“Behind every dancer who believes in themselves is a teacher who

Transcription

“Behind every dancer who believes in themselves
is a teacher who believed in them first.” —Author Unknown
Welcome to our 16th Annual Teacher Workshop! To help you get the most out of your experience here, we have
compiled detailed notes for each class and seminar for you within this program. We hope it will also serve as a valuable
reference tool and teaching aid once you are home in your studios. The notes are organized in the order of your
Teacher Workshop schedule. For quick reference, you can also see the legend on the next page for faculty listed
alphabetically.
This year’s event features some of our PULSE Faculty, dozens of BDC Master Faculty and special guests from across the
country. Your line-up includes your favorite faculty, new talent, exciting seminars and extensive genres to get you
motivated for your upcoming dance season. We are excited to have Broadway Dance Center hosting your Friday
morning classes. BDC will be hosting breakfast upon your arrival at 8:30AM, followed by four exclusive Teacher
Workshop 9:00AM classes. Please feel free to stay and enjoy your good-for-one BDC class–classes will resume at the
Grand Hyatt at 1:00PM.
IMPORTANT NOTE: In order to speed up your check-in process, please stop by one of the BDC’s booth on either the
Manhattan and Empire levels to make an account prior to class time. You must sign in through your account to reserve
your Friday morning Teacher Workshop classes at BDC and to sign up for additional classes at Broadway Dance
Center. Please visit http://www.broadwaydancecenter.com/studioinfo/new_students.shtml to create your BDC
account!
We are constantly adding to this line up to plan the perfect array of material for you to recharge and refresh your
curricula. We encourage you to give us your feedback on what genres, levels, and teachers you would like to see
more of. This is your workshop!
We're looking forward to an incredible weekend of dance education!
The PULSE Showcase • Tuesday, July 26th – 4:30PM
The PULSE Showcase offers an opportunity for dancers to perform any number of their choice (solo, duet, trio, small
group, large group, line, or production) in front of a panel of elite evaluators. Each routine will receive an audio/visual
critique. Performers will have the opportunity to be chosen to: perform in our Opening or Closing Number at the Final
Night Gala, re-perform in our Scholarship Ceremony on Saturday afternoon, receive Scholarships and Awards and are
eligible for our PULSE Choreographer Award.
• The PULSE Showcase is free to attend and no wristband is required. Everyone is invited – we welcome you!
The PULSE Battle Royale Finals • Friday, July 29th – 8:00PM
The Battle Royale Finals will consist of the top routines from our Battle Royale Semi-Finals held during our 2015-2016
regional tour. Routines will re-compete in front of ALL PULSE Faculty. These pieces will compete for our ultimate cash
prize and the title of our Battle Royale Finalist!
• The PULSE Battle Royale Finals is free to attend and no wristband is required. Everyone is invited – we welcome you!
The PULSE Final Night Gala • Saturday, July 30th – 8:30PM
The PULSE Final Night Gala is the finale to not only our PULSE Summer NYC, but to our entire PULSE Season! Filled with
surprises and special guests, the show will also showcase dancers from our private Faculty Invitationals, our PULSE
Protégé Program, and the top routines from our Battle Royale Finals! We will also be announcing our Elite PULSE Protégés
for the 2016-2017 Season. This evening highlights the most exciting moments that have happened at The PULSE this
season. We look forward to seeing you there!
• Tickets are available and can be purchased at Customer Service.
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TABLE OF CONTENTS
Abbott, Mary Dana—Yoga
Albrecht, Mark—Tap
Barker, Sheila—Jazz
Brown, Kelby—Contemporary Ballet
Bufferd, Emily—Contemporary Techniques
Cook, April—Tap
Cox, Ginger—Contemporary
Epstein, Susan— Parent/Student Chat
Epstein, Susan–Dance Colleges & Careers Seminars
Epting, Jessica—Ballet
Erickson, Bonnie—Careers for Dancers Seminar
Farrell, Linda—Pilates
Feliciano, Leslie—Hip Hop
Griffin, Billy–Musical Theater
Hale, Chris–Ballet
Hayn, Allison— Retail & Merchandising Seminar
Hinds, Ricky–Musical Theater
Horenstein, JT—Musical Theater
Hurlin, Denise Roberts–DRA Seminar
Hutchinson, Shelly— Contemporary
Kurka, Calen—Jumps & Turns Technique
Kurka, Calen–Musicality & Improv
Lipton, Brooke–Contemporary
Lown, Misty—Studio Problem Solving Seminar
Lown, Misty—Marketing & Productivity Seminar
Noblett, Toni— Tap
Perna, Hedy—Show Analysis Seminar
Powell, Matthew— Ballet
Rodriguez, Enrico–Lyrical
Salmon, Jamie—Ballet
Salsberg, Germaine–Tap
Salter, Clint–Student Attraction Formula Seminar
Santana, Tamia–Transitioning Dancers Seminar
Scott, Leslie–YPAD Seminar
Shaffer, Matthew–Commercial Industry Seminar
Shankman, Doug–Tap
Veldink, Wes–Contemporary
Wilson, Deborah—Jazz
Wittmers, Mike—Tap
Wolfe, Melissa–Body Awareness Seminar
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10-11
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24-26
9-10
15-18
20-21
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6-7
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32-34
3-4
23-24
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8-9
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8
31-32
5-6
34
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21-22
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11-15
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THURSDAY , JULY 28 TH , 2016
MARY DANA ABBOTT
THURSDAY, JULY 28TH, 2016 9:00AM
YOGA FOR DANCERS
As dancers we expect a lot from our bodies during both performance and practice. Yoga is a great supplement, because it gives
us space to look at moving our body from the point of view of process rather than performance. In this class we will explore a yoga
practice designed for the specific needs of the dancer's body. In this space, structural alignment can be corrected, injuries can be
prevented and stress can be reduced.
