From Dance Teacher

By Jennifer Anderson

While many dance studios have begun to make hip-hop classes a staple in recent years, colleges have not exactly followed suit, and many students are getting frustrated. “It only makes sense that hip hop should be included in higher education,” says Ithaca College senior Kay Cotton, who is president of the student group IC Hip Hop. “It’s going to continue to be in high demand from dance students, so doesn’t it make sense for future dance educators to learn and understand the style?”

Nonetheless, it’s not always obvious where it fits into the higher education setting. Some colleges and universities make sure to offer credited classes, while others offer it as part of a jazz curriculum or bypass it altogether. Meanwhile, student-run hip-hop clubs are sprouting up at colleges everywhere. Here, we talk to dance professionals and students about how they view the artform’s place in higher ed.

Trend or Mainstay?

What came first, the surge in classes or the hit television shows? It’s hard to pinpoint cause and effect, but one thing’s undeniable: Hip hop’s popularity shows no signs of slowing down. Television programs like “So You Think You Can Dance,” “America’s Best Dance Crew” and MTV’s “Dancelife” are just a few examples of the genre’s heightened exposure.

“It’s such an entertaining, fun style to watch and perform,” says Cotton, who joined the college’s recreational hip-hop club, IC Hip Hop, to compensate for the lack of courses offered at Ithaca. And she’s not alone in her pursuit. Due to increased student demand, Rutgers, The State University of New Jersey, recently added hip hop to its roster of classes, says Jeff Friedman, PhD, assistant professor of dance at Rutgers’ Mason Gross School of the Arts. Even so, it’s only a portion of the jazz curriculum.

A Place in This World

The debate is whether hip hop “should receive the same amount of serious contextualization as classical ballet and contemporary forms,” Friedman explains. “All world forms have need for context, and college dance departments need to consider this factor.”

Like world dance forms, hip hop has a rich history. It is a folk art “created among the common people as an expression of their everyday lives,” writes dance educator Kelsa Rieger in Cityfolk Enews, an online newsletter about traditional and ethnic performing arts. “It emerged from the inner-city streets of the South Bronx in the early 1970s: a new style of music, instrumentation, dance, fashion and visual art that together made up a rich and colorful expression of life for the people, place and time in which it was created.” (Until the college suspended operations in June, Rieger taught hip hop in the dance program at Antioch College in Yellow Springs, Ohio.)

Antioch’s dance program included the courses “Introduction to Hip Hop Dance and Culture” and “West African Drum and Dance” as part of its curriculum. “Kelsa Rieger really wanted students to have an understanding of the cultural context that generated hip hop,” says Jill Becker, former dance program director. “She brought in guests and had the students do readings. Some were really interested in understanding the social, political and economic context.”

Still, many view the artform as a pop-culture phenomenon, explains Becker. “But I take it seriously, and think students can learn a lot about the culture that generated hip hop.”

Perhaps the problem is that some college faculty members don’t know where to find “authentic” hip hop. In the e-newsletter, Rieger talks about how the artform has changed drastically (due in large part to the media) from its beginnings and what is currently being taught. She likens the two styles to the way that samba can refer to either “the raw, authentic, hip-driven dance seen on the streets of Rio de Janeiro, or the smooth, elegant, partnering danced at ballroom competitions in the U.S.; the two look almost nothing alike. The ‘hip hop’ taught in most dance studios across the country today is a far cry from anything you would have seen at one of DJ Kool Herc’s block parties in 1975.”

The educational worth of hip hop extends far beyond the movement involved, and dance professionals like Rieger and Becker are doing their part to spread this knowledge in the higher ed setting. “It’s important for students to value vernacular dance alongside performance dance,” says Becker. “I would like to offset the high art/low art/folk art distinctions—it’s all high art.” And, of course, students are speaking up. “Hip hop is here to stay,” says Cotton, “so the dance community can only benefit from accepting and including it.” DT

Jennifer Anderson holds a BA in Dance and English from Rutgers University and is the rehearsal coordinator for American Ballet Theatr

From Pointe

By Sara Leshen

You saw her on the cover of the February/March 2008 issue; now read a personal interview with Venezuela-born Tulsa Ballet dancer Karina Gonzalez. Find out how she got her start, what it was like to participate in a ballet competition and more.

How did your ballet career begin?
I danced at the School Foundation Gustavo Franklin, starting when I was 7 years old. After I graduated from the school, I wanted to find a good company where I could get experience. I heard the director of Tulsa Ballet was coming to do an audition in Caracas. I thought, “This could be a great opportunity!” Then the audition came and Marcello Angelini offered me a contract. My family and I were so happy.

