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 Dance Spirit

By Alison Feller

As the co-executive producer of “So You Think You Can Dance,” Jeff Thacker has seen it all. He’s watched dancers face-plant during the audition process, but he’s also witnessed the dancers who blew Nigel and Mary away. He’s here to tell you how to get your ticket to Vegas—
and for the hot tamale train.

Do:

• Dress to impress. It makes a big difference.

• Be as unique and memorable as you can. Show us something we may not have seen yet.

• Show us your charisma and character. Having a good personality is equally as important as excellent dancing ability.

• Come and enjoy the entire experience.

Don’t:

• Come unprepared. You never know what songs you may dance to or styles you’ll be asked to do.

• Dance in a style that isn’t your own. Be good at your own style, not bad at another.

• Wear hats or glasses that cover your face. We need to see you.

• Hold back. Just go for it and do your best.

From Dance Spirit

By Lauren Levinson

Put emotion behind it! Tabitha and Napoleon D’umo say to a room of Monsters of Hip Hop convention-goers. The D’umos are in the midst of teaching a lyrical hip-hop combination to “Apologize.” by OneRepublic. Eighteen-year-old L.A.-native Aimee Winston, who assists teachers like the D’umos, Kevin Maher and Tony Testa, concentrates on learning the steps. However, the D’umos instruct her to stop thinking and start feeling. The choreography, a mix of robotic isolations, hard stops, dramatic collapses and floppy bounces, is tailored to bring the song’s message (it’s too late for forgiveness) to life.

“When I put myself in the song and dance out how it makes me feel, my musicality and overall performance is better!” says Aimee, who credits lyrical hip hop with helping her become more animated so she’s not just moving for movement’s sake.

For dancers like Aimee who want to do commercial work, lyrical hip hop is a must. And jazz and ballet dancers find it to be a smoother transition to hip hop. Lyrical hip hop’s contemporary roots are closer to their training than street dance. Plus, they’re more familiar with its pretty melodies than rough rap beats.

You may have seen lyrical hip hop on shows like “So You Think You Can Dance” or “America’s Best Dance Crew.” Still not sure what it is? DS has got the exclusive, all-access breakdown of this popular style!
Hip Hop vs. Lyrical Hip Hop
I like to move it, move it!
When you’re trying to identify a lyrical hip-hop routine, look for hip-hop choreography sprinkled with contemporary-inspired steps that tell a story to the lyrics of a song (usually a slow one with a strong beat).

“You’re not going to see hitting, locking or buck style in lyrical hip hop,” Napoleon says. Expect isolations (especially of the chest), slow, fluid movements (like gliding and body waves) and contemporary-inspired turns (but not pirouettes). There’s popping, but not the hard-hitting kind. Dancers are meant to look like they’re unwinding, unraveling and floating.
Give Me a Beat!
Both hip-hop and lyrical hip-hop dancers are extremely musical, but they interpret the beat differently. Hip-hop dancers hit the beat (one, two, stop). Lyrical hip-hop dancers ride through the beat while still accenting it (one, two-ooo).

“In hip hop, if you were dancing with a partner, you would punch and stop at his face,” “ABDC” judge Shane Sparks explains. “But in lyrical hip hop, you would punch and go past his face. Lyrical hip hop contains movements across measures.” And the nuances and smooth melodies of slower R&B songs and ballads are the perfect tunes for the style.

Once Upon a Time
There has always been story-telling in hip hop. “People assume that the only emotions in hip hop are anger and aggression,” Jed Forman, NYC popping teacher, says. “But street dance was also about hardship, and this came out through the moves.”

What makes lyrical hip hop unique is that there has to be a story. (In hip hop it’s acceptable to have one or not.) And these stories go beyond the emoting you might see dancers do during a contemporary routine. Lyrical hip-hop dancers take it to another level by actually playing characters. “A guy walking down the street snapping his fingers isn’t dramatic enough to be considered lyrical hip hop,” Tony Testa, commercial guru and convention teacher, explains. “But a guy walking down the street trying to get the girl is!” Learning how to dance out stories to the extreme can help those looking to release their technique and take their showmanship to the next level.
Its Roots
Perhaps the first time you heard “lyrical hip hop” was on Season 4 of “SYTYCD.” Mark Kanemura and Chelsie Hightower had just performed a routine about a workaholic and his neglected girlfriend choreographed by the D’umos to Leona Lewis’ “Bleeding Love.” Guest judge Adam Shankman jumped out of his chair with delight and called the dance lyrical hip hop. However, this wasn’t the birth of the movement.