Class will include:
•
•
•
•
•
Warm-ups/Sun-salutations to connect students with their breath and spine and to get the blood flowing through the muscles
Vinyasa sequences to connect movement and breath and help correct structural imbalances
Core work and arm-balance work to develop strength and confidence
Strength based stretching that allows the muscles to open up safely
Relaxation to absorb the practice
Thank you all for participating and feel free to stay connected:
Website: www.marydanayoga.com • Email: [email protected] • Facebook: Mary Dana Yoga • IG: @marydanayoga
DEBBIE WILSON
COMMERCIAL JAZZ
Hi Teachers! Welcome to The Pulse’s 16th Annual Teacher Workshop – July 2016
My notes this year reflect some the things that I talked about for last year’s Teacher Workshop. The most important thing I tell my
Students is “Be a clean dancer”. I want to take pictures of every movement, so your lines and body should always be clean. I
push my students to start thinking about strong and clean lines from the warm up so when they get to the combination they
automatically have that accomplished.
The other thing that I have been talking about all year is for dancers not to be lazy when learning the choreography. I have a lot of
Students that either audition for projects or that want to start auditioning. So I talk a lot about the audition process and tell my
students to get out of the habit of marking while they are learning the combination. If they go to auditions they need to be “on” the
minute they walk in the door. The people that are watching them learn the choreography, are already scoping out who they like.
And they are not interested in those that are marking the steps or being lazy with the movements. So I make them start doing this
in class, so they are ready when they go to the auditions.
Since I choreograph mainly to the words of the song, I ask my Students to tell me a story with their dancing. I am not interested in
just seeing steps. I believe dancers are actors as well. I would like to see the story you are trying to tell, which includes the
emotion and the performance.
Lastly, I have been saying in my class that I want the students to enjoy being in class. Yes I want them to work hard but I also
want them to enjoy it all. I tell them even in the warm up to smile a little because they are happy that it is a beautiful day and that
they are here in New York City taking a dance class!
Because I give out a lot of energy while I teach I expect the energy to be given back to me, not only when they dance but also
when they respond as a group when I ask them a question. Even a simple question like “Would you like to do it one more time?”, I
like to hear a nice energetic response. I push my students a little hard but I still give them the praise when I see the improvement
and I see them taking the notes and corrections I give them and applying them. It makes me very proud.
To All the Teachers: “What a joy it is to be a Teacher who inspires so many! Having tough love for our Students not only helps
them to grow but also helps them to be the best dancer they can be. They are our future….keep inspiring Teachers!”
Hope these notes help. Looking forward to dancing with you all again this year.
RICKY HINDS
MUSICAL THEATER
SONG: “Getting Ready Rag” from Ragtime
Starts at 0:13 on track
1x8: scoop hip step right, cross left behind, step right, cross left in front (1, 2, 3, 4), repeat (5, 6, 7, 8)
1x8: step our right to prep (1), hold 2, inside drag turn with arms in loose position on top of each other (3, 4), chug left foot as you
kick right foot side, cross right foot in front of left (5, 6), hold 7, ball change (and, 8)
1x8: step left, stomp right across, step right, stomp left across (1, 2, 3, 4), step left kick right foot across (5,6), step right, left
towards stage right (7, 8)
1x8: step onto right landing in low plié position (1), head knocks (3, 5, 7), bring left foot into posse crossing arms on top of each
other in a contracted position (8)
1x8: step left dragging right foot (1,2), ball change right left turning over right shoulder to face upstage (3, 4), step out on right foot
facing upstage (5), hold 6, step left, right going towards stage right (7, 8)
1x8: step left (1), hold 2, inside ron de jambe with right to face downstage (3, 4), step back on right foot (5), hold 6, step left
towards stage left (7), hold 8
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1x8: jump feet together right with arms up, slap right hip with right hand (1, 2), repeat to the left (3, 4), step out onto the right (5),
hold 6, chainé to the left (7, 8)
1x8: step onto the left (1), head knocks (3, 5, 7)
1x8: Charleston front and back with the right foot (1, 2, 3, 4), ball change back on the left front on the right (5, 6), step ball change
downstage (7, and, 8)
1x8: scoop right foot front pulling into posse scooping arms in towards chest (1, 2), ball change back on the right foot step forward
on the left pushing arms straight forward with flexed hands (3, 4), step forward on the right pulling arms back, kick left pushing
arms forward with flexed hands and then both arms and leg retract back (5, 6), repeat on the left (7, 8)
1x8: step front on the right foot so you’re in a parallel fourth position in plié (1), scoop arms in a circle position slapping legs and lift
right two off the floor (2), toe down (3), repeat toe up with arms (4), step back on the right with arms crossed in an x position in
front of face (5), hold 6, step front on left (7), swing arms in a circle position inwards stomping right foot in front ending with head
dropped and both arms in a circle position pointing down with flexed hands (8)
1x8: lift head and tap right toe out swinging wrists open so fingers are pointing out, come back in (1, 2), repeat 2 more times (3, 4,
5, 6), bend right knee up and bend arms with flexed hands (7), step down on right foot and straighten arms down with flexed
hands (8)
1x8: step back on left, pop into plié and bring right foot into posse (1, 2), repeat on right (3, 4), step back on left (5), slap legs
doing inward circle with arms (6), step front (7, 8)
1x8: posse scoop right foot up (1, 2), step right, left moving stage right (3, 4), step right, snap to the right (5, 6), step left, snap to
the left (7, 8)
1x8: 2 chainés to the right with a little air time (1, 2, 3, 4), step out on the right, hold 6, chainé to the left (7, 8)
1x8: chassé ball change to the left (1, 2, 3, 4), repeat to the right turning around yourself on the ball change
1x8: 3 kicks to the right straightening your arms all the way with flexed hands (1, 2, 3, 4, 5), step onto the right (6), throw arms
over head putting your weight center (7), drop arms and shift weight onto left foot (8)
MISTY LOWN
SEMINAR: STUDIO PROBLEM SOLVING
“Launching a business is essentially an adventure in problem solving.”
–Sir Richard Branson
I.
Employees
a. Hiring
b. Training
c. Equipping
d. Moving On…
II.