What is one of the favorite roles you’ve danced with Tulsa Ballet?
My favorite has been Juliet in Michael Smuin’s Romeo and Juliet, because I always dreamed of dancing the part. The role is incredible. To have the opportunity to perform this ballet was amazing because the ballet allows you the freedom to be yourself. It is a combination of technique and artistry, and you can enjoy every step that you do throughout the entire ballet. I really loved it, and I hope I will be able to perform it again.

What was it like to compete in the New York International Ballet Competition?
To be in NYIBC was a great experience. To compete with so many great dancers from all around the world makes you believe in yourself and push yourself to be better each day that you are there. No one came knowing what they were going to dance and perform, so it’s really difficult, but you learn to become your own coach.

What do you enjoy doing outside of dance?
When I am not dancing, I really enjoy staying home, waking up very late, going to the movies, playing with my cat, Garfi, and calling home to talk with my family. Most of all, I try to relax in the short time I have free.

Hello Everyone!

What motivates you?

I have many motivating factors.  Whether it be with my kids, my husband, with my daughter’s dance or son’s sports, it’s requires motivation.  It is about completing a job well done.  I always reach for higher expectations than I could go for.  There is no job I take on to do half way.  I think that in life when you give more than you have to, you will almost never regret putting the effort in.  Even if the outcome isn’t what I expected or hoped for at times, it still makes it all worth it.

Of course there are always the wins.  The times where you reach high…almost too high and you surprised yourself.  There is never shame in shooting for the stars, even if you fall short.  There is only shame in not trying hard enough.

So now I ask…what will you reach for next?  How high will you strive to climb with that dream?

Competition season is upon us, and this is such a great experience for dancers, but it can also be very stressful.  I have come up with a list of competition essentials to help dancers get through this crazy time.

#1 – Get plenty of sleep.  If you are not well rested, there are greater chances of injury and forgetting choreography.  Get at least 7 hours of sleep the night before you compete so you can be refreshed and ready to go in the morning!

#2 – Always eat something.  Your body depends on food to give you energy.  If you are performing all day, you are going to need plenty of energy to perform your best.  Make sure to eat plenty of fruits and light carbohydrates.  Stay away from junk food and heavier foods that may make you feel too full.

#3 – Always have an extra pair of tights.  You never know what can happen when dancing on stage, and there is always a chance that you will get a big run in your tights during a performance.  If those are the only tights you have, you will be stuck with them for the rest of the competition.  Another mini tip: Have clear nail polish on hand; if you put this around the run, it prevents the hole from getting bigger.

#4 – Make sure to wear blush and lipstick.  The lights on the stage can make a dancer look very pale.  Wearing lipstick and blush will bring color to your face and not drown you out on stage.

#5 – Warm up and stretch properly.  A dancer should always warm up and stretch before any type of dancing to help prevent injury.  Many dancers forget to do this during competition because they are very busy with costume changes and running their choreography back stage.  Try to arrive at the facility early so you give yourself plenty of time to warm up and stretch.  This will lower the risk of injury during the performance.

#6 – Relax and stay confident.  Try not to panic before you go on stage;  just let all of your hard work and practice show in your performance and you’ll be fine.  The more confident you are in yourself, the better you will be;  for competition and for the rest of your dancing career.

Competing is a great experience for a dancer; it can teach you many things that you can use now and throughout the rest of your life.  But most of all, have fun!

Hello Everyone!

My name is Shelli, and I’m here to answer your dance questions! But,  I guess the best place to start is to give you a little history about myself.

To begin, I wear a LOT of hats in life.  Like most moms, I am completely twisted and pulled in all directions, at all times.  I am a mother of 3 amazing kids (I know we all say that…but they really are).  My kids are very close in age but for the next month I don’t get to look completely insane and tell you that my kids ages are 21, 21, and 19.  Until my baby turns 20 March 2^nd.  Then the head scratching begins when I say my kids are 21, 21, and 20!  So yes, I did have twins (boy & girl) and a 3^rd just 15 months later.  They are a dancer/business owner, a senior at Chapman University (Graduating with top honors), and a sophomore at Idaho State who also plays football for them!

But aside from a mother of 3, I am a wife of 23 years, a business owner for the last 20 years and the matriarch of my entire family. I am also a grantie (yes that’s spelled right) of 5 nieces, mother to my 4 dogs, 3 cats, 3 bothers, 1 sister and sometimes my Husband & my father.  I am also partner in a dance wear business with my daughter, and the PR & Special Projects Manager for Discount Dance Supply.