The D’umos (and many others) taught similar routines throughout the ’90s. In order to get Las Vegas executives to hire them, the D’umos made street dance mainstream by telling relatable stories and using pop music.

Lyrical hip-hop choreography was more fitting to the Las Vegas stage than freestyle dance battle sequences. “Things that come from the street have a completely different aesthetic. Street dance is done in a circle, so there’s no sense of ‘What am I projecting to the audience?’” Forman says. “With lyrical hip hop, the moves are made to be done in front of an audience that’s looking at a stage.”

When “SYTYCD” aired in 2005, the program’s producers were looking for creative styles that would appeal to mass audiences. Lyrical hip hop was a perfect fit. When the camera zooms out, you can see all of the dancers in a single frame, and when it zooms in, the animated faces are exciting to watch. Plus the style challenges dancers’ versatility, and the story-telling aspect of it helps them create chemistry with their partner onstage.
The Great Debate
Those deep within the hip-hop community love the artistry of lyrical hip hop but have some objections to how it’s being labeled. According to Sparks, mashing two words together doesn’t make a new style. “You can’t call something a cat-dog or a dog-cat and make it a real thing,” he explains. “The same idea goes for lyrical hip hop.”

Others say the movement doesn’t reflect true street style. “Lyrical hip-hop moves, like dramatic coasts and grabs, don’t have groove—they’re more linear,” Forman explains. “It’s that groove that makes a step hip hop.”

However, the D’umos and many others do consider it to be hip hop. “When I read blogs claiming that our choreography isn’t hip hop,” Napoleon says, “I think, ‘We’re not doing booty shaking or popping and locking, but that’s not our style of hip hop.’ People say we look too technical, but I’m a freestyler!”
A Final Thought
Labels aside, lyrical hip hop is one of the ways in which urban dance is evolving. “People have so much access to dance via web and TV,” says Sparks.

“So we need to keep giving them new stuff, like lyrical hip hop. Forget the title—accept the creativity of it!” As for what we’ll see next from the great lyrical hip-hop masters, the D’umos?

“Well, I’d love to do a Jason Mraz song,” Napoleon says.

“I don’t think they’re ready for that yet.…” Tabitha says.

And if you’re a savvy dancer like Aimee? Add the style to your to-do list, not only because it’s fun, but because it may be what gets you hired at your next audition!

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?

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!

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!

Now adays, you can purchase makeup brushes at a very resonable price.  If you spend the extra money on some good brushes, you can keep them for a long time.  I usually use MAC brushes, just because they are very easy for me to pick up at the mall,(and because I get a huge discount for working on a television show:)). Even though they a re expensive, I still find that they shed on my face sometimes which is a little annoying. When I travel, I use a travel set. I sell these on my website for $15! www.rachelrossmakeup.com They come ina roll up bag, and they are great. They have 6 brushes inside, and that includes my favorite eyeliner brush.

Whatever brushes you buy, make sure that you keep them clean. If you reuse the same brush, you can spread dirt and oil all over your face, which will cause breakouts.

Every couple of weeks you should wash your brushes in warm water and shampoo. You will be so amazed at the dirt and old makeup that comes out. When they are clean, roll them up in a towel to soak up the water, and then lay them on your bathroom counter with the brush end hanging off.  Or put them in a glass standing upright until they are dry.

If you are using your brushes on other people, you can buy some brush cleaner at Sally’s beauty supply, or Clinique and dip your brush into it and wipe them clean on a peper towel. It dries in a couple of minutes. That’s what the professionals do.

Bobby Pins!!!!!!

I would like to talk about Bobby Pins today.

I bet 90% of people are using bobby pins the wrong way. 

On a bobby pin, there is a smooth side, and a ridged side. Usually people will put the smooth side against the head……WRONG!

