the stage at least.
   ~ Edwin Denby
 
 
There is a bit of insanity in dancing
that does everybody a great deal of good.
   ~ Edwin Denby
 
 
You don't have to know about ballet to enjoy it,
all you have to do is look at it.
   ~ Edwin Denby
 
 
Discourse on virtue and they pass by in droves.
Whistle and dance the shimmy, and you've got an audience.
~ Diogenes
 
 
 
Dancing: the highest intelligence in the freest body.
~ Isadora Duncan
 
 
I am seeking that dance which might be the
divine expression of the human spirit
through the medium of the body's movement.
~ Isadora Duncan
 
It has taken me years of struggle, hard work and research to learn to make one simple gesture, and I know enough about the art of writing to realize that it would take as many years of concentrated effort to write one simple, beautiful sentence
~ Isadora Duncan
 
 
I intend to work for this dance of the future.
I do not know whether I have the necessary qualities;
I may have neither genius nor talent nor temperament.
But I know that I have a Will; and will and energy sometimes prove greater than either genius or talent or temperament.
~ Isadora Duncan
 
 
Let us first teach little children to breathe,
to vibrate, to feel, and to become one
with the general harmony and movement of nature.
Let us first produce a beautiful human being,
a dancing child.
~ Isadora Duncan
 
 
Man must speak, then sing, then dance. The speaking is the brain,
the thinking man. The singing is the emotion.
The dancing is the Dionysian ecstasy which carries away all.
~ Isadora Duncan
 
 
No, I can't explain the dance to you;
if I could tell you what it meant,
there would be no point in dancing it.
~ Isadora Duncan
 
 
Perhaps he was a bit different from other people,
but what really sympathetic person is not a little mad?
~ Isadora Duncan
 
 
The dancer's body is simply the luminous manifestation of the soul.
~ Isadora Duncan
 
 
The real American type can never be a ballet dancer.
The legs are too long, the body too supple and the spirit too free
for this school of affected grace and toe walking.
~ Isadora Duncan
 
 
There are likewise three kinds of dancers: first, those who consider dancing
as a sort of gymnastic drill, made up of impersonal and graceful arabesques;
second, those who, by concentrating their minds, lead the body into the rhythm
of a desired emotion, expressing a remembered feeling or experience.
And finally, there are those who convert the body into a luminous fluidity,
surrendering it to the inspiration of the soul.
~ Isadora Duncan
 
 
I had certain physical limitations that made me change the choreography for myself or made me more interested in choreography only rather than dancing.
I have never been a person who wanted to just dance.
I have always been interested in developing for other people.
~ Katherine Dunham
 
 
If you dance, you dance because you have to. Every dancer hurts, you know.
~ Katherine Dunham
 
 
When you dance, your purpose is not to get to a certain place on the floor.
It's to enjoy each step along the way.
~ Wayne Dyer
 
 
Dancers are the athletes of God.
~ Albert Einstein
 
 
 
Human beings, vegetables, or comic dust, we all dance to a mysterious tune intoned in the distance by an invisible player
~ Albert Einstein
 
 
We all dance to a mysterious tune, intoned in the distance by an invisible piper.
~ Albert Einstein
 
 
There is only the dance.
~ T. S. Eliot
 
 
After the horse dance was over, it seemed that I was above the ground and did not touch it when I walked.
~ Black Elk
 
 
Dancing is the loftiest, the most moving,
the most beautiful of the arts,
because it is not mere translation or abstraction from life;
it is life itself.
~ Henry Havelock Ellis
 
 
I describe things in terms of body movements.
I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.
~ Brian Eno
 
 
Dance is so important in the world.
It needs no language.
Our bodies speak a language of its own.
~ Ibrahim Farrah

Dance Quotes 3

Music begins to atrophy when it departs
too far from the dance.
~ Ezra Pound

Ballet is a dance executed by the human soul.
~ Alexander Pushkin

Sometimes I gave conflicting emotions because it's been going on for so long now,  but then I see somebody dancing real well and it just comes back like an old love.

The flame ignites again.

~ Ann Reinking

There was never a merry world since the fairies left off dancing.
~ John Selden
 

Maya (was) able to absorb within a month what some other dancers cannot do in a decade.
~ Marina Semyonova on Maya Plisetskaya

It is difficult to produce a television documentary that is both incisive and probing when every twelve minutes one is interrupted by twelve dancing rabbits singing about toilet paper.

~ Rod Serling

Success is not the result of spontaneous combustion.
You must set yourself on fire.
~ Fred Sero

“He who cannot dance will say: "The drum is bad”

~ African Proverb

It was then that my religious consciousness emerged to flower years afterward into definite forms of religious dancing in which there is no sense of division between spirit and flesh, religion and art.

~ Ruth St. Denis
 

The real message of the Dance opens up the vistas of life  to all who have the urge to express beauty with no other instrument than their own bodies, with no apparatus and no dependence on anything other than space.
~ Ruth St. Denis
 

We should realize in a vivid and revolutionary sense that we are not in our bodies but our bodies are in us.
~ Ruth St. Denis
 

When you are fifty, you're neither young nor old; you're just uninteresting. When you are sixty, and still dancing, you become something of a curiosity. And boy! if you hit seventy, and can still get a foot off the ground, you're phenomenal!
~ Ruth St. Denis

If you can talk, you can sing.
If you can walk, you can dance.
~ African Proverb
 

In life as in dance:
Grace glides on blistered feet.
~ Alice Abrams

Dance is for everybody.

I believe that the dance came from the people

 and that it should always be delivered back to the people.

~ Alvin Ailey

Everything in the universe has rhythm.
Everything dances.
~ Maya Angelou
 

Dance is a life, everyday.  Don't miss it.

You're in bodies, you can move... Where is your joy?

~ Mary Anthony

First comes the sweat.  Then comes the beauty
if you're very lucky and have said your prayers.
~ George Balanchine
 

God creates, I do not create. I assemble and I steal everywhere to do it - from what I see, from what the dancers can do, from what others do...
~ George Balanchine
 

I am a cloud – in trousers.
~ George Balanchine (quoting Mayakovsky)

I could never make a ballet by wrinkling my brow and concentrating.

If you set out deliberately to make a masterpiece, how will you ever get it finished?

~ George Balanchine
 

I don't want people who want to dance,
I want people who have to dance.
~ George Balanchine

In ballet a complicated story is impossible to tell...

we can't dance synonyms.

~ George Balanchine

In my ballets, woman is first. Men are consorts.

God made men to sing the praises of women.

They are not equal to men: They are better.

~ George Balanchine
 

Most ballet teachers in the United States are terrible.

If they were in medicine, everyone would be poisoned.

~ George Balanchine

My muse must come to me on union time.
~ George Balanchine
 

Put a man and a girl on stage and there is already a story; a man and two girls, there's already a plot.
~ George Balanchine

Someone once said that dancers work just as hard as policeman,
always alert, always tense, but see,
policeman don't have to be beautiful at the same time.
~ George Balanchine

The ballet is a purely female thing; it is a woman, a garden of beautiful flowers, and man is the gardener.

~ George Balanchine

The choreographer and the dancer must remember that they reach the audience through the eye. It's the illusion created which convinces the audience, much as it is with the work of a magician

~ George Balanchine

The mirror is not you.
The mirror is you looking at yourself.
~ George Balanchine
 

Every ballet, whether or not successful artistically or with the public, has given me something important.
~ Mikhail Baryshnikov
 

If your only dance experience is the Nutcracker, it will be a shock; hopefully shocking in a good way.
~ Mikhail Baryshnikov

It doesn't matter how high you lift your leg. The technique is about transparency, simplicity, making an earnest attempt.
~ Mikhail Baryshnikov

I do not try to dance better than anyone else.
I only try to dance better than myself.
~ Mikhail Baryshnikov
 

I like the most provocative and most surprising

partnerships on stage. Intensity and surprise.
~ Mikhail Baryshnikov

I want to see people dance, and I would like

to guess what kind of people they are.

I don't want to know the recipe for their pasta.
~ Mikhail Baryshnikov
 

Just sit and open your eyes and open your heart.

It's Dance Theater.
~ Mikhail Baryshnikov
 

No dancer can watch Fred Astaire and not know that we all should have been in another business.
~ Mikhail Baryshnikov
 

The essence of all art
is to have pleasure in giving pleasure.
~ Mikhail Baryshnikov

There comes a moment in a young artist's life when he knows he has to bring something to the stage from within himself.

He has to put in something in order to be able to take something out.
~ Mikhail Baryshnikov

To achieve some depth in your field requires a lot of sacrifices.
~ Mikhail Baryshnikov
 

We're trying to stretch our muscles creatively.

It gives us so much more freedom.
~ Mikhail Baryshnikov
 

What brought me to the theater, no matter you're a Jew or a Russian or Armenian or Latvian, are suddenly illuminated by stage light and one beautiful image of dance.
~ Mikhail Baryshnikov
 

You can be totally involved, you could admire just the shape of it or you could be totally emotionally mushed up into the dance.
~ Mikhail Baryshnikov

Dancing can reveal all the mystery that music conceals.
~ Charles Baudelaire

The dance, just as the performance of the actor, is kinesthetic art, art of the muscle sense. The awareness of tension and relaxation within his own body, the sense of balance that distinguishes the proud stability of the vertical from the risky adventures of thrusting and falling – these are the tools of the dancer.

~ Rudolf Arnheim

 Ballet is not technique
but a way of expression that comes more closely
to the inner language of man than any other.
~ George Borodin

While I dance,
I cannot judge, I cannot hate, I cannot separate myself from life.
I can only be joyful and whole.
That is why I dance.
~ Hans Bos

I'm always very true to the music and I honor the music in the way I see it.
~ Matthew Bourne

It is not so much upon the number of exercises,
as the care with which they are done,
that progress and skill depend.
~ Auguste Bournonville

Artists lead unglamorous daily lives of discipline and routine,
but their work is full of passion.
Each has a vision and feels responsibility to that vision.
~ Merryl Brockway

Love is a lot like dancing;
you just surrender to the music.
~ Pierce Brosnan

I learned to act
by watching Martha Graham dance,
and I learned to dance
by watching Charlie Chaplin act.
~ Louise Brooks

The one thing that can solve most of our problems
is dancing.
~ James Brown
 

I don’t want to feel a shoe; I want the shoe to become part of me.

~ Leslie Browne

A child sings before it speaks,
dances almost before it walks,
music is with us from the beginning.
~ Pamela Brown

Dance can give the inarticulate a voice
~ Pamela Brown

The human animal dances wildest
on the edge of the grave.
~ Rita Mae Brown

Dance every performance as if it were your last.
~ Erik Bruhn

Body language is a very powerful tool...

80% of what you understand in a conversation is read through the body, not the words.
~ Deborah Bull

I enjoy the freedom of modern dance as well as the constraints of classical dance.
~ Deborah Bull

So if the dance is five minutes long, make yourself run

for perhaps eight minutes. That way, you over-train

and the dance will seem easier. .
~ Deborah Bull

I think it's useful to experience other types of dance and other cultures, and the life of a classical dancer these days is certainly not all tutus!

So experience of other dance forms is a good idea.
~ Deborah Bull

The choreographer cannot deliberately make a ballet to appeal to an audience, he has to start from personal inspirations. He has to trust the ballet, to let it stand on its own strengths or fall on its weaknesses.If it reaches the audience, then he is lucky that round!
~ Gerald Arpino

Dancing is a sweat job.
~ Fred Astaire

I have no desire to prove anything by dancing.
I have never used it as an outlet or a means of expressing myself.
I just dance.  I just put my feet in the air and move them around.
~ Fred Astaire 

If the dance is right,
there shouldn't be
a single superfluous movement.
~ Fred Astaire

I would rather dance as a ballerina,
though faultily, than as a flawless clown.
~ Margaret Atwood in Lady Oracle

Anyone who has a child today should train him to be either a physicist or a ballet dancer. Then he'll escape.
~ (Wystan Hugh) W.H. Auden

Dance till the stars come down from the rafters.
Dance, dance, dance – till you drop.
~ (Wystan Hugh) W.H. Auden

All the dancer's gestures are signs of things,
and the dance called rational,
because it aptly signifies and displays
something over and above
the pleasure of the senses.
~ St. Augustine

When you take dancing lessons, you learn steps and you learn steps and you learn steps. It can go on for a long time. And then one day, you just learn to dance, and it is so different.