Financial
A. Increasing ____________
B. Increasing ____________
C. Managing ____________
III.
Changing Legal Landscape
a. Healthcare
b. Overtime Rules
c. Teacher Benefits
IV.
Clients
a. Why they come
b. Why they stay
c. Why they go
V.
Competitors
a. Copycat Culture
b. Brand Identity
c. Value Proposition
MIKE WITTMERS
TAP: “MAKING ADVANCED WORK OUT OF EASY STEPS”
In this class, we will be working on a few footwork exercises that start off with easy footwork and then progress to an advanced
level. We will do a fun slide/over-the-top pattern for Right and Left sides. We will also be learning a combination that has easy
footwork but becomes advanced with musicality.
Footwork Exercise #1 – Triplet-izing Time Steps
8&1, &2, &3, &4, &5, &6, &7, &8, &1&a2&a3&a4&a5&a6&a7&a8&a, 1, &2...
(Repeat/Reverse)
R
R
L
R
L
R
L
L
R
L
R
L
R
Stomp brush hop, flap, flap step stomp brush hop, flap, flap step stomp
(5x – R, L, R, L, R)
Footwork Exercise #2 – Triplet-izing Lindy Step
4
&1, &2, &3, &4, &5, &6, &7, &8, &1&a2&a3&a4&a5&a6&a7&a8&
R
L
R
L
L
R
R
L
R
L
R
Flap ball change, brush back, brush back, flap ball change, brush back
L
L
brush back
(5x – R, L, R, L, R)
R
*Time permitting, I will show a “Shuffle pick-up flap” step that can be “Triplet-ized”, as well.
Slide/”Over-the-toe” Pattern
We will be doing a pattern with Toe/Drag slides, “Over-the-toes”, and “Fall-off-the-logs”
Combination
We will learn a combination that uses easy footwork, but has difficult musicality; to make it a more advanced routine.
CHRIS HALE
BREAKING DOWN BALLET BASICS
I hope to be able to share the anatomical information as well as the images that I use on a regular basis to educate my students
so that they understand how their bodies work but also how they can achieve what they desire. The Information I share comes
from years of teaching and my own personal studies of anatomy, Pilates, Gyrotonic® and continued dance training and research.
This class will focus on what in my opinion are the most important fundamentals of ballet and well, really all movement forms:
Alignment- I feel that this is the number one most important principle of dance. If a dancer is not in the proper alignment then the
correct muscles do not fire. More than the aesthetic, I like to focus on getting dancers into an alignment that allows the body to
function most efficiently and then make adjustments to reach the desired aesthetic once the awareness and strength develop
rather than basing things on what it looks like.
Placement - Once the best alignment is found then the focus should be on maintaining that alignment through movement to
continue to strengthen and condition the body to function the way we desire. Exercises to bring awareness of proper placement
are so integral to helping dancers understand how this translates to all movement styles.
Rotation - More than just the way it looks rotation serves the function of helping us to move through space and to have our
movement be supported. Breaking down the mechanics of rotation and how to strengthen it, are crucial to clear connected
movement. Here we will also discuss the anatomy of the pilé.
Abdominal support - Unlocking how to actively use the abdominals is key to having supported movement. Additionally many
more muscles make up our core than just our abdominals and every muscle needs to be doing their job.
Primary movements - Plié, tendu and coupé. Focusing on these actions and how they develop into all other movements helps to
dissect how the body should be functioning. I truly believe that if a dancer can gain the awareness, strength and stamina required
to execute these movements with maximum efficiency they can have greater access to their bodies and truly guide themselves
through their training in a way that empowers them and helps them attain their goals.
HEDY PERNA
SEMINAR: SHOW ANALYSIS FROM THE VIEW OF AN AUDIENCE MEMBER
For most Studio Owners, our annual dance recital is the number one profit center for the year. Having a successful recital helps
fund the bleaker summer months, let’s us invest in studio repairs and improvements and should allow you to make a profit so you
can relax and recharge yourself for the upcoming dance season – and avoid living on ramen noodles.
Yet, when we say the words “dance recital” most people’s eyes roll to the back of their head. For some reason, inviting someone
to attend a dance recital ranks right up there with them having to sit through a root canal. How did that happen?
Well, I can tell you that I work really hard to make sure my audience has a great recital experience from beginning to end. In fact,
we don’t call it a dance recital – we call it our Annual Production – because it is!
• Professional Lighting
• Professional Sound & Edits
• Professional Sets & Scenery
• Professional Program
You name it, I try to provide it. Not just for the enjoyment of my audience, but especially for my dancers so that they can
experience a full out professional show– it’s Broadway at the Jersey Bayshore.
Let’s take a look at the recital process from the eyes of an audience member. If you do it right, you will have a loyal attendee year
after year. That’s right, many of our audience members had children that graduated long ago, but they still come to watch the
shows. What a great compliment – and great ticket sales!
SHOW ANALYSIS
OVERALL
GRADE
To make improvements, things must change. I find that nothing changes if “nothing changes”. Being honest with yourself for the
sake
of your business, how would you answer?
• Was the show entertaining or does it deserve the reputation of ugh - “dance recital”?
Most shows have a few high and low spots. Tell us:
Production Highlights:
1 ________________________________________________________
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2 ________________________________________________________
3 ________________________________________________________
Things in the Production that could use improvement:
1 ________________________________________________________
2 ________________________________________________________
3 ________________________________________________________
• Was your show profitable?
Yes – Congratulations. You deserve every bit of praise and financial gain for your hard work and effort.
Be proud of yourself – you earned a well-deserved rest and a reward.
No – Sorry to hear that your hard work and effort didn’t result in a profit. Remember that dance isn’t just an Art – the dance studio
business is a real business and you carry all the financial responsibilities – but you deserve to get paid. Let’s work to change
that.
• While your show was taking place, was there anything that occurred on stage or back stage that disturbed you or caused you to
be
anxious instead of enjoying the recital process.