So what does that have to do with my knowing anything about dance and dancers?  Well, I guess it begins with my daughter.  She’s an amazing young woman who has navigated her way thru the maze of being a student, a competitor, a protégé, a professional, a teacher, a judge and a business owner…all in the world of dance.  So without a conscious effort dance and the dance world have been a very big part of my life for 15 years now.

What I would like to accomplish with blogging is to talk.  About every possible subject in the world of dance I can  speak with relative confidence about.  I know that as a mother of a dancer, there were so many moments that I needed a friend…a confidant…an advisor who knew the road I was on.  Hopefully I can provide some of this to you.  I have been through it all as a mother of a ballerina and now out there watching it all from different angles in the business world of dance and competitions.  So feel free to comment back to me…ask questions…give me your thoughts.

I want to leave you with some questions to begin the conversation….

What’s your goal in dance with your child?  What motivates you?  What motivates them?

Hello everyone!

I want to give a little thought to competitions, primarily how you cope when things go wrong.  A few weeks ago, I watched students from my studio compete in a competition, and most of the transitions from piece to piece were smooth and seamless, but the tension built up when one of my friends was about to go on and they turned on the wrong music.  The announcer said “Attention judges:  the next number will be …” The next girl stepped onstage and took her pose, but her music was wrong as well.  They had switched it with my friend’s piece!  Then came the awkward part where the announcer asked the dancer to please leave the stage.  My friend had to wait through about five dances before they straightened out the music and went back to her.  By that time, there is no telling how much her adrenaline and nerves had built up.  She did fairly well, but you could tell that she was past her peak as far as stress levels go.

I once fell during the Medora variation from Le Corsaire, right at the beginning of the piece.  When landing from a jump my foot slipped behind me (slippery stage + pointe shoes = disaster) so I catapulted forward and fell right on my face.  The audience gasped, but for some reason my mind was so calm and set on giving them a show, I bounced back up and didn’t miss a beat in the music.  The crazy part is, I look back and remember that performance as one of my favorites.  After that fall, there was nothing worse that could happen, so I just danced my heart out and the audience cheered at the end.  It felt great!  I find nothing more invigorating than giving a good show.

In my years of competing, I have had several experiences with mixed music, costume malfunctions, and falling flat on my face onstage.  The question is:  how do you cope when something goes wrong?  For me, it all comes down to mental preparation.  A few years ago, my parents gave me a motivational cd series called the Psychology of Winning.  That it my top choice when I need to get in “the zone”.  It’s not necessarily about winning, but having a mindset that anything is possible.  After all, you become what you think about most of the time.  I always perform best when I take a few minutes to be in a quiet place by myself, close my eyes, listen to my ipod, and get in “the zone”.  How do you prepare for competitions and deal with mishaps?  Embarrassing stories welcome!

-Lizzy

In July 2009, Dance Teachers from all over the country converged on New York City Dance Teacher Summit’s recital costume preview and fashion show…and the time has come again! The conference is a 3 day line up of 900 of your fellow dance teachers, 3 motivating days of dance in NYC, World renowned dance instructors and much, much more.

To help gear up, below is a clip from the 2009 summit;  Discount Dance Supply provided all of the clothing that the dancers so elegantly presented.

Get your passes for the 2010 Dancer Teacher Summit today!

Hello everyone!

I hope you are all entering a great 2nd week into February. I’m about to embark on my 4th week of school, and the semester has been so busy already! I mentioned in the last blog some of the projects I’m working on this semester so I thought I’d update you all regarding them.

First, I’m performing in “Showing 4″, which is one out of the 5 “showings” we have featuring work by student choreographers. I’m in a piece choreographed by Mandarin Wu, who is a 2nd year MFA and graduated from UCI for her undergrad. We actually know each other through mutual people including my future sister-in-law, Genevieve, because they worked together in LA this past summer. Anyway, Mandy (short for Mandarin) is choreographing a pointe piece, and I’m very excited and scared to perform it all at the same time. It’s been a long while since I’ve performed pointe on stage so I hope that I don’t fall on my face! We will be performing this piece next week – Feb. 18th and 19th. Wish me luck!