~ Bill Austin

Fine dancing, I believe like virtue,
must be its own reward.
Those who are standing by
are usually thinking of something very different.
~ Jane Austen

Dance Quotes 4

You know when you are an artist when you evoke an emotional response – whether its love or hate.  It's when you evoke no response that you have to worry.
 ~ Bobby Ibrahim Farrar
 
 
As soon as I hear music, something in me starts to vibrate. ~ Suzanne Farrell  
 
Even though I am a professional, and I know what the steps are,
I don't quite know how I'm going to do them, because I haven't lived that moment yet.
I always feel very insecure and I get very excited. ~ Suzanne Farrell  
 
I think it was important that I learned to love to dance eventually for its own sake, as opposed to wanting to be a ballerina. ~ Suzanne Farrell  
 
I was very happy that I was as normal as possible before I went into serious dance. ~ Suzanne Farrell
 
 
It's a wonderful thing to be able to dance, to tell your body what you want it to do. ~ Suzanne Farrell  
 
Plié is the first thing you learn and the last thing you master. ~ Suzanne Farrell  
 
It takes an athlete to dance, but an artist to be a dancer.~ Shanna La Fleur  
 
Dancing was something to be taken very seriously when engaged inand otherwise put out of mind. ~ Dame Margot Fonteyn  
 
Genius is another word for magic, and the whole point of magicis that it is inexplicable. ~ Dame Margot Fonteyn  
 
Great artists are people who find ways to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike. ~ Dame Margot Fonteyn  
 I explained it when I danced it. ~ Dame Margot Fonteyn  
 
Minor things can become moments of great revelation when encountered for the first time. ~ Dame Margot Fonteyn  
 
The one important thing I have learnt over the years is the difference between taking one's work seriously and taking oneself seriously.The first is imperative and the second disastrous. ~ Dame Margot Fonteyn
 
 
The mechanics of epaulement are what gives ballet its inner transitions.
~ William Forsythe
 
 
I think Balanchine and Robbins talk to God and when I call, he's out to lunch. ~ Bob Fosse
 
We dance round in a ring and suppose.
~ Robert Frost
 
 
Live a balanced life – learn some and think some, and draw and paint and sing and dance and play and work every day some.
~ Robert Fulghum
 
 
There are three steps you have to complete to become a professional dancer:learn to dance, learn to perform and learn how to cope with injuries.
~ D. Gere
 
 
 
I believe education in music, theater, dance, and the visual arts... is part of a well-rounded education and can provide so much joy, now and in the future. ~ Rudolph Giuliani, New York Mayor
 
 
Correction does much, but encouragement does more.Encouragement after censure is as the sun after a shower. ~ Johann Wolfgang von Goethe  
 
If I can't dance, I don't want to be part of your revolution. ~ Emma Goldman   
 
A dancer, more than any other human being, dies two deaths: the first, the physical when the powerfully trained body will no longer respond as you would wish.After all, I choreographed for myself. I never choreographed what I could not do. I changed steps in Medea and other ballets to accommodate the change. But I knew. And it haunted me.I only wanted to dance. ~ Martha Graham  
 
Dance is a song of the body. Either of joy or pain. ~ Martha Graham  
 
Dancers today can do anything; the technique is phenomenal. The passion and the meaning to their movement can be another thing. ~ Martha Graham
 
 
Dancing appears glamorous, easy, delightful. But the path to paradise of the achievement is not easier than any other. There is fatigue so great that the body cries, even in its sleep. There are times of complete frustration, there are daily small deaths. ~ Martha Graham  
 
Dancing is just discovery, discovery, discovery. ~ Martha Graham  
 
Every dance is kind of a fever chart, a graph of the heart. ~ Martha Graham
 
 
Fire is the test of gold; adversity, of strong men. ~ Martha Graham  
 
First we have to believe, and then we believe. ~ Martha Graham  
 
Freedom to a dancer means discipline. That is what technique is for – liberation. ~ Martha Graham  
 
I did not want to be a tree, a flower or a wave.
In a dancer's body, we as audience must see ourselves, not the imitated behavior of everyday actions, not the phenomenon of nature, not exotic creatures from another planet, but something of the miracle that is a human being. ~ Martha Graham  
     
It is difficult to see the great dance effects as they happen, to see them accurately, catch them fast in memory. It is even more difficult to verbalize them for critical discussion. The particular essence of a performance, its human sweep of articulate rhythm in space and in time has no specific terminology to describe it by. ~ Martha Graham  
 
It's what I always wanted to do: to show the laughter, the fun – the joy of dance. ~ Martha Graham  
 
It takes ten years, usually, to make a dancer.  It takes ten years of handling the instrument,  handling the material with which you are dealing,  for you to know it completely. ~ Martha Graham  
 
Learn by practice. ~ Martha Graham  
 
Movement never lies: it is a barometer telling the state of the soul's weatherto all who can read it. ~ Martha Graham  
 
No artist is ahead of his time. He is time; the others are just behind the times. ~ Martha Graham  
 
Nobody cares if you can't dance well. Just get up and dance.
Great dancers are not great because of their technique; they are great because of their passion. ~ Martha Graham  
 
Nothing is more revealing than movement. ~ Martha Graham  
     
Practice means to perform, over and over again in the face of all obstacles, some act of vision, of faith, of desire.
Practice is a means of inviting the perfection desired. ~ Martha Graham  
 
Some men have thousands of reasons why they cannot do what they want to, when all they need is one reason why they can. ~ Martha Graham  
 
The body is a sacred garment. ~ Martha Graham  
 
Theater is a verb before it is a noun... ~ Martha Graham
 
The next time you look into the mirror, just look at the way the ears rest next to the head; look at the way the hairline grows;think of all the little bones in your wrist. It is a miracle.And the dance is a celebration of that miracle. ~ Martha Graham  
 
The spine is the tree of life.  Respect it. ~ Martha Graham  
 
There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in all time,this expression is unique. ~ Martha Graham
 
 
Think of the magic of that foot...upon which your whole weight rests.
It’s a miracle and the dance…is a celebration of that miracle.
~ Martha Graham
 
 
To learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same.
~ Martha Graham
 
 
We learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same.
One becomes in some area an athlete of God. ~ Martha Graham
 
 
We look at the dance to impart the sensation of living in an affirmation of life, to energize the spectator into keener awareness of the vigor, the mystery, the humor, the variety, and the wonder of life. This is the function of the American dance. ~ Martha Graham
 
 
 
Wherever a dancer stands is holy ground. ~ Martha Graham  
 
You are unique, and if that is not fulfilled, then something has been lost. ~ Martha Graham
 
 
You see, when weaving a blanket, an Indian woman leaves a flaw in the weaving of that blanket to let the soul out. ~ Martha Graham
 
 
I just know that when I go on stage, I give everything I have, not only my legs, not only my feet, not only my body.I try to tell a story. Sometimes I'm able to cry because I feel like it. Sometimes I'm able to love because I feel like it. ~ Sylvie Guillem  
 
Technical perfection is insufficient. It is an orphan without the true soul of the dancer. ~ Sylvie Guillem
 
 
I’m very excited about dance and love it with a deep passion.
I also struggle, tire and become discouraged.
But what has always revived me... has been the rebirth of energy each time the creative process is awakened and artistic activity begins to unfold – even in some infinitesimal measure.
~ Ann Halprin
 
 
To me, boxing is like a ballet, except there's no music, no choreography,and the dancers hit each other. ~ Jack Handey  
 
To dance with a man is to concentrate a  twelvemonth's regulation fire upon him in the fragment of an hour.
To pass to courtship without acquaintance, to pass to marriage without courtship, is a skipping of terms reserved for those alone who tread this royal road.
~ Thomas Hardy
 
 
The dance is a poem of which each movement is a word. ~ Mata Hari
 
 
 So many dancers rely on some sort of magic happening on the stage. They never, for various reasons, work full out in rehearsal. That’s very uncreative. They don’t discover the kinds of things that add up to a remarkable performance. ~ Benjamin Harkarvy
 
 
 
 
Learning to walk set you free. Learning to dance gives you the greatest freedom of all:  to express with your whole self the person you are. ~ Melissa Hayden  
 
 
It is more important who they are as people and only then is it important who they are as dancers. ~ Marcia Haydee  
 
Aren't all ballets sexy?  I think they should be. I can think of nothing more kinkythan a prince chasing a swan around all night. ~ Sir Robert Murray Helpman  
     
I grew up with six brothers. That's how I learned to dance – waiting for the bathroom. ~ Bob Hope
 
 
Dancing's just a conversation between two people.
~ Steven Rogers, "Hope Floats"  
 
To watch us dance is to hear our hearts speak
~ Hopi Indian Saying
 
 
Dance for yourself. If someone else understands, good.
If not, then no matter – go right on doing what you love. ~ Louis Horst   
 
 
Nothing so clearly and inevitably reveals the inner man than movement and gesture. It is quite possible, if one chooses, to conceal and dissimulate behind words or paintings or statues or other forms of human expression, but the moment you move you stand revealed, for good or ill, for what you are. ~ Doris Humphrey
 
 
Remember that dance has a dimension beyond the physical.
The body-as imperfect as it always is – is only part of the picture.
Your energy, the quality of your movement, your feeling about the world, your dance spirit – that is what we see under the lights.
~ Mary Ellen Hunt
 
 
The physical language of the body is so much more powerful than words.~ Bill Irwin  
 
 People tend to look at dancers like we are these little jewels, little cardboard cut-outs, and yet we have blood and guts and go through hell. ~ Susan Jaffe  
 
Common sense and a sense of humor are the same thing, moving at different speeds.A sense of humor is just common sense, dancing. ~ Clive James  
 
Dance is about never-ending aspiration.
~ Judith Jamison
 
 
Dance is bigger than the physical body. Think bigger than that.When you extend your arm, it doesn't stop at the end of your fingers, because you're dancing bigger than that:you're dancing spirit. ~ Judith Jamison  
 
People come to see beauty,
and I dance to give it to them.
~ Judith Jamison
 
 
 'Tis not enough that ev'ry Stander-by No glaring Errors in your Steps can 'spy; The Dance and Music must so nicely meet, Each Note must seem an Echo to your Feet; A nameless Grace must in each Movement dwell, Which words can ne'er express, nor Precepts tell; . . . ~ Soame Jenyns  
     
The trained dancer must not only have grace and elegance, but also the leap of an Olympic hurdler, the balance of a tight-rope walker and panther-like strength and agility. ~ Camilla Jessel  
 
What we hope ever to do with ease, we must first learn to do with diligence. ~ Samuel Johnson  
 
We are part of each other and part of something bigger than our own egos.
An artist should... bring into the world some vision. Dancers should ask,
"What is their work in the service of?"
~ Bill T. Jones
 
 
If you want to dance seriously, do. You must think about it day and night,dream about it – desire it. ~ Christa Justus  
 
I'd studied dance in Chicago every summer and taught it all winter, and I was well rounded.
I wasn't worried about getting a job on Broadway.
In fact, I got one the first week. ~ Gene Kelly  
 
I got started dancing because I knew it was one way to meet girls. ~ Gene Kelly  
 
I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn't catch on right away – but I had some good mentors in New York who encouraged me. ~ Gene Kelly  
 
When Ginger Rogers danced with Astaire, it was the only time in the movies when you looked at the man, not the woman. ~ Gene Kelly
 
 
When it comes to the requirements for pleasing an audience, all the knowledge and instruction and apparatus in the world is worth less than one ounce of soul.
~ Ottawa Keyes
 
 
I danced with passion to spite the music. ~ Gelsey Kirkland  
 
The dance goes on forever. So shall I. So shall we.
~ Gelsey Kirkland  
 
When you are on stage you are having an affair with three thousand people. ~ Gelsey Kirkland  
 
Ballet dancers are a self-chosen elite. To survive and surmount years of disciplinary preparation and seasons of even more arduous performance requires rigid determination and almost mindless self-abnegation. One other factor is difficult to predetermine: without a certain admixture of hysteria -- sometimes masking as self-obsession, sometimes even counterfeiting incipient madness -- performers, at once acrobats, artists, and animals, make little public impression.
~ Lincoln Kirstein
 
 
Dance design is not simply one element; it is that without which ballet cannot exist.
As aria is to opera, words to poetry, color to painting, so sequence in steps - their syntax, idiom, vocabulary -- are the stuff of stage dancing.
~ Lincoln Kirstein
 
 
Many dances leave me untouched, unmoved. A dancer should be able to raise an arm and make someone cry – in the way Isadora Duncan did. It is a necessity for any art to move you. ~ Pauline Koner  
 
You must understand the whole of life, not just one little part of it.
That is why you must read, that is why you must look at the skies, that is why you must sing, and dance, and write poems, and suffer, and understand, for all that is life.
~ Krishnamurti
 
 
Every teacher will tell you that you cannot dance classical technique with perfection, there is no such thing, there is no way.
So you have to adapt the technique to your abilities or to your deficiencies.
 Learn to cheat!
~ Jiri Kylian  
 
He capers, he dances, he has eyes of youth, he writes verses, he speaks holiday, he smells April and May. ~ William Shakespeare, Merry Wives of Windsor  
 
She is your treasure, she must have a husband;  I must dance barefoot on her wedding day . . .
~ William Shakespeare, Taming of the Shrew  
 
There was a star danced, and under that was I born.
~ William Shakespeare, “Much Ado About Nothing”
 
 
Dance is the only art of which we ourselves are the stuff of which it is made. ~ Ted Shawn  
     
I believe that dance communicates man's deepest, highest and most truly spiritual thoughts and emotions far better than words, spoken or written. ~ Ted Shawn
 
I wanted to see if the American man in plain brown pants and a bare torso could speak profound things. ~ Ted Shawn  
 
Classical language and musicality are not simply effete traditions belonging to the bygone upper classes. The vocabulary and manner of classical ballet express a high order of discipline and restraint, a sense of harmony with forces larger and more lastingthan the individual. ~ Marsha B. Siegel 
 
 
It's extremely arrogant and foolish to think you can ever outwit your audience. ~ Twyla Tharp  
 