1. ________________________________________________________
2. ________________________________________________________
3. ________________________________________________________
4. ________________________________________________________
• What do you plan to do to repair the above so you enjoy your own show?
1. ________________________________________________________
2. ________________________________________________________
3. ________________________________________________________
4. ________________________________________________________
ENRICO RODRIGUEZ
THURSDAY, JULY 28TH, 2016 1:30PM
LYRICAL
Hey fellow teachers!
Okay, so I can go on and on about exactly how I run my classes down to every muscle that is used in my warm up, all my across
the floor exercises, to every 8 count in my combo. I want to go in a different direction...
What I want to say is this: Dance is more than technique and "tricks". TONS more. My lyrical class (actually, all my classes for that
matter) is designed with a balance of teaching not only proper technique but also how to dance with believable emotion, breath,
precision, musicality and dynamics.
Bullet points:
• Making warm-ups and across the floor challenging but also fun, interactive, and useful.
• Taking the judgment and bullying OUT of the studio and creating an environment that embraces and nurtures growth, technique,
encouraging/being inspired by one another, and artistry.
• Putting a focus on proper technique and artistry first, they are at the core of any dance, not "tricks". (This may seem redundant
but I'm trying to make a point. Lol.)
• Telling the story, and how you can make your students understand why it's important
• Precision and quite frankly, the "art" of dancing 'Full-out'
•Talking and relating to the kids like they're people, not minions, and that their voice matters. We were all their age once. As
teachers, we can't forget that.
•Stress the importance of BALLET. it bugs me that plenty of kids aren't required to take ballet and/or not reprimanded when they
skip ballet. Not okay.
Anyway, that's it! If you have any questions email me at [email protected]. Otherwise, let's dance :)
BILLY GRIFFIN
MUSICAL THEATER • EXPLORING CHARACTER AND STORY IN THEATER DANCE
MUSIC: “ICH DICH LIEBE” BY PINK MARTINI
Storyline of the combination: You are on a business trip and find yourself standing outside the hotel room of a coworker you are
attracted to, deciding whether you should knock or not. You decide to walk away, but you turn around again. Thus begins a
game of “should I or shouldn’t I”. You finally decide to knock. No one answers. You give up and head back to your room, but are
stopped in your tracks when you hear their door open. You turn and run into the room, hoping no one has seen the beginnings of
your secret rendezvous.
Hold 1-2, ball-change step, pivot pivot, chainé 7-8
Piqué on L, R arabesque dramatically reaching towards the door, step R L R flea hop
6
Sway snaps toward the door, away and towards, drag turn over L shoulder, ball-change 7-8
4 ice skater chugs towards door with the intention you are going to knock
Chicken out, cross ball-change, cross ball-change turn to go R L
Slither towards the door, step on L on 4, reach towards the door stepping together on 8.
Step R, cut L around, step L R, soutenu
Step back flicks 4 X
Pivot prepare R L 1-2, chainé, prepare double coupé turn
Flick kick R leg on 1, land 2, chainé, clasp hands 5, lean back 7
Step touch hop step, step, creep, creep
Unwind tuck jump, knock on door 3, 5, 7, pull knocking arm down with opposite hand 8-1
Immediately regret your decision 2-8
Take off L leg, turned out passé jump, turned in passé jump, flutter legs R L
Kick ball-change prepare double outside pirouette turned in, jump out R L
Hips towards door 3, 5, 7
Cut R leg to door, play down your leg on the piano slide, kick ball-change reach towards the door.
LESLIE FELICIANO
HIP HOP
•Stage Presence
Facial expression, Freestyle and the transition/cue from your freestyle to continue with Choreo on stage.
•Class etiquette/stage direction
Knowing your placement in a class setting will prepare you for direction when you are on stage. When taking a class for the
first time, don't get right up front. Find a place where you can see and take it from there.
•It's better to get a little bit of a lot than a lot of nothing
This is something I tell my students so they can understand that class is a learning process that is different for everyone.
So, when taking class focus on you and not on how the next person is doing. I also say, did you know you can come back??
Which means you don't have to get it all today. Remember, class is to learn not to know. Come learn and ask the questions you
need to for your progresses at your pace. That will make it better for you and you will get your money's worth when you're in class.
•Know your lane and you will enjoy your progress
Know and understand why you are doing what you are doing in dance. Is it for the fame, to be glorified, Teach, be a
choreographer? The point is to do it for your own reasons not for the reasons of the dancer/teacher or choreographer next to you.
Stay in your lane!
•No Passé In Hip Hop, Ever!
Learn the Heel Toe technique to turn in this Hip Hop class without the Passé.
DANCER’S WHO CARE
SEMINAR • CHANGING LIVES WITH DRA
Denise Roberts Hurlin, Founding Director
Dancers Responding to AIDS • [email protected]
Chip Byars, Outreach Coordinator
Dancers Responding to AIDS • [email protected]
What is DRA?
• Brief discussion of DRA’s history and relationship to Broadway Cares and where the money goes
• Who raises money for DRA?
o Professional dance companies – Fire Island Dance Festival, Hudson Valley Dance Festival, audience appeals
o Young dancers 8-24 years old – Stars of Tomorrow….giving back today!, audience appeals, school and individual
benefits, master class series
o Donor Development
§ Dance patrons
§ Corporate & Foundation support
§ Gay community
• Why is our fundraising still important?
o 60% of those living with HIV today in the United States are not on medication
o Outreach has expanded beyond just those living with HIV/AIDS
§ The Dancers Resource – providing for the general health of all dancers
§ Women’s preventative health
§ Job Training
§ Housing
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§ Counseling - Financial Wellness, Addiction
§ Food Grants Program
§ Local impact
• How you can help
o Online Fundraising
o Social Media
o audience appeals
o school and individual benefits
o master class series
§ These options can be team building exercises for the students
§ These are community service credit opportunities
The attendees will break out into 3 – 5 person groups and to make a list of what they are good at and what they like to do. Then
share their talents and likes with the group coming up with their own fundraising event using their talents.
We then will share these ideas with all the attendees. This shows how they have the community and skills to create and impact
change right now.
