From Dance Teacher

By Michelle Vellucci

Rebecca McGregor’s high school guidance counselor told her she’d never make a living teaching dance in the K–12 sector. At the time, there were only three full-time high school dance teachers in all of Vermont, her home state, and no dance programs in any of its elementary or middle schools, aside from guest-artist residencies.

McGregor studied dance in college anyway. And not only did she prove her counselor wrong by landing a job, but, in a twist of poetic justice, the school that hired her—Lyndon Institute—is her alma mater’s rival.

The private high school in the rural  community of Lyndon Center, VT, (about 80 miles northeast of Burlington) is where McGregor has spent the past six years building a dance program and cultivating relationships with teachers across the state to ensure that dance in Vermont thrives. “I took it upon myself to make connections with the other dance teachers out here and find ways of bringing us together,” she says.

First Steps

McGregor started dancing in her hometown of St. Johnsbury, VT, at age 8. When a Costa Rican dancer named Liliana Cubero moved to town a few years later and took over the local studio, McGregor began taking class several nights a week, as well as assisting with baby classes and teaching a summer dance program. Through Cubero, she discovered a healthy approach to movement. “I knew that was what I wanted to do,” she recalls. “I wanted to teach.”

Fast-forward to McGregor’s senior year of college, when she traveled throughout Vermont to research school dance programs. “I learned that no one in the dance field knew of each other,” she says. “It became my goal, if I ever got a teaching job, to increase dance awareness and opportunities in schools.”

Her chance came earlier than expected, when her mom spotted a newspaper ad announcing that Lyndon Institute was looking for someone to start a dance program. Though she still had a semester of student teaching ahead of her, McGregor decided to interview for the position just for practice. Two weeks later, she was offered the job. “They waited a semester for me to finish my degree,” she says.

Anatomy of a Dance Program

McGregor started teaching part-time in January 2003, and by the end of the year, she had attracted enough students to support a full-time position the following September. Today, there are about 80 in the dance program—not too shabby for a rural school with a population of 623.
“My students are from all learning levels and socioeconomic backgrounds,” she says, noting that dance has given these children another way to succeed in school. Headmaster Rick Hilton agrees. “It is a delight to see her students strive for excellence, achieve it and receive the approval of the community,” he says. “Rebecca’s stage is a joyful place.”

Classes take place in the school’s historic Lyndon Town House, a sunny, spacious building with high ceilings and wood floors. McGregor teaches two sections of Dance I in the fall and Dance II in the spring, as well as yearlong courses in jazz and lyrical ballet. Her well-rounded curriculum covers history, technique, choreography and principles of anatomy and kinesiology.

As the school’s only dance teacher, McGregor feels it is essential to expose her students to guest artists as often as possible. “Each semester, I try to bring in people who do things differently from me so that my kids can learn something new and get experience from different teachers,” she says.

Serious dancers may audition for Pulse Dance Company, a troupe for sophomores, juniors and seniors. Company members perform and teach in local elementary and middle schools and participate in talent shows and competitions. McGregor also offers independent study courses tailored to students who are planning to continue their dance education in college.

LI’s after-school tap club and dance club, which explores styles from various cultures and time periods, such as bellydance and swing, are geared toward recreational dancers. “It’s about trying to excite kids about moving their
bodies,” McGregor explains. “We let loose and ham it up.”

Reaching Out

When McGregor started her program, she decided to befriend the local studio owners rather than try to compete with  them. The gesture paid off. “The other teachers are very supportive,” she says. “They want their students taking class with me.”

She communicates regularly with the studio teachers, sending her syllabi and weekly outlines to those with students in her classes so they know exactly what she’s covering. “I make it a point to connect to studio teachers so they feel I’m trying to stay on the same page,” McGregor explains. “We share ideas. It’s important for us to connect and talk about the students, because that’s how they’re really going to progress.”

To connect with dance educators and students on a broader scale, McGregor founded the Vermont State Dance Festival. Now in its sixth year, the annual event brings about 150 teachers and students from around the state to the LI campus to participate in classes and performances. In addition to offering professional-level classes, it allows dance teachers from throughout Vermont to meet, collaborate and learn from one another, McGregor says.

Meanwhile, nearby elementary and middle school students get a taste of LI’s dance offerings, thanks to visits from members of Pulse Dance Company. And each spring, McGregor invites other schools and studios to participate in a benefit recital. Four schools took part in last year’s show, and she’s hoping for a few more this year. Admission is free, but donations are accepted; the proceeds go to organizations that promote child wellness. “We usually have about 500 people in our audience,” she says. “In the Northeast Kingdom of Vermont, where hunting is the biggest sport, that’s pretty exciting.”

Looking Ahead

One of McGregor’s plans for the future is to encourage local schools and dance studios to get involved when guest artists come to town. “It would be great to establish a rotating schedule,” she says, “and have dancers from other high schools and studios participate in the master/open classes offered by the artists in residence.”

After running the show solo for the past six years, McGregor says she’ll eventually start delegating certain responsibilities—though she admits she often feels she could keep going forever. “I could easily work on lessons and choreography 24/7 or until I fall asleep in motion, because I am passionate about my job,” she says. “I love seeing the students grow physically, cognitively and socially.”