It's very difficult to justify a profession as a dancer. ~ Twyla Tharp  
 
The only thing I fear more than change is no change. ~ Twyla Tharp  
 
This is not a pleasant route for many young people to consider.
You have to be either hopelessly passionate, or very stupid. ~ Twyla Tharp  
 
Usually kids who are talented have the brashness to think they can do anything, but they don't often get the chance to see how close they can come. ~ Twyla Tharp
 
What is modern about modern dance is its resistance to the past, its response to the present, its constant redefining if the idea of dance. ~ Marcia B. Siegel
 
 
The way people move is their autobiography in motion. ~ Gerry Spence
 
 
But oh, she dances such a way!  No sun upon an Easter-day Is half so fine a sight ~ Sir John Suckling  
 
Man must create - or destory.
~ David Suggs   
 
These sort of boobies think that people come to balls to do nothing but dance;whereas everyone knows that the real business of a ball is either to look out for a wife,to look after a wife, or to look after somebody else's wife. ~ Robert Smith Surtees  
 
Let your life lightly dance on the edges of Time like dew on the tip of a leaf.
~ Rabindranath Tagore
 
 
I don't mind being listed alphabetically.
I do mind being treated alphabetically. ~ Maria Tallchief
 
 
Dancing was It. Dancing was what life was all about.
If you wanted to be a dancer, you didn't just want it, you felt chosen to be one... ~ Paul Taylor  
 
For a dancer, to be able to perform well, most of his waking hours must be devoted to preparing for the holy white instant of performance. ~ Paul Taylor  
     
I would like to make it clear from the start that these dances are primarily meant to be a kind of food for the eye.
If they evoke dramatic images and riddles, the key to their solution lies not so much in the brain, but in the senses and the eye of the spectator. ~ Paul Taylor It's a religion, a monstrous itch, a huge and illogical church.
In my case, even before learning to dance,
I was positive I'd been ordained to it... ~ Paul Taylor  
 
A lot of people insisted on a wall between modern dance and ballet.
I'm beginning to think that walls are very unhealthy things. ~ Twyla Tharp  
 
Twyla Tharp on creating “Brahms/Hande” with Jerome Robbins: He basically made me crazy, because it would be like, you know,
I plan what I'm going to do, I do it, I'm ready to move on; he plans what he's going to do, he does it, he's ready to go back.
 
 
I also had a will that let me eliminate everything that stood in the way of my becoming the best dancer I could be.  By a gradual process... (I) had invested every bit of my dreams, my hopes, my energies in defining myself as a dancer.
~ Twyla Tharp
 
 
I always, somehow, knew that I was going to dance.
~ Twyla Tharp
 
 
I do everything I know how in a dance. ~ Twyla Tharp  
 
I often say that in making dances I can make a world where I think things are done morally, done democratically, done honestly. ~ Twyla Tharp  
 
I think that probably the moments of discovery do come from a place that is not totally organized. Order is something that we already know about.
Discoveries are in a place we don't already know about. ~ Twyla Tharp  
 
I would have to challenge the term, modern dance.
I don't really use that term in relation to my work.
I simply think of it as dancing. I think of it as moving. ~ Twyla Tharp  
 
I'm not one who divides music, dance or art into various categories.
Either something works, or it doesn't. ~ Twyla Tharp   
 
When I play on my fiddle in Dooney  Folk dance like a wave on the sea. ~ William Butler Yeats  
 
And the merry love the fiddle, and the merry love to dance.
~ William Butler Yeats  
 
O body swayed to music, O brightening glance,  How can we know the dancer from the dance? ~ William Butler Yeats  
 
 On dancing on pointe:
Why don't they just get taller girls? ~ Henny Youngman  
 
Dance, one of the oldest forms of artistic expression, requires only the human body for its realization. ~ Igor Youskevitch
 
 
 
We're a machine and we have to be worked in the same way we have to be fed. ~ Twyla Tharp  
 
You have to believe there's something at the other side.
And you have to have faith in yourself.
You have to think that you have the tools to accomplish it. ~ Twyla Tharp  
 
Long experience has taught me that the crux of my fortunes is whether I can radiate good will toward my audience.
There is only one way to do it and that is to feel it.
You can fool the eyes and minds of the audience, but you cannot fool their hearts.
~ Howard Thurston
 
 
I would like to tell all dancers to forget themselves and the desire for self display. They must become completely absorbed in the dance. Even in a classical variation there should never be any thought of a dancer doing a variation--he should become identified with it. ~ Anthony Tudor
 
 
If I see a human body on the stage, I don't see it as an abstraction.
I see it as a body.
~ Anthony Tudor
 
 
I am lost, and I rejoice in the openness I cannot decide where to go, so for now, I will dance where I am and be. There is no goal, no destination, just wilderness and life and being. I sing and dance and live in the wilderness, and I am home.
~ Tziporah
 
 
Whenever we dig down into the achievements of a creative artist, we invariably trace them to the beginning of all beginnings: labour. ~ Galina Ulanova  
 
Diaghilev was the first to notice good character dancers and that sort of thing. ~ Ninette de Valois
 
 
First of all, the most important, that is to learn everything good that has survived from other times, and carefully to watch the bad - and throw it out. ~ Ninette de Valois
 
 
Nothing is done easily, you first have the thing, then the thing has a success, then all sorts of difficulties arise through the success. ~ Ninette de Valois
 
 
We are developing the other parts, and we can't give quite all our attention to the upper part, but soon the lower parts will be developed, and the upper part and the lower part will become partners, that will be wonderful. ~ Ninette de Valois
 
 
You can't dance until you've learnt steps, the things your feet can do. ~ Ninette de Valois
 
 
You never advance without losing something en passant... you lose it because you're paying so much attention to the new thing. ~ Ninette de Valois
 
 
Whoever has seen the masked at a ball dance amicably together,and take hold of hands without knowing each other, leaving the next moment to meet no more,can form an idea of the world. ~ Vauvenargues
 
 
What's so wonderful about ballet is that it's mind-driven physicality.
It's almost a Greek ideal of body, mind, and form.
~ Edward Villella
 
 
Dancing is an art because it is subject to rules. ~ Francois-Marie Arouet Voltaire  
 
Let us read and let us dance – two amusements that will never do any harm to the world. ~ Francois-Marie Arouet Voltaire  
 
Dance, even if you have nowhere to do it but your living room.
~ Kurt Vonnegut
 
 
Try to be fearless… fear can inhibit you and keep you from a life. ~ Miranda Weese
 
 
I dance with the dancers.
~ Walt Whitman
 
 
Strong and convincing art has never arisen from theories. ~ Mary Wigman  
 
Ballet: men wearing pants so tight that you can tell what religion they are. ~ Robin Williams
 
 
Every day brings a chance for you to draw in a breath, kick off your shoes, and dance. ~ Oprah Winfrey
 
 
I'm dancing to the music of the madness inside me. ~ George C. Wolfe   

Dance Team Evolution

by Johanna Orca Handyside

Thanks to unparalleled synchronicity and flawlessly confident moves, dance teams have become an expected and highly anticipated element of halftime performances. From high school to college to the professional level, the history of the dance team has been propelled by the ideas and achievements of ambitious, inventive individuals looking for something unique to enhance the viewing experience of sports audiences. These revolutionaries created a form of dance organization that kept the crowd's eyes on the field even when the players weren't on it.

In 1929 at the ambitious age of 23, Gussie Nell Davis created what has been recognized as the first dancing pep squad and the precursor to the dance team. As the physical education teacher and pep squad director at Greenville High School in Greenville, Texas, Miss Davis called upon her creativity, knowledge of music as a groomed concert pianist, and physical education training to form the Flaming Flashes, an all-girl performance group boasting the use of props in addition to rhythm and dance steps. Because of her ingenuity, Miss Davis was recognized and called upon by B.E. Masters in 1939. Then the president of Kilgore College in Kilgore, Texas, Masters was searching for a unique way to "keep people in their seats at halftime" and to bring more females into his student population. Davis answered in the form of the Kilgore College Rangerettes. This legendary dance group added a bit of showbiz pizzazz to the average halftime show, blazing new ground in the dance and sports worlds and forever binding them together.

Since their collegiate debut in 1940, the Rangerettes have moved on from Kilgore College's R.E. St. John Memorial Stadium to be featured at the Cotton and Sugar Bowls, in Sports Illustrated, on "60 Minutes" and in other media outlets and events. Following in the steps of their founder, the Rangerettes stepped outside the bounds of the United States, bringing their special brand of charm and skill to South America, the Far East and other international destinations. Miss Davis directed the Rangerettes for 40 years before retiring in 1979. During that time she, along with retired Southern Methodist University Mustang Band Director Dr. Irving Dreibrodt, created the American Dance/Drill Team organization, which was devoted to the proper instruction of dance/drill teams within the U.S.

Also laying claim to the creation of the American dance team are the Texas State Strutters. This high-kicking college organization was formed in 1960 and has since been featured on several major television networks and during professional sports events nationwide. On an international scope, the Strutters were the first dance team to perform in the People's Republic of China and have represented the U.S. in 22 countries. Like the Rangerettes, the Strutters' founder Mrs. Barbara Guinn Tidwell served as director and choreographer for nearly 40 years. Although they have recently been renamed from Southwest Texas University to Texas State University, the Strutters are still recognized as one of America's premier dance teams.

From Greenville High School to Kilgore College and Texas State University, the dance team has been strongly associated with school sports since its conception. But such an innovative and captivating concept was bound to break into primetime, and the Dallas Cowboy Cheerleaders facilitated that transition. The brainchild of Tex Schramm and Dee Brock, the Dallas Cowboy Cheerleaders as we know them today marked the culmination of the union of dance entertainment and sports. With the help of Dallas dance studio owner Texie Waterman, the modern Dallas Cowboy Cheerleaders debuted during the 1972-1973 National Football League season. The Dallas Cowboy Cheerleaders, unlike their traditional counterparts, added elements of jazz dance and brought their original routines to their larger than life stage for aesthetic and choreographic appreciation.

A decidedly Texas invention, the dance team carries characteristics of its birthplace. In a state where everything is bigger, it brought vitality and style to the field in a big way. Gussie Nell Davis led the way for dance teams like the Rangerettes, Strutters, and eventually the Dallas Cowboy Cheerleaders to expand on a simple base of entertainment to one of perfection and awe. But the dance team isn't confined to cheer-based motions. Instead, it has been melded to include aspects of jazz and other dance forms. Judging from what we have seen from dance teams so far, the evolution of this dance form is sure to be an exciting one that millions of people will be paying attention to for years to come.

Dance Team Judge’s Diary

by Kate Smith

There are so many opportunities available in the dance world. One way to get involved in your local dance community is by judging high school dance teams, which I recently decided to try. If you are interested in getting into judging or just want to learn what judging is all about, this diary will give you a little glimpse into what it is like as a first-year judge.

I joined a state-wide group called JAM

(Judges Association of Minnesota), which schedules officials for many of the dance team meets in the state. JAM offers two mentoring programs each year which new judges can attend to complete JAM’s “trial judging” requirement. I attended both of the programs, which took place during meets at Brainerd High School and Eastview High School in December 2006.

I really did not have much knowledge of the whole process of high school dance team coming into the mentoring program. I had completed JAM’s annual training required for all group members, and I had passed the Minnesota State High School League’s annual rules exam, but I had never actually been to a meet before. So, just that aspect of coming to a meet for the first time was exciting for me. If you have already danced on your high school team and know the ins and outs of dance team meets, then I would imagine you would have a pretty smooth transition into judging. For me, though, it was all brand-new.

The mentoring programs began bright and early in the judges’ room, which is usually the office area of the school. After the judges finished their meeting, the mentorees were broken into small groups and everyone headed out to the gym. The mentors and mentorees sat off to the side of the judges, who would actually be officiating the meet. We practiced judging, counting kicks, timing the dances and tabulating scores at both the Brainerd and Eastview meets.

Judging

Judging is the meat of officiating, so that is what we focused on during mentoring. One thing I have learned so far is that the more dances you watch, the easier it will be to judge the dances fairly. By my second day of mentoring, I was already getting quicker at determining where a dance should fall on the scale in the different areas judged. The mentorees were able to compare our scores and rankings with the actual judges’ during both the mentoring programs, which was really helpful in evaluating how well we were doing. This was definitely the most fun part of the program for me. I can’t wait to do it for real! Tabulating – We also visited the tab room during the mentoring programs and watched the tab room officials tabulating the scores. We observed for a few minutes and also practiced ranking the dances in a division that had already performed. This was really helpful because we got to go over our ranks with our mentor to make sure we were doing it correctly.