MISTY LOWN
SEMINAR • MARKETING & PRODUCTIVITY
“You can have it all. You just can’t have it all at once.”
-Oprah Winfrey
I.
Program Profile
a. What is your “One Word”?
b. Who is your Avatar?
c. The 80/20 Rule
e. The 180 Spectrum
II.
What’s Your Market?
a. Geographic, Demographic, Psychographic
b. Finding your Message
c. Establishing you Method
d. Positive PR
III.
Powerful Promotions
a. Internal
b. External
c. Business to Business
d. Community Giving
e. Avoid the “White Noise”
f. Digital Hooks
IV.
Productivity Matters
a. 3 Boundaries: __________, __________ & __________
b. Rhythm Calendars
c. Fire Prevention
d. Tech Tools
e. The Best Yes
f. Big Rocks
APRIL COOK
TAP • WORKING WITH WEIGHT CHANGE
Focus: Exercises and short combos for shifting weight while dancing
Traditional steps to use for weight change
1. Hoofer's time step
2. Beginning portion of "The Walk-Around"
3. Break of the BS Chorus
Exercises
1. Flaps/shuffles and using the step vs. flap to change sides (can be done in triplet rhythm).
2. Pickups vs. grab-offs (single side into alternating into alternating with toe/heel drops
3. Cramp rolls with alternating weight and modified versions (digs, toe drops)
4. Step heel with reverse to heel toe
Email: [email protected] • Cell: (917) 825-3568 • Twitter: @aprilcook • IG: @aprilcook
CALEN KURKA
JUMPS & TURNS TECHNNIQUE
Class Focus / Description
This class is a technique class using tools based in anatomy, conditioning and structural alignment to produce a clear sense of
awareness when working through jumps and turns technique. The class is designed to ground the dancer in their body, bringing
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awareness to weight, muscular connection, and functionality of their structure through placement and conceptual ideas. Through
conditioning and exercises, information is then layered in progressions across the floor and center work.
Mechanics in Practice
The class begins with a focus on structural alignment and simple layering of tasks to both outline the placement of the body as
well as connect and build muscular strength. We build awareness by using core exercises as a foundation, and work our way
through movement of extremities to layer flexibility, length, and weight for strength.
Ideas from the floor are then translated to standing through simple movement and transitions, and then eventually across the floor.
Ideas Addressed Within Class
• Turns and Turn Exercises for strength and practice
• Progressions in basic Jumps, and Exercises for strength
• Importance of Rotation as a means of transition
• Hyper Extension and Disconnection from placement during movement
SUSAN EPSTEIN
SEMINAR • PARENT / TEACHER FOCUS
OPEN CALL ALL
Life After High School – Preparing for a career in Dance Arts
Goal Setting – Where do you see yourself in the world of dance arts? What kind of career do you want to have? (This should be
fluid and flexible as you do your research)
• What kind of program are you looking for?
o College/University – Big picture
§ Student body size
§ Small town/big city
§ Extracurricular activities
§ Sorority/Fraternity
§ Housing
§ State/Private
o What kind of city do you want to live in?
o What kind of dance department/program are you looking for? What kind of training do you need to reach your goals?
§ BFA/BA/BS
• Performance
• Teaching
• Arts Management
• Dance Medicine/Health Care
§ Liberal Arts/Conservatory
§ Professional programs
• Non-degree/Certification
§ Disciplines? Ballet/Modern/Jazz – other?
• Commercial dance
• Concert dance
§ Performance opportunities/Community Connections
§ Major/Minor/Double Major
• Inter department coordination and cooperation
• Restrictions on minors and non-majors
Research
• Websites
o Entrance requirements
o Application process and deadlines
o Auditions – schedules and process
o Scholarships – within university and department
o Credit hour requirements – course requirements
• E-mail departments of interest with questions
• Contact admissions office/counselors
• Dance Media – College Guide
• Books
o The Business of Show – A Guide to the Entertainment Business for the Performing Artist – Adam Cates
o The Artist’s Compass – The complete Guide to Building a Life and a Living in the Performing Arts – Rachel Moore
o There is Live After College – What Parents and Students Should Know About Navigating School to Prepare for the
Jobs of Tomorrow – Jeffrey J. Selingo
Actions
• Keep your grades up
• SAT/ACT preparation
o Tutoring, online prep courses, high school counseling and scholarships
• Financial aid
o Fill out FASA and CSS as soon as possible
• Narrow your choices, make a campus visit
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o Make a list of questions
• Arrange for your auditions
• Fill out institution applications
JESSICA EPTING
BEGINNING BALLET & CREATIVE MOVEMENT • AGES 7–12
Inspire dancers to work towards correct placement in beginning ballet and creative movement.
This class will focus on teaching steps and combinations using interesting age appropriate imagery while teaching
proper technique and French terminology.