My next project I’m working on is a piece I’m choreographing for the MFA 1 concert. All 1st year MFAs get their own concert to feature choreographic works if they wish. I am choreographing a piece set on 6 women, and it is going to be FIERCE. Here’s a little preview of their costumes (still a work in progress…and was custom made and sewn by my MOM, Monica Chua – my Mom is the best!!! :

Don’t they look so awesome! The piece is also set to music composed by Elias Constantopedos (who also composed my solo from last semester) – the music is a fusion of a Baroque fugue mixed in with electronic sound. I wanted to have this regal and courtship look to the piece, and the music suits the choreography perfectly. You can preview a rehearsal video here – just remember it’s still a work in progress:

http://www.youtube.com/watch?v=IP5voHFwoWU

This piece will be premiering in 2 weeks – Feb. 25, 26, 27th. The show is FREE so if any of you readers are in NYC and would like to come to this performance or the one above then come to 111 2nd Ave, 5th floor. Both shows are FREE! I am so looking forward to this performance because not only are my mother, her boyfriend, and my grandmother coming to see the show, but my fiancé, Chester, will be here too! This will be the first time Chester has come to see me here in NYC so I’m so excited!!!

Lastly, the third project I’m working on is for my Choreographers, Composers and Designers class. I’m working with two other ladies, Julia and Wen-Jen, and we are collaborating with set designers, a costume designer, and music composer to choreograph and produce a work. It’s been such a brain-filled experience so far because everyone has such great creative input and ideas that when I walk away from our meetings my brain hurts! Our concept deals with technology, and how it affects our communication – whether it helps or leads us to miscommunication. We are working within that realm, and if you start thinking about technology and how it is taking over our lives this can become a very broad and deep topic. However, we want to keep this piece light-hearted and somewhat humorous. We will be scaling down and concentrating on specific communication through the use of social networking like Facebook and Myspace and how that can affect relationships between 2 or even 3 people. We have 1 female and 2 males in our cast so we might try to work out some kind of love triangle or something to that extent. We are still in the very beginning stages of this project so I will keep you all updated. Here’s a poem that we found that inspired our concept for this piece (it’s actually really funny):

http://www.jamesshuggins.com/h/tek1/rememberwhen.htm

I will keep you all updated on my many projects coming up this semester. Hope you enjoyed reading and hope you have a great week. Thanks!!!

Sometimes people have a hard time applying their makeup with brushes. The reason for this is because of the amount of pressure they use while holding the brush.

When you choose a makeup  brush, try to use one with a longer handle, and hold it on the far end. This will help you to gain control while applying eyeliner and shadow.

Hello everyone!!!

I’ve had a very fulfilling and busy 2 weeks back home teaching and designing costumes and now I am back to school! Going back home to CA to teach was great because I definitely missed teaching and it’s really nice to know how much the kids have missed me. I have definitely missed them!

I’m done with my first week back to school and I am sore! I didn’t think I would be as sore because at least I was teaching and taking a few classes during my visit, but I guess it wasn’t enough. I have to comment on one my teachers, Jolinda. She’s probably one of the best ballet and pointe teachers I have ever had. Great teachers are very hard to come by, and she’s definitely one of them. I’ve had so many fabulous teachers in CA, but to find one here in NYC and at my school is just amazing. She pushes me, is really articulate about what she wants to see, definitely gives you great corrections and positive feedback when you do something good . I fortunately get to have her for ballet and pointe 3 times a week (I wish I had more!). I just had to say something about her because she’s a great teacher, and I hope to be able to teach and inspire students like her one day, especially in the ballet and pointe field.

It’s back to work with my choreography, and I have a few projects underway. I’m working a solo for my composition class, and every week we are to choreograph about 40 seconds to a minute to experience the choreographic and creative process. My teacher, Phyllis, doesn’t want us to whip out the entire solo right away. She wants us to add on a little bit every week so we can edit, and continue to think about our creative process as we’re doing it.

Another project I’m working on is a choreography piece for the 1st year MFA concert. It’s a concert that is only open to the 1st year MFA’s and we’re able to choreograph a piece if we like. Almost everyone is choreographing with the exception 1 or 2 people. I have 6 female dancers, and have already started rehearsals. I am working with the same composer I worked with last semester so I’m just waiting on the music so I can put the movement vocabulary in and tweak from there.

Lastly, my Composers, Choreographers, and Designers (CC&D) class requires that we choreograph a piece that utilizes a strong relationship with set designers, costume designers, and composers for music. We are allowed to think BIG. So this concert is normally very exciting and creative. I have 2 other partners in this project – Wen-Jen and Julia. We’ve come up with a great idea, but now we have to solidify our concept and think about how we’re going to try and portray that through movement.

Those are the projects I’m working on this semester! I will keep you all updated on the creative process and hopefully it’ll all work out!

Happy New Year everyone and thanks for reading!!!