Kick Counting/Timing

Kick counting and timing are two other jobs that help a dance meet go smoothly. It is important to count kicks and time the dances to make sure the dances are in line with the high school league’s requirements. Coming from a studio, I had no previous experience in high kick, so I was nervous about this part of officiating. I think this part of the mentoring program was most beneficial to me personally because of that reason. My first real officiating assignment was to kick count/time, and I can’t imagine going into that job without having gone through the mentoring. More on that later…

Dance the Night Away: Where to Dance in the Twin Cities

By Madeline Nyvold

You may not be aware of this, but the Twin Cities is host to a number of different dance clubs, themed dance nights and other unique events. Dance enthusiasts of many skill levels can gather in an informal setting to relax, have fun and obviously, dance! There’s a chance to try anything from salsa to swing. Whether you’re an experienced dancer looking to try something new or a beginner looking to broaden your horizons, the Twin Cities offers something for every dancer. Here’s a roundup of the best dance experiences the metropolitan area has to offer:

Latin Dance

Babalu:

Famous Dave’s:

First Avenue:

Loring Pasta Bar:

Swing Dance

Minnesota West Coast Swing Dance Club:

Tapestry Folkdance Center:

Wabasha Street Caves:

Miscellaneous

First Avenue:

Twin City Ballroom:

Dancers seeking agents: The right way to apply

by Johanna Orca Handyside

 As a dancer, your cover letter and résumé are lived and written every day and in each performance. Your appearance and style speak volumes about your personality without uttering a word, and your dance technique and fluidity are manifestations of your training and experience. However, there comes a day when this animated application to greatness needs to be set down on paper, and the day you decide to find a dance agent is that day. Dance agents ultimately look for a fit pair of fleet feet when deciding who to sign, but the first thing they will see when you ask for their representation is your cover letter. 

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Cover your bases

The name says it all: The purpose of a cover letter is to briefly cover why you are applying to a certain agent and why he or she should be interested in you. Opening the door to your professional dance career often starts with a stand out cover letter. If you have a recommendation to a certain agent from a teacher, choreographer, or experienced dancer who has a memorable relationship with him or her, make note of it in your cover letter. Also, include how you found out about the agent who you are applying to and add information on any projects that you will be involved in in the future. There is no perfect formula for extracting your essence and putting it on paper, but keep in mind that the main focus of a cover letter is essentially to convey who you are and how you can be a strong representative for the agent to whom you are applying.  Just stay honest and real, and you can't go wrong. 

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Résumé Please

In an interview with Dale Grover on www.DanceInsider.com, Julie McDonald, the creator of L.A.'s first dance agency, unsurprisingly says that dance agents "look for training on the résumé" when considering the complete dance package. But beginning dancers, do not fear. Agents are realistic about their expectations, and they know that professional credentials are not often found on a beginner's résumé. Stay honest about your dance experience and put in any extra training, workshops, school plays, or other dance related experiences to show how you have been working towards your dance goals. McDonald also notes that "gymnastics, roller blading, martial arts, stilt dancing, basketball, musical instruments, tumbling... those things are used all the time" as special talents in many a dancer's résumé.  

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A well-stacked résumé doesn't always translate into a well-received one. A cluttered résumé that is trying too hard can have the opposite effect from what you intend. Stick the clean-up crew on your résumé before submitting it and get rid of any unnecessary or irrelevant details. Stay with a reader-friendly font size and format so that agents can quickly scan over what you have to offer and pick up on your gems of experience that may be otherwise hidden in a jumbled résumé. The more visual ease your résumé has, the better are the chances that it will be read and fairly considered. 

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To Picture or Not to Picture It

Different agencies have different photo preferences, and until you've signed with one of them there is no need to spend a lot of money on a professional 8"x10." Your résumé is the true substance of your submission that agents will ultimately reach for. However, some believe and some agencies ask that you send a photo in with your dance agent application. Some agencies suggest sending in current three quarter shots along with your submission.  If this is the route you choose to take make sure that your photo is a true representation of yourself and one that you are happy with. Do not submit anything that you are less than ecstatic about.   

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With several seconds and some choice words as the only instruments to help you orchestrate your first impression, you want to put your best cover letter and résumé forward. As you expect perfection in your performances, you should expect the same from these key pieces of paperwork that can mean the difference between a call back and a resubmission. Be truthful and censoriously comprehensive, go over your paperwork with a fine tooth comb, and let your personality shine though. Your dancing will do all of the talking once your cover letter and résumé get your soon-to-be agent to pick up the phone.

 

Dancing Smart: Using the Power of Positive Psychology

Written by DeAnne Boegli, owner BHF Dance Academy

Positive psychology stories have been hitting the news and bookshelves in droves recently. Experts recommend thinking positive thoughts to get a positive outcome. But this is not a new concept; motivational speakers have been pitching the power of positive thinking to audiences for years. Why is it getting mainstream attention now?

A positive attitude can make a difference between struggling with a challenge and tackling it head on. Without confidence, we cannot make good things happen. We live in a world of change, and adapting to change takes confidence. Today, more than ever, we need to think positive.

How does this impact dance teachers? In college I majored in psychology and journalism. My goal was to become a public relations professional, and I’ve accomplished that. But I needed to listen to my creative voice, so I started a dance school. Like most dance teachers, I’ve been promoting self-confidence for years. We tackle a common fear—of public performance or public speaking—every year, recital after recital. I’ve always prided myself on preparing young students for their first performance, which is critical to long-term success. Training students to feel an adrenaline rush rather than fear (and to use it to perform their best) is so important. We give them a huge gift: freedom from fear. After a positive stage experience their self-confidence starts to grow and they can’t wait to get back up there.

At my school we are all about self-confidence. It’s my goal. Our tag line is “Life is a Stage. Start Dancing™.” And I mean this. I want to raise confident young students with great attitudes. Sure, if we grow some amazing dancers along the way I’ll consider it a great success, but it won’t be my crowning achievement. Seeing a successful person with exceptional confidence in everyday life will be my reward.

We put a twist on the reverence tradition. We state our reverence verbally, and through the years the kids have added their own choreography to it from time to time. At the end of each class we say, “I’m Smart. I’m Strong and I Love to Dance! ™.” For five years my students have been repeating this—and they believe it. (And so do their parents.) Go ahead—say it to yourself out loud: “I’m smart. I’m strong and I love to dance.” Doesn’t that make you feel good? That is positive psychology in the works. Repetitive self-affirmation is good for your soul.

At first, some of the young girls couldn’t say it because they didn’t believe it. I would have them stand in front of the mirror and tell themselves, “I’m smart. I’m strong and I love to dance.” Some couldn’t look themselves in the eye. It was a sad moment for me, but it made me even more dedicated to this activity. If no one else in their life was going to tell them they were smart and strong, then I wanted to teach them how to tell it to themselves. I had a good laugh when the senior class took artistic license with our statement, chanting, “I’m hot, I’m tired and I want to go home!” with a few giggles. I had to admire their creativity.

Before each recital, while the kids are anxiously waiting, I shout, “I’m going out now to open the curtain for you. Let me hear it!” Then voices say in unison, “I’m smart. I’m strong and I love to dance!” From the youngest to the oldest, they all say it together. I get goose bumps each time. It calms them down and equalizes them. They are a team, even though some of them have never met. They are in control of their emotions. They are building self-awareness.

Some of my staff doubted this technique’s effectiveness until they saw it in action. They are believers today. And we even say it at the end of our final performance, as a way to say goodbye until the next season starts.

Find your own statement. Say what comes naturally and fits with your teaching style. I’m confident you will find success. As it becomes part of your brand, it will help differentiate your school from your competitors. Drill it in over time, until it’s something that they will remember when they are 40. “I’m smart. I’m strong and I love to dance!” It’s fun. Try it.

Dancing with the Stars winner: Shawn Johnson!

Discipline in Dance Class

Do Dancers Need To Go To The Gym?

As a dancer, your week will be filled with dance classes. However, in order to be the best dancer you can be, you will need to round out your fitness regimen with cardio and weight training.

Do Something Different For Your First Dance

By Natalie Beck

The first dance at a wedding has traditionally been a slow dance, usually a waltz or something similar. But what if you and your fiancé aren't the waltz type? What if you want something more fun and energetic? You've probably thought about this quite a bit and are wondering if it would be too odd to do something different. Would it be better to just go ahead and do a waltz and forget about it?

Absolutely not. If you want to do something different for your first dance, then you should. Your family and friends know you, and they love you. They want to see you dance in a style that reflects your love for each other, to a song that you love. Odd would be watching a lively, energetic couple waltzing their way through a song they don't like very much just to get to the rest of the music and have some real fun.

If you come out and do a Cha Cha for your first dance, on the other hand, not only will the whole room cheer, but it will be a first dance that nobody, especially you and your new spouse, will ever forget. You'll have a fantastic time doing it and your friends and family will be absolutely entranced.

Nearly any style of dance can be customized to fit into your wedding. If you want to do a classic dance, a Foxtrot or Quickstep can be adjusted so that your dress doesn't get in the way. If you want to perform a dance that's more passionate, but aren't sure if it's appropriate for your wedding, that's nothing to worry about. Even a passionate dance such as a Tango or a Rumba can be toned down a bit if you like.

When you and your fiancé come in for your wedding dance lessons, remember that this dance is being customized just for you. If there is a step you are having difficulty with, we can work on it until you've got it or we can change things a bit to make it easier. If there is something that you don't like or aren't comfortable with in the original choreography, that can be modified as well.

If you would like to do a different style of dance for your wedding dance, but want your family to join you as well, consider choosing two songs for your first dance. You and your new spouse can perform your first dance on your own during the first song, then the DJ can invite your friends and family to join you on the dance floor for a more traditional dance style when the second song begins.

When you're at your wedding, remember that more than anything your family and friends are there to celebrate with you. They want to see you and your new spouse enjoy yourselves and have a wonderful time on your special day. Nothing could be more lovely and more memorable than sharing a bit of your hearts with the people you love by performing a dance that truly reflects the love you feel for each other.

About the Author: Learning to dance is the same as learning any new skill. It takes patience and practice. Unlike other skills though, dancing is fun at every stage. Yes, it becomes more fun the better you get, but all beginners in my lessons have fun right away. Learn more here: http://www.dancevogue.com.au/

Source: http://www.isnare.com

Permanent Link:
http://www.isnare.com/?aid=248214&ca=Arts+and+Crafts

Do's and Don’ts for Beautiful Hair

Hair Care Do's

1) Get a trim every 6 to 8 weeks

2) Shampoo your hair only when needed

3) Use a wide-tooth comb when your hair is wet

4) Use products for your hair type

5) Stay with one chemical treatment at a time

6) For drastic color changes go to a professional  

7) Use a styling product to protect hair from heat before drying and ironing

Hair Care Don’ts

1)    Don’t trim your own hair. A regular scissors can damage hair and cause more split ends.

2)    Don’t stay with an outdated look! Change is good. Look at magazines and talk with your stylist for suggestions.

3)    Don’t use lightening products that work with the sun. They dry hair out and may make it look orange.

4)    Do not go to a new salon with out getting a referral from a friend. Or you can look online for salons that are related to one of your cities’ best.

5)    Avoid excessive sun, chlorine and salt water, which can damage your hair.

6)    Don’t use a clarifying product more than once a week.

Elements of Choreography

Time:

Energy:

Space:

Put it all together:

Setting the stage.

Use corners and placement to express emotion.

Featured Dancer Archive

Jamie Songer

Kailey Tachick

Flexibility And Stretching

Fundraising

By Sara Willcutt

For many dance programs funding is an issue. Most need to do some fundraising. By keeping things planned and organized you can get your goals achieved with out a lot of time or headache.

Tips:

1) Set goals for individuals and the group

2) Set up your fundraising events as team bonding time

3) Keep records on dancer

4) Ask parents for help, tall them why you are fundraising

5) Be specific. Focus on what you fundraising for. Costumes? A trip to nationals?

6) Have dancers ask family and friends to help When choosing fundraisers keep in mind the age of you students, and weather their parent will help out.

Fundraising ideas:

Concession sales: most professional sports teams play at arena where concessions are sold at least in part by people fundraising for groups.

Food Sales: cookie dough, pizzas, etc. Sell Holliday Wreaths.

Annual Dance Show: Invite other dance teams and dance studios to perform. Pre sell as many tickets as you can. This is also good exposure for your team.

Raffle: Get local business to donate prizes. Have raffles and school sporting events.

Car Wash: Pre-sell tickets. School Dance: Host an annual dance.

Donations: Ask the Lion's Club, Rotary Club, Chamber of Commerce, and other local businesses.

Sponsorship/donation letter: Write a letter about the team and what you are raising money for. People can give gifts of any size. Letters can go to families, friends and local business.

Link to fundraising companies

Health and Fitness for Dancers

By Mario Raspanti

Q: What should professionals, students, and recreational dancers do to maintain health and fitness during down time?

Q: What do competitive dancers and aspiring professionals lose during extended breaks from dance training and practice, and what can dancers do to maintain muscle strength during extended breaks between practices and/or performances?

Q: What exercises do you recommend for those that have very little time to dance regularly?

Hidden Clues To Your Perfect College Match

When it comes to picking the right college, you’ve heard it all:  look for small class sizes, modern facilities and the right college population to fit your personality. However, with a dancer’s unique talents comes the need for an equally distinctive education. So put on your thinking caps, lace up your dancing shoes and open your eyes to a few of the lesser known collegiate clues that can help you reach your perfect educational choice.

What A Girl Wants

As muses of dance, your educational needs are very different from those of your less movement-minded classmates. Your best tool is to recognize those desires are and decide how you want to cultivate them, whether through a BFA (Bachelor of Fine Arts) or a BA (Bachelor of the Arts) degree. 

A BFA is best suited for dancers who know exactly where they want their dancing shoes to take them. This program requires more credit hours than a BA and is more structured and training-intensive. A BFA doesn’t leave much room to explore other avenues of study outside of your dance focus and is targeted at dancers aiming to turn their art into their profession. Don’t let the stern tone of this degree fool you into thinking that a BFA will limit your career opportunities; dancers earning this degree can go on to teach, choreograph, get their MFA (Master of Fine Arts) degree and, of course, dance professionally.