Entrance
Run and Chasse
“Allegro” by Aly Tejas
Center Barre Work
Plié and Port de Bras
“Adage” by Rob Thaller
Tendus from 3rd Devant and A La Second
“Tendus” by Whitefeather productions
Coupé position and Pas De Bourreé
“Jeté” by Rob Thaller
Grand Battement
“Grand Battement 2 (with Tendu Prep)” by Rob Thaller
Floor Work
Stretch
“The Dream” by Rob Thaller
Tea Time Abdominal Work
“Tea Party Joyful Noise” by Re-Bops & “I’m A Little Teapot”
by Jim Gibson
Center Technique
Port de Bras #1 Royal Jewels
“String Quintet In e Major, OP 13: Minuet” by London
Philharmonic Orchestra
Posé, Point & Posé to Relevé 5th
“Points – Are My Ears On Straight” by Guy Dearden
Beat Prep
“Small Jumps (2/4)” by David Howard
Petit Jeté and Spring Points
“Spring Points” by Rob Thaller
Transfer of weight and glissade with ribbons
“Glissade” by Rob Thaller
Across the Floor
Figure 8’s with Triplets with scarves– Diagonal
“Rond De Jambe En L’Air” by Venti Petrov
Kingdom painting with wands
“Pizzicato Polka” by Kidzone
Skips to Treasure
“Gallops 6/8” by Richard Maddock
Claps, spring points and polka step
“Jubilation March” by Rob Thaller
Posé Temps Levé
“Pony Cantors” by Craig Wingrove
Grand Jeté En Tournant Preparation
“Grand Allegro (3/4)” by Patrick Gallagher
Rhythm, Tempo and Musicality Work
Walk, March, Skip, Run with Ribbons
“Fun Game #5 – Walks, Marches, Skips, Runs”” by Craig
Wingrove
Posé Assemble Soutenu En Tournant and Sways
“Sways” by Rob Thaller
Mime Dance/Story Dances
Beach Trip
“Strolling the Mystic Shore” by Baby Genius
Petit Allegro
Sautés and Changements
“Sautés 2” by Rob Thaller
Creative Movement/Imagery
Music Box Ballerina
“Music Box Ballerina” by Dale Freeman
Jessica “Miss J” Epting • Email: [email protected] • Facebook: Jessica Missj Epting
EMILY BUFFERD
CONTEMPORARY TECHNIQUES
Topics of class discussion will include, but are not limited to:
•Inspiring young dancers to use technique to their artistic advantage
•The importance of technique in developing artistry and spatial movement
•Setting the scene for your viewer through movement.
–What is the mood?
-Lighting choices
-Costume choices
–What is your preposition?
-For, with, at, to, beside, between, by, etc.
•Providing opportunity for young artists to discover their voice within your work.
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–Different music choices to allow freedom of time and texture while still dancing the choreography as given. I like to start
with a piece of music with lyrics for younger dancers, allowing them to have a built in guide for story and theme, then progressing
them to something a little more abstract. With older dancers, I like to ask them questions before they dance; what are they
dancing about? What light do they see themselves in? What is their preposition, are they dancing for someone, or with someone,
or to someone, or at someone? Etc. Giving them a baseline and then the opportunity to come up with their own information helps
to guide them towards their own artistic voices, even when they find themselves in a structured environment.
Instilling a love of technique in our young dancers gives them a tool that will help them in all of their styles, and throughout their
dance career. By being able to use the foundation provided to them, their artistic abilities are limitless!
Email: [email protected] • Website: www.emilybufferd.com
LESLIE SCOTT
SEMINAR • YOUTH PROTECTION ADVOCATES IN DANCE
Youth Protection Advocates in Dance (YPAD) is a Los Angeles based non-profit dedicated to building empowered communities
and keeping youth happy, healthy and safe in dance!
“This interactive seminar will forever change the way you see dance in today’s culture. I do not underestimate the amount of
emotional and physical commitment you put in to being a quality dance educator. You have a powerful influence over the
children you teach and are a valuable extension of their parental village. Dance creates wonderful opportunities to implement
healthy boundaries and teach our children true empowerment that will transcend into life outside of the studio and life outside
of us. I consider dance educators to be on the frontline of growing the next generation of world changers, which makes YOU
the world changer NOW! Let’s unite and use our powerful platform to enhance each child’s life and fulfill our calling to make
this world a better home using dance as the vehicle!” – Leslie Scott/Founder-Youth Protection Advocates in Dance and Edify
Movement
Join the conversation!
This Interactive Seminar will cover the following:
• Leslie’s Story
• Misconceptions and Myths
• WHY YPAD?
• How has Entertainment and Social Media changed dance education?
• Your Brain on Media/What does Neuroplasticity have to do with dance?
• Who is YPAD?
• Dr. Roberts: Healthy Sexuality vs Sexualization
• Self-Esteem and Sexualization of Youth in Dance
• Self-Esteem and Outreach
• What is Spirit Swag?
• Interactive Seminars: Self-Esteem and Identity for ages 7-11 and 12 and up
• YPAD Mindful Social Media Fasts
• Interactive Seminar: Support for Parents in Todays Dance Culture
• Dr. Donaldson: Development of self-esteem and our role as dance educators
• How to prevent Sex Abuse in Dance
• Research and Resources
• SOLUTIONS: What We Do!
• YPAD Handbook: “TOOLS NOT RULES: Standards, Guidelines and Suggestions”
• Membership
• Certification
• Q and A
YPAD was founded by Leslie Scott, currently on faculty at the Edge Performing Arts Center and Millennium Dance Complex and
consists of PhD specialists and dance leaders whose main area of focus is insuring the healthy emotional, physical and sexual
development of children and teens in all dance environments. Our cutting edge research provides education and a safe space for
teachers, studio owners, convention/competition owners, judges, parents and students to discuss the influence of entertainment
and social media on self-esteem, identity, body image, bullying, injury, nutrition, sexualization, internet safety, media literacy,
gender stereotypes, occupational aspirations, music messages, artistic choices and more.
Each participant will receive a FREE copy of our YPAD Handbook “TOOLS NOT RULES: Standards, Guidelines and
Suggestions” along with other important resources.
YPAD stands against artistic censorship and believes education leads to self-regulation. As we continue to learn, process
and unite, the youth under our care become the benefactors of our efforts to teach and embody choices and behaviors that guide
them to true empowerment, community building, respect for others and an unwavering self-love!
YPAD Gives Kids A Voice!