The smooth side will slip right off, as soon as you start dancing around on stage.  The ridged side is what goes against the head. When I am pinning a bun, I take the bobby pin, and with the smooth side down….I pick up some of the hair and push it away from the bun. Then I flip it over and with the ridged side down, secure it against the head. This will cut the number of pins that you use in half:)

This is how you use a HAIR PIN as well. You use the pin to pick up some hair going away from the bun or french twist….and then flip it around and secure it.

Actually that’s a lie. I won’t actually be home for Christmas, but I WILL be home after the New Year from January 4-14th!!! I’m so excited to see everyone and to teach some classes again! I still have 2 days of school left, a rehearsal on Wednesday, and a music final on Thursday, but I leave on Friday, Dec. 18th! Just incase some of you are interested here is what I’ll be doing during my winter travels.

First, I fly into LAX where I’ll be greeted by my mother and then we will drive to the Huntington Beach Hyatt where we’ll check out the location for my wedding!!! I have the date set to August 6th, 2011. My mom has already seen the hotel and loves it, but once I give it the official “ok” then Chester and I can send out save the dates! I’m so very excited!!!

Next, I will drive to south county to have dinner with my South County Dance girls! I’ll only be visiting for just that one night, but I will get to spend lots more time with them when I’m back in January.

Saturday, Dec. 19th I get to attend the wedding of Andrea Hosfod and Kevin Oberlander. Andrea is part of BARE Dance Company of which I was a part of for the past 3 years so I will be celebrating their marriage with them. Yay!

Sunday, Dec. 20th I fly out to West Palm Beach, Florida! My Aunt has a timeshare so I will be spending just a couple of days with my mom, aunt, grandma, and sister.

THEN on Wednesday, Dec. 23rd I fly into Juneau, Alaska where I’ll FINALLY get to see my fiancé, his parents and my dogs!!! I’ve missed them so very much and I can’t wait!!! I’ll get to spend Christmas and New Years with them. I will also be freezing my butt off, but it’ll all be worth it.

Saturday, Jan. 2nd I then fly to CA!!! I get to spend a good two weeks there and I will be teaching all over the place! I’m so very excited to share all the things I’ve been learning over here at Tisch. Can’t wait!!! For those of you who are interested here’s a sneak peek to my schedule in my CA visit:

Monday, Jan. 4th
Subbing for Clarisse at South County Dance
2:30-10pm

Tuesday, Jan. 5th
Taking and observing classes/dances at South County Dance

Wednesday, Jan. 6th
Taking class somewhere most likely Jazz 4 with Mike Esperanza at Jimmy Defore!
Work on Jerome’s solo costumes!!!

Thursday, Jan. 7th
Taking class somewhere…
Work on Jerome’s solo costumes!!!

Friday, Jan. 8th
Privates at South County
***Teaching at Lovett Dance Center 6:00-8:30pm*** Come take!!!

Saturday, Jan. 9th
Observing at South County Dance/helping Jerome with his privates

Sunday, Jan. 10th
Privates ALL DAY at South County

Monday, Jan. 11th
Teaching at OCHSA – ALL of Brenda’s Jazz 3 classes Blocks 4,5, and 6!!!

Sub for Alexa at South County Dance??? 8-9pm

Tuesday, Jan. 12th
***Teaching at Elevation Studios 8:30-10:00pm*** COME TAKE!!!

Wednesday, Jan. 13th
Possibly teaching Boogiezone class???

Thursday, Jan. 14th
Subbing for Clarisse at South County Dance 3:00-9:30pm

Well, I’m counting down the days. It will be so nice to be around familiar surroundings and people again. Can’t wait!!!

Hello everyone…I am alive! I officially made it through my Christmas showcase and it was wonderful!!!! It was a small first showcase, but filled with friends and family and long-time students. Everyone enjoyed themselves and I think it was a great success.

So for me I am now onward to my next mission…I never take a break! I am going to be competing with my professional partner in the American Smooth division of ballroom competitions hopefully in February or March of 2010.  I have a lot of work ahead of me as far as choreography, cleaning up technique, finding a dress (saving $3500 for a dress aaaaahhhhh) etc.  But I really feel likes it’s my time to think of me and try something new. I have a wonderful partner who is looking out for my best interests so I feel like I am in good hands. I will keep you all posted on my progress and post some pictures as soon as I get them from my Christmas show.

Happy Holidays