Like a BFA, a BA is a precursor to a MFA. However, a BA is aimed at students who may not be ready to make the commitment that a BFA requires. A Bachelor of the Arts degree allows students more flexibility in their class schedules. It is aimed at dancers who want to pursue additional majors or minors or who desire a more well-rounded college experience. Keep in mind that while many colleges have both BFA and BA programs, some may only offer one or the other or may not have a degree program in dance at all. For extra credit, find out if your college is a member of the National Association of Schools of Dance (NASD) or if any of the instructors have been DMA (Dance Masters of America) or DEA (Dance Educators of America) certified. These organizations are independent firms ensuring quality and excellence in dance education, and the NASD is recognized by the United States Department of Education. 

Mission Possible

Although they may look like innocuous blocks of text, a school’s mission statement can tell a lot about its underlying philosophies. For example, the University of Michigan’s Department of Dance “draws upon the legacies of 20th century American modern dance and ballet, embracing the abundant theoretical, historical, and interdisciplinary resources available on campus and in the community,” whereas the Denison University Dance Department aims “to physically challenge students in several movement experiences ranging from traditional dance…to modern dance…to contemporary.” In short, mission statements can reveal the very different artistic objectives held by different colleges. Marshall Anderson, chair of the Theater and Dance Department at the University of Wisconsin – Whitewater, recognizes that “most, if not all, prospective students never look at a department’s mission statement and don’t even know that one exists!” Knowing what a school has in mind for you can help you decide if you want to invest in its particular brand of song and dance. 

Hit The Road, Jack

Picking a college dance program is one of those rare choices where you can test-drive your decision! Through summer workshops, you can get the classroom experience without the collegiate commitment. Participating in these seminars gives you a well seasoned taste of a school’s teaching methods, instructors and class structure. If the schools you are most interested in don’t offer summer workshops, touring the facilities and speaking with instructors are great ways to “test the waters,” Anderson says.  He also suggests meeting teachers, sitting in on classes, and speaking to current students: “[College] websites are nice, but don’t tell the whole story – a personal visit is a must.” As dancers, you know that preparation is key, and this guideline applies to your perfect performance on not only the theatrical, but also the collegiate stage.

By Johanna Orca Handyside

Hip-Hop Dance History

A Scratch on the Surface of Hip-hop’s History

By Johanna Orca

Clive Campbell, aka Kool DJ Herc and the father of hip-hop, came to New York from Jamaica in 1967. Toting the seeds of reggae from his homeland, he is credited with being the first DJ to use two turntables and identical copies of the same record to create his jams. But it was his extension of the breaks in these songs - the musical section where the percussive beats were most aggressive - that allowed him to create and name a culture of break boys and break girls who laid it down when the breaks came up. Briefly termed b-boys and b-girls, these dancers founded breakdancing, which is now a cornerstone of hip-hop dance.

True revolutionaries in their own right, the b-boys and b-girls of the east coast helped lay the groundwork for hip-hop as a formidable dance force. Top rockin’ was one of their designs, marked by moves performed upright. Necessity became the mother of invention and with more competitive dance wars floor rocking was created. Earth-bound freezes and spins found their footing in this form of expression. Even the physical transition between top rockin’ and floor rocking – the drop - became an important repertoire embellishment, with the smoothest swipes and dips garnering the most props. Flashier moves developed including the windmill and flare which fall under the umbrella term, power moves. Perfecting these moves became the focus of the most skilled breakdancers.

New York gave birth to another hip-hop dance form, one arguably created by b-boys, Rubber Band and Apache. Brooklyn uprocking, simply known as uprocking, is considered to be the inspiration for top rockin’. It is an overtly competitive style of dance where individuals or lines of dancers, also known as Apache Lines, display their arsenal of superior moves in a battle for badness in the best way. Jerking, an abrupt yet rhythmic motion, became the trademark of this dance form which is also characterized by quick moves and humorous retaliations. Many dancing teams, such as the Rock Steady Crew and Dynamic Rockers, reached notoriety in this form.

On the other side of the country new dance moves were developing: Popping, a west coast invention, was arguably sponsored by Boogaloo Sam and the Electronic Boogaloo Lockers. Popping is done by contracting the muscles in time with the music and is most always performed while standing up to make use of strong angles. Some argue that this dance phenomenon was not created by Boogaloo Sam but descended from preexisting dances. Others claim it is a product of dance revolutions happening across the country at this time while still others consider it to be the first true hip-hop dance, one leading to the invention of other moves like the boogaloo, strut, tick and wave.

A popular semantic and physical companion to popping is locking or Campbellocking, another California concoction. Ushered in by Don Campbell, his signature move is characterized by briefly freezing the joints in tight conjunction with the beats, accented by moving the limbs liberally. Campbell formed a group called “The Lockers,” spreading funky moves including scooby doos and points across the US. While developed as separate funk-driven moves, both popping and locking eventually found sanctuary in the arms of hip-hop. They cannot, however, be credited as the only west coast hip-hop inventions. Different regions of California were known for their indigenous interpretations of hip-hop dance.

The above forms and moves, while diverse, can all be categorized as street dances. Street dances are defined as those moves created outside of the dance studio, moves prone to the spontaneity and improvisation of the individuals and crews that have made hip-hop the inspired force that it is today. Studio-taught hip-hop has been criticized from this end, sometimes considered too stifling an environment to cultivate the individual character that has been so key to its progress and development. On the other end, there has been concern that the early forms of hip-hop dance have been so diluted through personal expression that they are no longer being taught or performed correctly. To combat this, purists suggest the teaching of hip-hop moves in their earliest, most untainted forms.

This controversy is evidence of the current creativity swelling around hip-hop dance. Platforms like krumping and clowning provide stages for new school hip-hop. Expressing darker emotions like angst and aggression, krumping, not to be confused with krunking, is a confrontational form of expression utilizing dramatic and exaggerated moves. Dances falling into this category may appear violent, but in reality are a positive release of a negative force. Clowning is a closely related dance form with marked differences; while current versions may be following the more aggressive trend of krumping, clowning is essentially characterized by dissing, joking and jeers.

The blurry surface of hip-hop dance is a difficult one to dip below, from the numerous conflicting time lines, the onset of this movement floats between the late ‘60s to early ‘70s. With dancers across the country being moved by the beats of Kool DJ Herc and his colleagues, it is hard to confine credit to more than a handful of inspired dancers. With the assistance of expressive minds searching for a way to further their skills through physical feats, hip-hop will continue to grow as more steps are taken to look into its past and forward as the continual creation of moves propel its evolution.

History of the Hawaiin Hula

The Hula dance is associated with Hawaii and luaus and while everyone knows what the hula is very few people are actually knowledgeable of its origin, not even the Hawaiians. According to Hawaiian history there is no information available as to who performed the first hula dance or why, however it is a common agreement that the original hula dance was performed by a god or goddess, making the dance sacred to Hawaiians. And this dance is sacred to men and women in Hawaii because the hula was danced by both sexes despite some information stating only men danced the hula. This information is incorrect and actually men and women both were involved in the sacred hula dance.

There are many types of Polynesian dances; however the hula is one of a kind and completely different than other dances in this area of the world. The origination of the hula was used for rituals and ceremonies, however this changed over time and eventually the hula was a dance used strictly for entertainment.

When dancing the hula individuals truly must become one with the dance and the actions, objects, or images they are imitating in their hula dance. The hula is a very meaningful dance and every movement of the body represents something. In addition to this, the hands are very important in the hula dance as well. When the individual is dancing the hula they may be imitating a palm tree, war, plants, and even animals. Because of this when the individual is dancing they are transforming themselves mentally into the object they are portraying through dance. Basically, the hula dancer is telling a story through the movements of the body and hands and as a result it is very important to watch. Chants also accompany the hula dance and while they used to be the most important part of the dance to portray what was happening they are no longer so and the movements are most important. You will notice the difference if you see a portrayal of old style hula dancing compared to new style hula dancing. While both are still hula dancing and fun to watch, the first is more ritualistic and the second more entertaining.

The hula dancers wear a costume in order to perform the hula dance. This consists of leis made of flowers around the neck or even the shoulders. A grass skirt is also used and is made of tapa and known as a pau. The dancers also wear anklets made of whale bone or even dog teeth. The whole ensemble makes up the vision of the hula dancer the whole world is aware of.

In the past, when hula was danced as a religious ritual rather than simply for entertainment the rules regarding the hula dance were very strict and individuals involved in hula dancing school were required to follow them while they were learning how to dance. Generally, students were required to follow all rules and behave properly while obeying their hula teacher in all requests. Some of the rules stated that hula students could not cut their fingernails or even their hair. Other rules stated hula students could not engage in sex nor could they eat certain foods that were forbidden. As a result, the life of the hula dancer in hula school was very strict, yet all of the rules were for a purpose that believed the students would learn to dance the hula better if they did not engage in the forbidden activities.

Today there are two types of hula, hula kahiko and hula auana. Hula hahiko is the old style that was described above and generally includes percussion, chanting, and the traditional costumes. Hula kahiko is traditional and ritualistic and the chanting tells the story more than the dance moves. However, for the more entertaining hula auna there is music, guitars, entertaining costumes to enhance the dance, ukuleles and even songs. This type of hula uses body movements and the hands to really tell the story because it is easier for tourists to understand.

While the hula dance has been around for thousands of years and always been popular it almost disappeared in the 1800s when missionaries arrived in Hawaii. The missionaries believed that hula dancing was devilish and against God and tried to convince the dancers of their wrongdoing by dancing the hula. However, King Kalakaua did not want the traditional dance of the islands to disappear simply because the missionaries did not understand what the hula was all about in the first place so he took action.

As a result, King Kalakaua developed his own group of hula dancers and encouraged them to learn the hula dance, the old style hula, and fortunately the hula did not disappear and still remains a very important dance of the islands and even today there are hundreds of hula schools on all the Hawaiian islands that teach the hula dance, old style, to the students. Even today many of the hula schools have strict rules like the old hula schools implemented.

There are even hula schools and groups that teach old style hula dancing to people on the mainland so while hula remains an important part of Hawaiian culture the culture is spreading and many people show an interest in learning how to hula dance.

When you visit Hawaii, no matter what island you visit, you will certainly see plenty of hula dancing from old style to the newer and more entertaining hula and regardless which one you like the most you should definitely attend festivals or dances that exhibit both styles so you can see the performing arts of the island and learn about the culture, history and the people of Hawaii. You never know, you may learn a few hula moves yourself.

About the Author
Bill McKenzie is reservation manager for Wailua Bay View, oceanfront Kauai Vacation Rentals. He has personally researched and experienced many of the Hawaiian activities and destinations as described above. Please visit http://www.wailuabay.com/

Published At: www.Isnare.com
Permanent Link: http://www.isnare.com/?aid=33185&ca=Culture

History of the Viennese Waltz

By Johanna Handyside 

The history of the Viennese Waltz is not as polished and clean as the clothes and faces of those who participate in this competitive dance form. Birthed in the modest inns at the outskirts of Austrian cities and 18th century Austrian society, the Viennese Waltz was an assault to the sensibilities of the more gentle population. It was performed in a spry 3/4 time signature with couples holding each other at no significant distance. In addition to this scandalous dance position, the rotary motion of the waltz at such a fast tempo resulted in the gasp-inducing revelation of women's ankles under their heavy skirts.

But time, politics and music proved to be fodder for the popularity of the Viennese Waltz, which was deemed an acceptable court dance at the Congress of Vienna, an assembly that was held between November of 1814 and June of 1815. This parliamentary nod also signaled a "transition from court culture to bourgeois culture" for the Viennese Waltz, Heikki Lempa states in her book "Beyond the Gymnasium." This movement from exclusivity to accessibility ultimately helped bolster this dance form's popular reputation, as did the compositions of Joseph Lanner. Lanner was credited with aiding this cross-caste shift by creating music that detracted from the Viennese Waltz's humble beginnings. His compositions were not only an accompaniment to the dance but were beautiful creations in their own right. Waltz master composers such as Johann Strauss I and his son Johann Strauss II also elevated the state of the Viennese Waltz through music.

Through the centuries, the popularity of the Viennese Waltz has had its ups and downs, finding a steady state as a dance staple.  Today, the term "Viennese Waltz" refers to the up-tempo waltz, while the "Boston" is its slow-paced counterpart which is commonly referred to solely as "waltz." The Viennese Waltz is recognized as a competitive and social dance with competition in the International and American styles. The International Style Viennese Waltz is danced in a closed position with allowable techniques relying on rotary motion, pivoting and changes.  Hesitations, Hovers and Contracheck are also acceptable. The American Style Viennese Waltz is open to greater interpretation both in position and movement. 

Photo by MaZzuk 4

How To Become a Professional Choreographer

By Debra Gilbert

Dancing To The Beat Of Your Own Drummer: How To Become a Professional Choreographer

So you think you can dance? Right on, you know you do! Now, do you think you have what it takes to choreograph a dance piece? Think about that for a second. Not only would you be performing your own stylistic approach, but also having other dancers perform it as well with your own ideas coming to life right before your eyes. Intriguing, is it not?
 