Some responses from our evidence based research
“Socioscience has a lot of research that proves if we allow music to filter in the background and listen to music over and over in
class or rehearsal without mindfully understanding the content it actually has a more negative effect on us than if we actually
listened to it understanding the meaning of the lyrics and storyline.” - Tomi-Ann Roberts, PhD, Professor and Chair of the
Psychology Department at Colorado College
Music
YPAD surveyed Youth regarding what the music used in their dance classes teaches them. Here are some answers:
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“Men cheat and lie.” Female, age 14
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“Being a Boss and a B***H is a good thing.” Female, age 12
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“It is not cool to like a girl for her personality but more if she is hot.” Male, age 16
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“Hip-Hop is mean and dirty.” Female, age 7
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“Being single means I should be lonely or maybe no one likes me enough to be their girlfriend.” Female, age 10
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“I saw a very upsetting video to one of our competition songs that exposed women in horrible ways and it made me feel
very scared for our society.” Female, age 13
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“When I was little my teacher called my class sassy jazz but now that I’m older I think sassy just means sexy because many
songs we dance to actually say to be sexy.” Female, age 14
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“A lot of the songs we use for competition make partying in the club and even violence and girls hating girls seem normal
and okay.” Female, age 16
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“A lot of the songs I dance to on stage make me “the man” who always gets all the girls attention.” Male, age 9
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“The music, choreography and costumes at my studio can sometimes make me feel like I am not pretty or skinny or sexy
enough.” Female, age 12
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“Apparently it’s not enough for a song to have a good beat or even for the music to tell a story with no words at all, it seems
like for a dance combo to go viral or even just be “a cool dance” or “to win at competitions” there has to be a specific “party,
sex or negative stereotypes” message with the words to the song.” Female, age 12
Out of 143 dancers Y.P.A.D. surveyed aged 7-13, 87% of them look at the music videos to the songs they hear at their
dance studios and only 6% ask parental permission before doing so.
Teens spend about 9 hours a day on media! - www.commonsensemedia.com
Social Media
Y.P.A.D. surveyed 312 dancers aged 12-17 from 2013 through 2015:
When asked why their most popular pictures/videos online received the most attention, the top four answers were:
1.) Sexy
2.) Duck Lips/Trout Pouts
3.) Pics/Videos with Famous Choreographers
4.) Acro Dance/Tricks
When asked how social media affects their body image, the top four answers were:
1.) I am more self-conscious about my body, talent and fashion.
2.) I find myself comparing my “look” and body to others more.
3.) I notice more flaws on my face.
4.) I have started skipping meals and dieting.
When asked to share what leads to positive emotions on social media, the top three answers were:
1.) I feel good when people like my pictures and posts.
2.) I feel popular when people follow me.
3.) I feel good when I get tagged.
Direct quotes from dancers in Y.P.A.D. seminars:
“Social media has made me see my flaws through a huge magnifying glass.” – Female, age 16
“Social media has made dancing for some girls about twerking and being half-dressed and for guys you’re cool only if you do the
popular moves. I want to change this.” – Male, age 15
“I feel a lot of pressure to be hot and skinny. I do compare my body to celebrity dancers online.” – Female, age 12
“My teachers tell me to tone down my dancing because they say it is too sexy but I do not think they get how many compliments I
get at school and online because of it.” – Female, age 14
“Social media can affect who becomes a glorified dancer even as a kid, even if the technique and dance skills aren’t there or as
good as other kid dancers” – Female, age 12
YOUTH PROTECTION ADVOCATES IN DANCE (Y.P.A.D.)
Frequently Asked Questions
(Visit ypad4change.org for more information)
What is YPAD?
• YPAD (Youth Protection Advocates in Dance) is a non-profit organization dedicated to building empowered dance
communities and keeping kids healthy and safe in all dance environments.
• Our Advisory Panel includes PH.D specialists in multiple fields and dance leaders that span the country.
• YPAD’s programming has a strong focus on the emotional, physical and sexual health and the self-esteem and identity of
children and teens. Our educational umbrella encompasses interactive seminars for all adults in dance that have an
influence over children including their parents and dance workshops for all ages and levels.
• YPAD has a library of evidence-based research which raises awareness regarding the exploitation of youth in our dance
culture, inclusive of but not limited to; psychological harm, sexual abuse, hyper-sexualization or kinetically unsafe
instruction for growing children and young adults that leads to unnecessary injuries.
• YPAD provides inter-active seminars and educational programming to studio owners, conventions, teachers, dancers and
dance parents. Topics include self-esteem, identity, body image, healthy social media use, media literacy, effects of
sexualization, bullying, injury prevention, nutrition and more.
• Our outreach division, EDIFY Movement, organizes dancers to teach at orphanages in Mexico and Africa and service
events at dance studios across the nation for homeless shelters, assisted living communities and food drives.
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•
YPAD’s programs and services, including our first-of-its-kind certification, are outlined in greater detail at the end of these
FAQs, as well as in YPAD’s brochure and on our website: ypad4change.org.
YPAD’s focus is on providing dance studios, instructors, dance professionals, parents, community members and dancers with the
support, education, tools and resources they need to make healthy choices in the dance environment and the world. We are
committed to pursuing our mission without shame or judgment. This is a journey and we are all in this together!
Does YPAD want to “police” music, movement and costume choices in the dance world? Is YPAD advocating for
increased government oversight of the dance industry?
• No. YPAD’s focus is on providing education, resources and support so that we can work together to keep youth and teens
happy, healthy and safe in dance.
• We believe that dance professionals play a key role in influencing the self-esteem and identity of those under their care.
• Our goal is to share tips and tools to everyone in the world of youth dance (including studio owners, instructors, competition
and convention owners, parents, and the dancers) in order to avoid potentially harmful situations. YPAD isn’t interested in
blanket censorship, policing the dance industry or in spearheading legislation. Instead, we believe that education leads
to self-regulation.
Isn’t the “appropriateness” of a music, movement, concept and costuming choice a matter of personal opinion?
• Our commitment to creating positive, healthy and safe dance environments for our children doesn’t come from opinions, it
comes from a large body of research and advice from the top psychologists, policymakers, professors, health care
professionals and youth dancers who agree: unhealthy dance environments are harming children.
• Our YPAD Handbook “Tools Not Rules: Standards, Recommendations and Suggestions” has been thoughtfully created by
PH.D specialists and dance leaders from across our nation to offer guidance in these areas. Please visit
YPAD4change.org/standards to access this useful resource.
Does YPAD offer any services, training or other programming?
• YES! YPAD offers a wide variety of information, resources, and support services, as well as a variety of educational and
dance-related programming. Please refer to our brochure or our web site for details.