For now, she’ll continue forging ahead, doing what she loves. “Rebecca possesses that essential quality of great teachers: a passion for her academic discipline,” says Hilton. “Her lessons instruct her students, but her example inspires them.” DT

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.

From Pointe

The Joffrey Ballet Artistic Director Ashley Wheater gives an insider’s perspective on what directors want to see.

What should dancers include in an audition DVD?

Everyone’s at different places in their career and what you include depends on that. If you’re just coming out of school, you need to be able to show some good center work, including adagio, good pirouettes, jumping, batterie and on up. It’s ok to include some barre work, but don’t spend a lot of time on it. With women I really want to see pointe work: how they roll up and down. For the men, I like to see big jumps, including double tours and double assemble; fifty percent should be partnering work, no matter whether you’re at the principal level or in the corps.

I also want to see a good classical variation, and good contemporary dance. Show you understand contemporary movement, whether it’s Taylor, Graham, Horton, etc. Sometimes with audition tapes I see a dancer do a lot of tricks but I don’t know if they can move across the room. I really want to see how you connect movement and how musical you are. Show your personality. Make sure you’re performing enchainements as opposed to just exercises.
Is there anything you’d like to see in more audition DVDs?

It’s really nice when the dancer introduces themselves at the very beginning of the tape. Ballet is so much about who you are, it’s important see a dancer’s personality.
Is there anything you don’t like in an audition DVD?

It’s difficult when DVDs come with a long explanation like, “I’m the second one from the left in the third formation.” Try to be as clear as possible who is auditioning. Also, I want to know what year the footage is from. It has to be current.
What should dancers wear in the DVD?
No black tights. It makes it really hard to see in a video. Women should wear a light colored leotard and pink tights. I like guys in grey tights.
How long should it be?

Around 15 minutes.
Can you tell when dancers are trying to camouflage certain weaknesses?
Yes. The material should be as interesting as you have the ability to perform. Choose a variation that shows you to your best advantage. Don’t change the variation. It just shows you can’t do the hard steps.
From first turning on the DVD, how long does it take for you to make a decision?

I’m pretty attuned to what I like. I can decide fairly quickly whether a dancer appeals to me. Directors are usually quite clear about what they need for their company. Sometimes we’re looking very specifically for a small woman at the soloist level. A lot of kids don’t understand that. Nonetheless, I almost always watch the whole DVD. If someone is really talented but I can’t hire them at that time, I’ll call them to give them advice for finding a great company for them.

Right now it’s a fragile time. The arts are struggling along with everyone else. Looking for a job in ballet is hard work. You have to be ready for it and understand what it is to work in pointe shoes for seven hours, look after yourself, eat well and pick up choreography quickly. Companies don’t have the luxury of having people hanging around and not being used.

Hello my friends!

I have had my share of injuries, as every dancer does.  I sprained both ankles while skiing, on different occasions, when I was very young.  The doctors told me I had to stay off of it for six weeks, but obviously I wouldn’t have that.  I went to my chiropractor and he put the bones back into place, tied the ankle up with athletic tape, and I walked out of the office and was dancing within a week.  I can’t say it was smart, but I couldn’t bear to take time off of dancing.

Now, most professional companies make you sign an agreement that you won’t do crazy sports like skiing and snowboarding while you’re on a contract, but injuries do commonly happen in the studio.  Just last year, I was in class and landed wrong coming down from a jump during petite allegro; I ended up pulling a ligament on the outside of my left ankle.  I could still take barre, but my foot doctor wouldn’t let me turn or jump for a month since I would run the risk of tearing the ligament.  It was actually great having a chance to get down to basics and re-train myself so that when I did start jumping again, my technique had greatly improved.  The only problem was, I had shows coming up and had to jump back into rehearsals immediately.  It’s hard to be careful when you’re doing intense choreography as opposed to class work.  That ankle still gives me trouble every now and then.

Last week, I was landing from a pirouette and when the foot in passe came down, my pointe shoe slipped.  I didn’t have time to shift my weight forward and, before I knew it, I was on the floor with a throbbing ankle.  It’s hard to pinpoint exactly what happened, but when I came down, my foot beveled and all of the weight went to my right ankle/inside of my arch.  It tweaked my knee a bit, but the biggest problem was the outside of my foot.  All the way from my pinkie toe to the top of my ankle bone, the tendons were strained.  I was limping for the next few days and am still waiting to get into the foot doctor.  I’ll have to take a bit of time off to make sure I don’t injure it further.

The only way I get through injuries and recoveries is by seeing the bright side of it.  Yes, I can’t do certain steps for a while and have to take time off, but at the same time, it gives me a break and lets me get back to basics with my technique.  No, its’ not much fun, but it helps me cope.  I’m sure all of you have had to take time off at one point or another due to injuries.  What did you do to get through it and get back into the groove?

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!

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

Nathan Trasoras, finalist from So You Think You Can Dance, visited the Discount Dance Supply retail location in Anaheim on Feb. 6, 2010 to launch his new t-shirt line.
Brett asks him about the finer points of dance and his career.
Check it!