With that said, how does one begin in this field of choreography? Well, to set it in motion, dance training usually should start at a young age with taking dance lessons. From early on, you ought to develop a passion for a certain type of dance, whether it be Jazz, Tap, Ballet, or any other form of dance that catches your fancy. From there, you study by dancing your heart out well into your teenage years and develop even more of a fervor for the style of your choice. A good way to expand your knowledge in dance and to create something completely original is to study different areas of dance. Have your main core dance form, but branching out into other forms can help you produce something rather special and unique. However, not all dance choreography takes place on the theatre stages. There are many other types of choreography involved in other areas such as the film business with movie stunts and action sequences, as well as for cheerleading. It is all about what you desire to learn and create and where you want to show it off!

Once you have your dance experience in motion, it is time to get noticed. How do you do this you ask? Get involved in your community! Whether you are taking dance classes or getting involved in school and/or community productions, this is where your light will shine for others to take notice. It is key to get your name and ideas out there, not to mention, knowing your own piece of work backwards and forwards. Submit your work into showcases and productions as much as possible. Ideally, focus on working in production and dance companies where you can study under an admirable choreographer or many different choreographers. Once you have mastered your own dance techniques and have relative work experience, you will be on the road to becoming an apprentice. A job in choreography is something that you will have to work for and not expect the opportunities to fall into your lap.

This may all sound easy, but do not forget about your education and neglect other areas of study. Topics such as history and music are known to inspire choreographers in their work. Getting to know your body, as well as music and literature will help your ideas explode. Keep studying dance all through high school and look into colleges that provide a spectacular dance program. You do not have to study at a top-notch, expensive school either. Many colleges and universities provide excellent dance programs that will fit your budget. If you are worried about expenses, be on the lookout for scholarships and grants to help you along the way. Although some companies do not require a degree in dance to become a choreographer, having the educational background can certainly benefit your chances in the long run.

So now back to that pivotal question: do you have what it takes to be a professional choreographer? If you have the moves, the ideas, the education, the experience and the connections, producing your dream come true is only a few steps away. Now get out there and start dancing!

Photo by fossilmike 
 

How to Choose the College Dance Program for You

By Christina Herrmann

Senior year is finally here. Outfitted with some trendy new clothes and a fresh haircut, you feel ready to rule the school! This year, though, you must also take on your future. Somewhere between pep-rallies, extra-credit projects and dance class, you will decide where to spend your next four years. Grab a pal and take a moment out of your crazy schedule to get started with this informative personality quiz!

1. You are late to ballet (again), and Madame Joubert looks annoyed. You:

a. Invent an entertaining story to explain your tardiness. Ballet is a little too stuffy anyways.

b. Shrug it off. Dance is great, but it’s not the most important thing to you.

c. Apologize profusely. Your studio has rules for a reason, and it’s disrespectful to show up late.

d. Log an extra hour at the barre after class. Dance is your passion, and your determination knows no bounds.

2. Tomorrow is Friday night. What are you and your best friend up to?

a. We’re leads in the school musical, and Friday is curtain call!

b. After I spend some time with my family, we’ll cruise the party circuit.

c. Hosting a themed slumber party. We’ve been planning for months!

d. Re-watching “The Westside Story” DVD with a bucket of popcorn. The choreography is inspiring.

3. It’s time to catch up on homework! Which assignment do you tackle first?

a. Your art project. You are creative and love to express yourself.

b. The assignment due soonest. You enjoy most subjects and don’t play favorites.

c. Whichever assignment requires the most work. You are organized and methodical about your homework, which you always hand in on time.

d. None. You put off your homework until the last second so you can rehearse those new dance figures a couple more times.

4. Your favorite teacher is amazing. He/she really enables you to:

a. Be yourself.

b. Explore every possibility.

c. Reach your full potential.

d. Dance well.

5. What is your ultimate dream?

a. Pioneering a new dance technique. You already have some fresh, radical ideas!

b. Open a dance studio. You’d love everything about designing a successful studio, from hiring teachers to interior decoration.

c. Becoming an acclaimed dance master. You’d select only the most dedicated students who would respect your strict standards.

d. Captivating the Lincoln Center’s packed audience as Clara in “The Nutcracker.”

Key

Free Spirit

Jack-of-All-Trades

Perfectionist

Star

(mostly D’s): You have the talent and single-mindedness to make dance your life. Only the most prestigious programs in America will do for you. Julliard (NY) is the natural pick, but don’t overlook lesser-known competitive options, such as The Hartt School of Dance (CT). Though most of America has never heard of these schools, the dance community definitely has. http://www.juilliard.edu 

Checkout the ASD Dance Directory to find College Dance Programs all over America! 

How To Find The Right Agent For You

by Johanna Orca Handyside   

Unfortunately for many of us, our first encounter with a talent agent was with Jerry Maguire (pre-Renée Zellweger accompanied self-employment). But for many aspiring dancers, the fight for representation is one they are fighting for themselves and not one being fought over them. So how do you find not only an agent, but the right agent? Just like dancing, it involves a lot of intuition with cognitive guidance and some practice in persistence.

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We all know what an agent is, but what we may not know is exactly what an agent does. According to Jane Donovan at http://www.danceart.com/, an agent is not only employed to find his or her clients work, but to also ensure that dancers are paid sufficiently and on time; properly informed about the details of projects they are taking part in; and that dancers are employed in safe, discrimination-free environments. An agent is also a good resource for current trends and market appeal. Their expertise in these fields is crucial for both your and their success. Although you may have a particular look or style to offer the dance world, an agent can help you turn that image into a more marketable one.

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So now that you know why you need an agent, the next step is learning how to find the right one. Having an agent may signify your seriousness in making it in the professional dance world, but don't rush into the arms of the first welcoming one you meet. It is important that you have an agent whom you trust, who understands you and your wants and needs, and who you also get along with. You will have a close relationship with your agent and you want that person to be someone you believe will properly represent you. 

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Test the waters and visit prospective agencies. If possible, talk to people who are represented by agencies that you are interested in. Get a well rounded perspective of the places you are interested in to make the best decision for you and your career. It may sound a lot like applying for college, and these processes are similar in the way that they are both big steps in developing your talent and future.

Like applying for school, there is a bit of paperwork involved. To stand out of the crowd, try to get a recommendation from a teacher, choreographer, or experienced dancer. Recommendations and references give you an extra push in what is sure to be a pile of paperwork for agencies to sift through. A strong cover letter and resumé in addition to an 8"x10" photo can provide the momentum to turn that push into a callback. Says Kristin Campbell-Taylor, dance director at DDO Artists Agency, a cover letter to top off a complete dance package "might give me that incentive to look at someone's materials…Especially when we're seeing so many submissions and so many dancers and there's so much competition."  You want these documents to be unique yet professional, just like you. 
 

Auditions are an important way to match a face with a name and resume, and are critical to showcasing your talents. Some agencies hold open auditions, while others accept them by request. If an agency that you are interested in operates on the latter platform, don't be discouraged if you aren't immediately offered an interview. "No" from these agencies doesn't necessarily mean "Not in this lifetime"; they may just be saying "No, not right now" says Donovan. If you're not sure how an agency recruits talent, you can find out by checking their Web site or calling them directly. Throughout the agent-finding process, always maintain a high level of respect for your potential representatives and their decisions regarding your audition requests. If you request an audition and are turned down, keep practicing and resubmit your request after at least three months. Landing an agent isn't just about talent, it's also about patience and timing.

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Working hard, staying disciplined, and practicing persistence will help you find an agent who will serve you well. Landing the right agent doesn't happen overnight, but remember that your best selling point is your talent. Therefore, it's more important than ever to keep up the intensity, especially when you have representation. With an agent on your team, you need to have your skills sharpened and at the ready, prepared to take a big slice out of any audition you attend. So get in the office, collect those recommendations, and show the world what you've got to offer and hopefully an agent will be making you an offer of your own soon.

How to Get a Head Shot

How To Get Great Costumes for Less

How to get the Perfect Sunless Tan

As a dancer for professional dance teams, I know all about the self-tan. I have spent years trying all the options. I used to go to the tanning bed but have sown off the bed because of the damage it causes, the heightened chances for skin cancer and the aging of the skin.

Here are several methods that I use depending on what I am doing and how dark I want to be.

This might be frustrating at first. Who wants orange palms and streaky legs? But learn from my experience. Use the tricks of the trade I have learned and have fun with a beautiful looking tan that is healthy!

Prep

Exfoliate your skin with a cotton washcloth in the bath or shower. Loofas can cause a streaky affect. You can also use an exfoliator. Any kind works, so don’t pay a lot.

Shave and lotion your skin. Allow time for the lotion to dry.

Get Tan Options:
Mystic Tan at a tanning salon
Cost from $20 to $30, can be less when you purchase a package
Go to: www.PalmBeachTan.com
Lasts one week
Results: dark tan all over
Drawbacks: High cost, need to be careful to wash off hands and feet or they will be dark orange!
Tips: Always wear the hair cover, goggles and nose plugs or cotton in your nose. Cover your hands and feet with barrier cream/lotion.
For perfect feet that are not too dark, wear the foot coverings and blend a little barrier cream/lotion onto the top of your feet and your ankles. After your Mystic session, rub some of the tanning solution from your legs onto the tops of your feet. This way you will have a nice glow but no scary dark toes or soles of the feet.
Put a little barrier cream/lotion on your elbows, ankles, knees, and tops of your feet. You my want to put a tiny bit in your belly button, anywhere your skin is thicker the tan will become much darker.

Self Tanning Lotion
Costs from $7 to $30 a bottle, many applications
Lasts 2 to 3 days
Results: light glow to medium tan depending on type and number of applications
Drawbacks: Hard to reach your whole body.
Tips: use one with a tinted color or bronzer so you can see where you applied it. This will help with the streaky look you can get with lotions.
Wash your hands several times during application to prevent dark palms, use a nail brush or old tooth brush to scrub around and under your nails.
Another option is gloves; try the cheap plastic gloves sold in a big box.

Self Tanning At-Home Spray
Costs $9 for the spray gun, which you keep and use again. Each cartridge will cost $8 which has several applications
Lasts 3 to 4 days
Results: Great all-over tan, costs less than the salon. Use several applications for a dark tan.
Drawbacks: Can be messy to clean up around where you tan.
Tips: To control the mess, spray yourself in your shower or put a big towel on the floor.
Use the small sponge that comes with the applicator gun to wipe up any drips or dark spots. Or use your hands with gloves on.

Tips for all types of tans:
5 to 10 minutes after your application put some plain lotion on your knees, elbows, ankles etc. to lighten the color.
Let your tan dry on your skin before getting dressed.
Don’t shower for 8 hours.
Tanning solution will wash out of most fabrics. Add some OxyClean to your wash just in case.
Blend a little solution onto the backs of your hands to match your arms. Wipe off your palms after that.
Cover the skin on your face with a lightweight lotion at least 10 minutes before tanning. This will prevent the tan from settling in fine lines.
Wipe some of the solution off of your armpits so they don’t get too dark.
Most sunless tanners do not contain sunscreen. So if you will be outside, put on sunscreen after your sunless tan is dry.
Apply moisturizer to you skin every day to keep your tan as long as possible.

By Sara Willcutt

How To Run Dance Team Tryouts

Schedule tryouts:

Advertise your tryouts:

College teams:

Open Practice/Clinic

Recruiting

Semi Professional and Professional teams:

Website

Forms for Tryouts

Score sheets

Audition applications

Practice attire sheet

Workout list

Liability forms

Cost estimate list

How to Select a Song

How To Teach Musicality

By Sara Willcutt

Musicality is important for every dancer. I am always surprised when I work with a teenage dancer that has not learned to count to music or follow the beat.

Objective: to learn basic music vocabulary and how it relates to dance.

A beat is a strong repetitive sound like the heart beat of the music.

The tempo is the speed of the music

A measure is most commonly 4 beats, but can vary with the style of music.

A phrase is like a sentence in the music. In most songs the phrase is counted in 8 beats, which is 2 measures.

Rhythmic patterns are similar to syllables in words

Exercise in Understanding:  Get together a variety of music from different styles, jazz, lyrical, ballet, hip hop etc. Choreograph combination or use on from dance class.

Find the Beat: play a song and find the beat. Clap you hands to it. Count it out, step side to side to the beat.

Explore Tempo: Dance your combination to the beat, keeping in time with the tempo-speed of the music. Try this with several different songs.

Find the Measure: Count with the music, while walking in one direction. Every 4 counts change direction.

Understand a Phrase: dance your combination while counting 1-8. Assign each movement a number. Dance and continue to count, using the counts and tempo to make your movements go with the music.

Overview

1)      Keeping with the beat of the music keeps all the dancers together and with the flow of the music.

2)      Always listen to the beat and the tempo of music in class or auditions. Be prepared to perform your movements in time to the music given.

3)      Beats are like the alphabet, measures are the words, and phrases are the sentences.

How To Videos: Dance Combinations

Learn How to Tap Dance Intermediate Combination

Dance Instruction: Intermediate Street Jazz Combo

Advanced Lyrical Combo

How to Dance: Contemporary Jazz Combo

Learn How to Tap Dance Intermediate Combination

Beginner Hip Hop Combo

How To Videos: Makeup

JAM cosmetics - YOUNG DANCER'S MAKEUP

JAM cosmetics - BALLET MAKEUP FOR NUTCRACKER DANCERS

JAM cosmetics - JAZZ/COMPETITION DANCE MAKEUP

How To Videos: Skills and Technique

Leg Hold Turn

The Turning C Jump 

Tilt Jump

How to do a turning second position leap

How to do a Reverse/Back Leap

Dance Lesson on Firebird/Ring Leaps

Attitude Leap

---

Open Side Leap 

How to do a Quad Pirouette

Dance Lesson: Turning Firebird Leap

Dance Exercises: The Tendu' Dance Exercise

C Jump Dance Instruction

How to Dance: The Surprise Leap

Turnout/Extension Straddle Exercise

How to Write a Dance Resume

By Sara Willcutt

Your resume is the most important part of your audition package. A neat and organized resume will help you stand out. Many dancers clutter their resumes with too much information. Your resume needs to be focused and tailored to the specific job you are applying or auditioning for. Dance companies get hundreds of resumes and overwhelmed with prospective dancers. Give yourself the best chance you can by having a professional looking resume.

What to include:

1) Name, address, and phone number

2) Date of birth, weight and height. Round height to the nearest full inch. This is specific to audition resumes. If applying for a teaching or other job this is unnecessary.

3) Citizenship

4) List dance companies you have worked with

5) List any featured roles Include the names of ballets or shows and the choreographers If you have been in many shows only include featured roles. If you have little experience include all that you have

6) Dance education This includes all dance training you have had. List education starting with the most recent and working backwards in time. The more professional experience you have the less important the section on education becomes. If you are young and have little performance experience make sure to include all your training. If you received a scholarship, be sure to include that. Include small workshops or brief training in different styles only if it applies to the position or company you are applying for.

7) Honors and awards In this section include all honors you received, high placements at competitions, special individual awards, etc. If you have lots to list, choose according to the relevance of the job or company you are applying for.

Depending on your target position you dance resume can include:

1) Acting experience: Be sure to include this information is you are auditioning for a part in a musical.

2) Modeling experience: Some groups such as professional dance teams will want your modeling experience listed.

3) Choreography work: Some groups such as modern dance companies that use improvisation like this sort of experience. Ballet companies may not be interested in this information.

4) Musical Training: Include this information only if you have extensive training and you have space to fill on your page.

5) References: It is best to include references on a separate page or in your cover letter. Only include them on your resume if the reference has a direct connection to the director you hope to work with.

Do not include:

1) The word resume: that is a given.

2) Do not include anything negative: this is your place to highlight all the good things about yourself and your dancing. Don’t mention your reason for leaving previous companies if that is negative. This information might be asked of you in an application but is not something you should include on your resume. If you are asked this you can simply say you wanted to go in a different direction, or try something new.

3) Hair and eye color

4) Salary requirements: a resume is not the place to start salary negotiation. This can limit you chances of getting a job. Once a director has offered you can contract you can start talking about salary. You will want to talk to the general manager about this.

Best of the best: What Can you do for the Company?

Get started

List:

All your performance experience All the companies you have worked for All you dance education: studios, schools, workshops, training programs etc. Stage and film acting experience Anyone you have worked with that knows your target director.

All awards and scholarships received Where applicable: look at the repertoire of the companies you are applying with and note any works that you have performed.

If your goal is to be a professional performer you will need to go on lots of auditions, get your resume turned in to lots of companies and get your name out there. By attending classes you will grow as a dancer as well as network. Many choreographers teach as well. If you want to work with a specific choreographer try to take class with them.

Many dance companies have schools as well, take class there! If money is an issue, look into work study. Some studios offer scholarships or work study opportunities. If you are working with a company to take class you not only get class and networking but you will also learn about the behind the scenes work. Work with renowned choreographers or instructors. Identify similarities with schools and choreographers which the company or director has worked with. Use this information to establish a connection, which will make you more memorable.

Choose your format

There are many ways to organize your resume. The most important thing is to tailor each particular resume to the job you are applying for. Think about the positing you want: choreographer, teacher, performer, etc. You resume should start with the most relevant information.

If applying for a teaching position; highlight your teaching and leadership experience as well as your dance education. Also note that you need only include information about weight, height and age is you are applying for some type of performance job. You can also think about details such as the type of font, the size of the text, and the color of the paper.

There are two main was to organize your resume

1) The functional method

2) The chronological method Chooses the method that best reflects your background and the interest of a potential employer. A functional resume would be good from a dancer with little performance experience that highlights skills rather than work history.

The Chronological Method

The Functional Method

If you have little work background, are young, started dancing late or don’t have a strong background of performance the functional method will work better fro you. This way you can highlight your skills and not you lack of experience. Where you have danced is more important than the dates. For this reason you can put the dates on the end of a line on the right side of the page or omit them entirely, by using the functional method.

The main difference between the functional method and the chronological one is that with the functional resume the work history section is not included. This can work out especially well for young dancers who have just graduated. However this method can be used by anyone. It all depends on what you are trying to achieve. This method will give you complete control over how you present yourself. You can highlight relevant experience or skills at the top. The disadvantage of using this method is that it can create suspicion about lack of information. When using the functional method it is effective to write in the third person.

The best of both worlds

Improve Flexibility

Flexibility is an aspect of dance that will help you improve in many areas. It is something you can work on at home between dance classes. Push yourself to gain a greater range of flexibility. Listen to your body and identify your limitations. Stay consistent and disciplined to overcome them.

Warm Up

Get Started

While stretching, gradually increase how far your muscles are stretched. Hold each stretch for about 20 seconds (time varies from person to person). Holding the stretch will deactivate your muscle spindles, and you should feel a release in the muscle being stretched. Then, you can push the stretch a little further until your muscle spindles activate, and your stretch is naturally stopped. Hold this stretch for a moment and then relax.

Do Not Overstretch

If your muscles start to quiver at any point during your stretching, back off a little. Quivering means your muscles are being overworked.

Watch Your Range

If your range of motion starts to decrease, you have stretched too far. Let your muscles rest and heal.

For Young Dancers

While you are still growing, your range of flexibility will probably vary. It is normal to experience a loss of flexibility during growth spurts. Bones grow faster than muscles, and it may take some time to regain your full range. Your body will even out, just keep stretching.

Basic types of stretching

Proprioceptive Neuromuscular Facilitation (PNF)

The method of contacting and releasing muscles to gain flexibility. With a partner Lay on your back, or stand up against a wall. Lift one leg, and have your partner hold it. Then, contract your muscles as your partner pushes your leg toward your chest. Hold this for a few seconds, then relax, and have your partner push your leg closer to your chest. You can repeat this several times, moving the leg a little higher each time.

Caution This method of stretching is effective but can cause injury if not done properly. Your partner should be credentialed as a personal trainer or physical therapist.

Active Isolated Stretching (AIS)

This method of stretching is similar to PNF, but is safer because you control the range of motion. Lay on your back, pull your leg toward your chest with your hands or an exercise band. Contract and release muscles, then push, stretch farther, and repeat.

Caution Pay close attention to how your muscles are feeling so that you don’t over stretch. You can pull a muscle, so use caution. Never yank on your leg.

Isometric

Method of holding a stretch for a long time.

Ballistic

Method of repeating the movement of a stretch. Example: reaching forward to touch your toes, then pull back and repeat.

Caution Keep your movements smooth and controlled, or you will activate your muscle spindles-which is the opposite of what you want. *Always consult a medical professional before starting a new type of exercise.

By Sara Willcutt  

Improve Your Ballet - The Ballet Bible Review

By Julia Godoy

Becoming a ballet dancer can be difficult. It is not something that can be learned overnight, nor can it be mastered in a few months. Taking ballet classes is imperative to learn the proper techniques necessary to become a truly magical ballet dancer
whose every move and step personify grace and beauty.

As a resource for beginning through advanced ballet students, The Complete Ballet Bible Package written by Anita Leembruggen, reinforces what students learn in class. It's like having your own private tutor at home.

Broken into three components, ebook, audio and ballet dance videos, these user friendly formats allow you to navigate through every ballet exercise with ease.

Part 1 - titled "The 3 Simple Rules of a Prima Ballerina" is a PDF ebook with over 200 pages of text and detailed pictures. This guide not only shows you how to do a movement or gesture correctly, but shows you how most dancers do it incorrectly, and tells you WHY. No other book I have ever read shows you this. I feel this is a fundamental aspect to learning.

Part 2 - titled "Audio Terms and Definitions" is a audio software package that allows you to find any ballet term and learn its meaning. For each exercise, step, position, and/or
pose, a simple point and click allows you to do any of the following: Scroll through the whole list of terms. Find specific terms. Learn the correct French accents for specific terms. Click a button to hear each term sounded out for you with clear and concise definitions and a visible pronunciation guide.

Part 3 - titled "Video Demonstrations" is a collection of over 60 videos on ballet technique. If you are a visual learner like myself this is a real benefit. Being able to watch how to correctly perform a Ballonce or Entrachat Quatre whenever you like, and as many times as you like, is an excellent method to reinforce proper technique.

All in all the The Complete Ballet Bible Package is unlike anything else I could find on the market. It is a flexible online teaching tool that provides you with a visual model of ballet steps, exercises, and principles typically taught only in an educational setting.

http://www.ballet-bible.com/

Source: http://www.isnare.com

Permanent Link: http://www.isnare.com/?aid=171008&ca=Education

Installation Dance

Sound of Music | Central Station Antwerp (Belgium)

Kanopy Dance Blends Martha Graham and Pop Culture

Brianne Schenkel, Kanopy Dance Company: 2006, Photo: James Young

Kerry Parker, Kanopy Dance Company, 2007, Photo: James Young

Winter Joy Celebration in November is a family friendly holiday-esque show. It is based on the Danish idea that calls for coziness and celebration on the bleak, cold winter nights. It is a magical fairytale show in which Cleary has created a Grinch-like physical energy. The kids from the Kanopy School will dance with the company in this show, and the Perfect Harmony Men’s Choir will perform the songs. Winter Joy Celebration is a chance for the company to get away from the dark issues that modern dance often confronts. School will dance with the company in this show, and the Perfect Harmony Men’s Choir will perform the songs. Winter Joy Celebration is a chance for the company to get away from the dark issues that modern dance often confronts.

Jessica Vokoun, Kanopy Dance Company, 2007, Photo: James Young
Throughout the years Kanopy has done shows that are at times very pop culture and other times very classically modern. “They’ve been so crazy and so different,” says Thurrell, “We try to just experiment.”

Kanopy will hold auditions for the company on August 18^th from 2-4 P.M. They will hold an open house for the studio at 4:30 P.M. August 18^th.

For more information, you can visit their website at www.kanopydance.org or call (608)255-2211.

Khon Thai Dance – A Beautiful Thai Tradition Celebrating Patience

By: Christina Herrmann

“Foreign fingers,” giggled my native Thai dance instructor as I curled my unwilling hands in mimicry of her artistic pose. My stiff fingers were mute, but her elegant ones communicated shyness, romantic love and cunning.

Thanks to my American Sign Language classes, I have always known hands could talk.

Thai hands dance.

“Step forward, step, roll back, bend those fingers, and bend bend bend!” Concentrating hard, I willed my fingers to warp back towards my hand. My classmates, forty Thai twelve-year-olds, were already flexible proficients. Beautiful and agile children usually begin training at the age of six to eight, and already my classmates moved with adult grace.

Khon Thai is a proud centerpiece of Thai arts, harking back to the bejeweled courts of Ayuddya, Thailand’s ancient capital. The story is an Indian epic, that of Rama, the hero-god, and his battle with the ten-headed demon Ravana. To reclaim Ayuddya and his abducted wife, Rama presses his monkey army against the demon forces of Ravana.

For such a violent clash of deities, one would expect a little more, well, movement. Khon Thai dancers “hold their bodies upright from the neck to the hips, moving up and down using only their knees and stretching to the rhythm of the music. The arms, hands [and ankles] are held in curves and different angles,” and the precision of these angles relative to the body lends the dance its subtle beauty.

Even a dancer’s face is enigmatic, shielded with one of ten different styles of ornate mask. A ghoulish but theatrical snarl on a mask suggests a demon, for example, while a heroic smile depicts Rama.

Khon Thai rewards the observant. An ordinary audience member might complacently note that Rama’s legions are always dressed in green. An extraordinary audience member would notice that the slight upturn of a foot’s bare sole indicates aggression and foreshadows battle.

For a traditional Thai dancer, emotion and expression are in the smallest details. Beautiful motion is not rapid and free, but instead patterned and achingly patient.

After hours in the hot Thai classroom, my hands were ready to dance. Keenly sensing the enchantment of the music, I shaped a fan of fingers. “Suoy, suoy!” proclaimed my dance instructor. Beautiful, beautiful.

Without acrobatics, pirouettes, or even excess motion, Khon Thai dancers articulate war and trace themes of love and courage with patient fingertips.

Lacey is Dancing with the Stars

Lacey Schwimmer is bringing the fire to this years Dancing with the Stars. Teamed up with NSYNC's Lance Bass.

Competition Mondays 8/7c
Elimination Tuesdays 9/8c

Website

  

Leave Behind Stage Fright

By Sara Willcutt

Stage fright is a strong nervousness some people experience before performing for an audience.

To overcome this nervousness:

Be Positive

Breathe from your Abdomen

Be Prepared not scared

Note for Coaches:

Lyrical Dance: A Complex Fusion of Ballet and Jazz

By Jill Swenby

With only a few decades of life, lyrical dance is a relatively young form of dance. Quite literally, it is a form of dance that depends on a piece of music to create movements that express a certain emotion or idea. Because of it’s malleability, lyrical is a dance form that is difficult to define. At times loving, at times mournful or even exuberant, lyrical can be interpreted differently by both choreographers and dancers.

Having performed lyrical dance for the past 20 years, Scott Drikakis, a teacher for Legacy Dance Studio in Oakdale, Minnesota, calls lyrical a “hybrid-cross mix of ballet and jazz.” He sees lyrical as having “the best of both worlds.” In dance terms, “the best of both worlds” means lyrical not only requires a lot of stamina and strength like ballet, but also requires dancers to use their bodies to display emotion.

Teaching students of all ages, Scott stresses that it is important to choose music that correlates to the students performing the dance. Younger children often perform lyrical dances to songs focused on love and caring about their family, since those are the main life experiences they’ve been exposed to. Conversely, older children perform to songs about relationships and trials and tribulations. “When you talk about words and lyrics,” says Scott, “they can relate to it.”

As far as form goes, lyrical dance requires much of the technique and strength needed for ballet. Pirouettes are turned out, grand jetes are leaped gracefully, passé is held taut at the knee.

Unlike ballet, lyrical dance embodies a more fluid movement style. While ballet is rigid to the beat of the music, lyrical movement often does not correlate exactly with the music. Some poses may be held longer than the beat, and others are cut short. This contradiction between rigidity and fluidity make lyrical dance a great insight into how good a dancer really is.

“It is the most diverse form of dance,” according to Scott. He has observed in recent years, that lyrical has become prevalent at dance competitions. In fact, because of its dynamic mix of technique and artistry, Scott has noticed that lyrical performances win competitions time and time again. The dancers that really stand apart are lyrical dancers who are clearly talented technically and exuding a lot of feeling with their performance.

When choreographing, he does not always interpret the song literally from the words. More often than not, he takes the idea in the song and choreographs to it, always keeping in mind the students he’s choreographing for. Having danced lyrical for so long, Scott has trouble remembering each specific piece he’s choreographed or danced. In lyrical dance, according to Scott, you build on your own life experiences. Looking back on lyrical choreography he’s done, he notes, “I can see what was going on in my life at that time.”

Photos courtesy of Legacy Dance Studio

1) Ashley Downs, Elizabeth VonSchmidt-Pauli, Samantha Falde, Renee LaViolette and Bre Fuss in Angela Barrette and Kelly Nichols's piece Hide and Seek. 2) Lauren Vasilakos in Angela Barrette's piece Somewhere Over the Rainbow. 3) Bobby Johnson in Scott Drikakis's piece Zero.

 

Marketing Your Dance Studio

By Debra Gilbert  

You have finally gained the experience and the financial backing it takes to run your own dance studio. Congratulations!  Now comes one of the hard parts: marketing it to an audience to gain clientele. Here is an outline of ideas that one can use in starting up your dance studio and with the economic hardships of our time, some of these ideas are fairly inexpensive, if not free!

Word of mouth: Obviously you have the skills and possibly already have a few potential dancers lined up already, but it really is not enough. To start off, you need to create a snappy catch phrase that will have the dancers sashaying through those doors. The more creative, yet simplistic that you are with your catch phrase, the more buzz it will create. Once you have a catch phrase intact, ask your friends and fellow dancers to spread the word about your studio. Also, do not be afraid to make a scene! Enter your dancers into showcases and neighborhood shindigs so the audience will see the kind of training they should be looking for!
 
Hit the pavement: It is time to go old school. Design and make some fliers with all the info about your dance studio. This kind of advertising will be cheap, if not free, and shows dedication and creativity. Then, gather some friends and hit the streets. Hang up fliers in heavy foot-traffic areas, preferably outside and inside colleges and local businesses (where advertising is allowed) so potential dancers will be sure to notice the posting. Hand out fliers along the way to prospective students. In addition, to make business cards can be costly, but will make your studio appear and feel professional.

Go paperless: Another way this all can be done and environmentally friendly is sticking to the Internet, which in truth, is the probably the most effective way to draw attention. Spread your name across websites that offer free advertising (like the website that you are on right now). The more your name is out there, the more questions will arise as to who you are.

Build a website. This can be inexpensive to costly, depending on the website design. Even though you want an eye-catching display for your readers, keep in mind that it does not need to be an eyesore. Also, create MySpace and Facebook profiles for your studio. You want to get as much free advertising as you can get. Make your website and profiles fun! Take pictures of your studio, the dancers, and the instructors. Have all the info readily available for classes offered, times, dates, dance levels, costs, contact info and bios. Your site will benefit from mentioning awards that you, your instructors and/or your students have won.

Another sure way to have your studio booming is to make a video to market your dance space. Provide an introduction, a small tour and some dance pieces that include your work. Post it up on YouTube (and include the link or have it embedded onto your website if you decide to build one). Making the video can be rather expensive unless you have connections with a local filmmaker that will be willing to shoot your video for cheap or for free (it does not hurt to bargain either; offer them some free classes in exchange).   

The main thing to keep into consideration is that you want to target new, semi-professional, and regional dancers. Although most students will be beginners, you want to focus on the styles that the studio offers at that level. Be available and hospitable to answer questions and offer to set up tours of your studio. Break a leg!
 

Edited By Dan Lawrence

Martha Graham: Dance on Film DVD a Well-Rounded Portrait of the Artist

By Jill Swenby

“I’ve spent all my life with dance and being a dancer. It’s permitting life to use you in a very intense way. Sometimes it’s not pleasant. Sometimes it’s fearful, but nonetheless it’s inevitable.”
~Martha Graham

Martha Graham: Dance on Film, a recent DVD release from The Criterion Collection, recounts the life and work of an extraordinary dancer and choreographer. (http://www.criterion.com/asp/release.asp?id=406) Including films of two of her most well-known pieces, a visual essay and a documentary produced by PBS’s American Masters series, the DVD is a sure delight for modern dance lovers.

Disc one begins with A Dancer’s World, a speech given by Graham in which she demonstrates the life of a dancer in her company. But Graham does not just talk to the camera like a talking head; the glamour queen that she was, she speaks into a mirror while putting on makeup before performing Night Journey. As is evident in the rest of the DVD, Graham demanded to be thought of as a dancer first and foremost.

This disc also includes films of Graham’s famous works Appalachian Spring and Night Journey. Appalachian Spring, performed to music by Aaron Copland, is a pioneer story filled with fear and joy of the vastness of the unknown country. Graham, performing the lead female role, plays a wife that is both loving and humble, but at times fearful and anxious. Known for her dark modern themes, she was also innovative for her nonlinear narratives. As in other pieces, Appalachian Spring jumps between past, present and future with emotional changes moving just as fast.

Copland remarked in an interview that Graham had “such a special marked personality of her own that it really was easy to put it into musical terms.”

Night Journey, a take on the Oedipus myth, shows a much darker, more tender side of Graham. Dancing the part of Jocasta, the mother and wife of King Oedipus, Graham’s movements are full of her signature contractions and tensions. Intensely sexual and tragic, Night Journey conveys some of Graham’s own vulnerability.

For a more in-depth look at her life story, disc two provides a documentary put together by PBS’s American Masters series (http://www.pbs.org/wnet/americanmasters/). The film tells of Graham’s childhood, beginnings in dance and extensive career. Always intense, always demanding, always dramatic, Graham was clearly revered by dancers and other artists alike.

“[Martha] broke custom. She broke through barriers. She presented new ideas, “said Agnes de Mille, dancer and longtime friend of Graham.

The documentary also discusses Martha’s marriage to her principal dancer Erick Hawkins and how the relationship affected her work. Like many other interests, Graham became completely enveloped with Hawkins and fell in love with him. Hawkins appears on the documentary to talk about this relationship and the profound impact it had on both their careers.

Documentaries, film performances, a lecture and other goodies make this DVD a treat for Martha Graham admirers. For a woman who spoke with her body, this DVD allows us to experience not only her performance but also her philosophy and lifelong passion for dance.

Photo by sico_activa

Middle East to the Midwest: Belly dancing Basics Stay the Same

National Conference

Registration Still Open! Discount Rates Extended!
National Conference Bloomington, Minnesota | June 20 - 22, 2008
SAFETY CLASSES & CERTIFICATIONS HERE! Learn from the Executive Director of the National Council for Spirit Safety & Education (NCSSE) first-hand! USASF credentialing also taking place. And don’t miss your chance to learn the all new, updated UPA Universal Judge Program to become licensed/certified for the upcoming season! Register NOW
Mark your calendar. Join your friends. Strengthen your knowledge! Attend the conference and let your kids enjoy the one-day camp for FREE! Check out details on line! http://www.upainc.net/conference
United Performing Association, Inc. 11101 Zealand Ave N Champlin, MN 55316 Toll Free: 800-800-6UPA {6872} Tel: 763-792-8989 Fax: 763-792-8990 Email: lisa@upainc.net Web: http://www.upainc.net The First 20 Years Were Simply Dress Rehearsal WELCOME TO THE FUTURE OF UPA!

NATIONAL DANCE WEEK 2008

NATIONAL DANCE WEEK© 2008 NDW. A website where you can discover the details of all aspects of the annual celebrations of the art of Dance in America.

www.nationaldanceweek.org

New school hip hop provides a creative outlet and historical roots

NPR: Girls Risk Injury with YouTube Do-It-Yourself Ballet

Listen Now

Nutrition

By Kate Smith

When one thinks of a dancer and all of the things they need to do to continue to 

improve their craft, many things come to mind – stretching, taking technique 

classes and practicing frequently are a few. But one thing that is not as obvious 

from the outside is nutrition. Improving nutrition can help dancers gain more 

endurance, strength and improve their overall health and dance performance.

Hydration 

The first thing to keep in mind is hydration. Dancers must always stay hydrated, 

and it can be difficult during an intense practice and performance schedule. 

However, the importance of fluid intake is not to be overlooked. According to 

Suzanne Martin’s Dance Magazine April 2003 article, “Health and fitness for life,” 

“a loss of as little as 2 percent of body fluid can imbalance a dancer's brain 

chemistry to the point of creating mental confusion and loss of coordination and 

balance.” Martin suggests drinking an eight-ounce glass of water at the beginning 

of each day to help maintain hydration.

Diet 

When it comes to diet, eating foods that maintain the dancer’s energy level are 

crucial. The Dance Today! June 2004 article, “Getting through the Day: A 

Dancer’s Guide to Eating on the Move,” recommends eating carbohydrates such 

as grains and pasta in addition to breakfast each day.

 “I always recommend a sensible diet, including lots of carbohydrates and 

avoiding too much fat. Dancers don’t need different fuel from other people — 

they just need more of it because they use more energy,” 

former Royal Ballet dancer Deborah Bull states in the article. 

Bally Total Fitness personal trainer and fitness director Matt Ledbetter also 

stresses the importance of carbohydrates in a dancer’s diet.

 “Carbohydrate is stored as glycogen in the body, and the amount of glycogen 

stored in the body affects stamina and endurance,” he explains. “Training and 

eating properly, with particular attention to carbohydrates, can increase and 

maintain glycogen stores, which is particularly important for endurance athletes, 

like dancers!” 

Ledbetter says that protein and fat are also important for keeping up energy. 

“When fats are eaten as part of healthful foods, they provide an important 

energy source for athletes in training. Good choices include the fats from nuts, 

seeds, vegetable oils and avocados.”

So taking in lots of fluids and energy-providing foods are important for a 

dancer’s everyday nutrition. What about performance season? Eating several 

small meals each day can be the trick to keeping the dancer’s energy level up 

during a busy performance season, according to the Dance Magazine March 

2006 article, “Eating and drinking for energy: what--and when--to eat and 

drink before performing.” 

The article states that dance nutritionists advise dancers to eat six small meals 

a day during performance season, including one two hours before performing 

and one right after performing. Suggested foods to keep one’s body fueled 

include protein shakes, sandwiches, bananas, and bagels.

Peak Performance Pasta

For a tasty energizing meal, try Dance Magazine’s “Peak Performance Pasta” 

1/2 pound whole-wheat pasta

Olive oil

1 small onion, chopped

1/8 teaspoon hot red pepper flakes to taste

2-3 cups bite-size prewashed spinach

  and/or any combination of fresh or

  frozen vegetables

1 15-oz. can white, black, or red beans

  drained, or 1 7-.oz. can white tuna in

  water, drained

Fresh or dried herbs to taste

Salt and pepper to taste

Lemon juice or Parmesan cheese (optional)

Prepare pasta according to package directions. While pasta is boiling, pour 

enough oil into large skillet to make a thin film on bottom. Heat over 

medium-high heat. Add onions and stir until just soft. Add hot pepper flakes 

and toss. Add spinach and cook until slightly wilted (cook other vegetables 

until barely soft). Stir in beans or tuna and herbs. Toss until heated. Mix into 

drained pasta. Season, squeeze in a touch of lemon juice, and add cheese 

if desired. Makes 2-3 servings.

For an Asian variation, use a mixture of peanut and sesame oil. Instead of 

herbs, add a pinch of ginger. Sprinkle with sesame seeds instead of Parmesan 

cheese.

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