• YPAD’s primary offerings:
Studio and Instructor Certification - YPAD’s first-of-its-kind certification program is designed for dance studio owners, dance
instructors, judges and adults, who are influential over children, who wish to become educated on cutting edge research from
industry experts on keeping our youth dancers happy, healthy and safe in all ways: physically, mentally and emotionally. Certified
studios will uphold YPAD’s standards relating to costuming, music choices, movement choices, injury prevention, psychological
health, sexual abuse reporting and more. The YPAD Certification Program is taught over two 6-8 hour days (usually over a
weekend). Live “on-site” and interactive videoconference options are available. Please write [email protected] for details
and pricing.
Interactive Seminars – YPAD offers a number of interactive seminars:
Self-Esteem and Identity in Performing Arts - An interactive seminar that addresses the effects of performing arts on
children’s and teens’ self esteem and the influence social networking and entertainment media has on their identity, body
image, relationship with self and others. Participants are introduced to their “Spirit Swag” - the style of their character!
Support for Parents (and Caretakers) in Today’s Dance Culture - An interactive seminar that introduces parents and
caretakers to cutting edge research on topics such as nutrition, injury prevention, self-esteem, social media use, internet
safety, body image, sexualization, bullying, boundaries, advocating for their child and more. This forum also allows the
parents to openly share the specific struggles or concerns they may be having with their child and to interact with other
dance parents to help facilitate solutions and support one another.
YPAD Teacher/Judge Seminar – An interactive seminar that provides dance educators with an introduction to the “Tools,
Not Rules” they need to navigate these complicated issues. Programming includes insights into healthy costume, music
and movement choices, as well as other topics aimed at keeping children and teens happy, healthy and safe in dance. The
seminar also serves as a private forum for educators to voice their concerns and struggles with their students’ healthy
emotional and physical development.
Anti-Bullying Campaign for Boys (Big Brothers in Dance) – This support program offers young male dancers encouragement
and support from adult male dance mentors who have weathered the storm and are now thriving in their craft.
Dance Environment Sexual Assault Resources – YPAD’s first-of-its-kind sexual abuse in dance division raises awareness and
provides education, resources and guidance on spotting the signs of sexual abuse and sexual abuse reporting; helping survivors,
their families and the communities around them connect with the professional help they need.
Mindful Social Media Fasts for Dancers - Dr. Tomi-Ann Roberts, Ph.D., and YPAD Founder Leslie Scott have teamed up to
facilitate this life changing experience for youth who have completed YPAD’s Self-Esteem Seminar. Dancers embark on a “socialmedia-free” three-day guided journey with their peers, during which they share, reflect and engage in alternative activities that
enhance their lives as well as their ability to make healthy choices while online.
Holistic Hip Hop Classes - Open your Mind and your Body will follow! As dancers, we will see stunning results by working on our
mind and Spirit before our movement! Students learn some tips and tools, which will break down mental and emotional barriers in
students of all ages, gender and skill level so you can experience the gift dance was meant to be.
All of this and much, MUCH more! Please go to ypad4change.org to see all of YPAD’s programming, offerings and services!
What is the difference between healthy sexuality and sexualization?
• Healthy sexuality involves acknowledging and accepting that we are all sexual beings and that human development
includes sexual development. Sexuality is an important aspect of our physical and mental health. It involves the mutual
respect of consenting partners and fosters intimacy, bonding and shared pleasure. Healthy sexuality includes approaching
sexual interactions and relationships from a respectful and informed perspective, free from coercion, objectification and
violence.
• Sexualization, on the other hand, is unhealthy and may have long-term consequences to all aspects of a child’s
development. It occurs any time sexuality is inappropriately imposed upon a person or child. When children are portrayed
with adult sexuality, this adult sexuality is imposed upon them rather than chosen, and this is a form of sexualization. It also
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occurs when a person is viewed as an object to be acted upon, rather than as a person with the capacity for independent
action and decision-making.
When a person is made into a “thing” for others’ enjoyment, elevation of status, financial gain and/or sexual use, sexualization and
objectification has occurred.
It is important to understand that self-motivated sexual exploration is not considered sexualization, nor is age-appropriate
exposure to information about sexuality.
In his book Girls on the Edge, Dr. Leonard Sax sums it up this way: “Sexuality is good, but sexualization is bad. Sexuality is about
your identity as a woman or a man, about feeling sexual, that’s a healthy part of being human, a healthy part of becoming an
adult. Sexualization is about being an object for the pleasure of others, about being on display for others. Sexuality is about who
you are. Sexualization is about how you look.”
If I can’t use sexualized concepts, music, movement or costuming with my youth students, won’t that limit my artistic
expression and/or freedom of artistic speech?
• First and foremost, we believe in the creative power of our dance peers – every day we see examples of talented
choreographers and dancers creating amazing, positive, and healthy dances. It can be done.
• Second, similar to academic institutions, dance educators are ethically responsible for creating a healthy and safe learning
environment for their students. When we work with children, we give up a certain degree of artistic freedom, by necessity.
We would never bring a nude model into a junior high art class, or use “Fifty Shades of Grey” as a high school English class
reading assignment. Dancers are both athletes and artists, and we use our bodies for expression so the safety of the
learning environment is, in many ways, more complicated than an academic classroom. However, in dance education and
all other types of education there is a common denominator: The educational methods we use with children are going to
differ from those we use with adults.
You’ve said that sexualized costuming can be harmful, but aren’t children even less dressed when they’re in a bathing
suit?
• We wear different kinds of clothing for different purposes. Some are functional. Coats keep us warm in winter, leotards
allow us to stretch and move freely, swimsuits help us glide in the water and get some sun. Other forms of clothing are
highly decorative -- less function and more form (like prom dresses or tuxedos). Dance costumes tend to be more form than
function, as they are often designed to enhance expressive features in dance, all while allowing the dancer to move.
• When sexualized costuming is used, it’s not the same as being on the beach in a bathing suit. When children wear bathing
suits at the beach or pool, they are not on display for an audience. In most cases if a costume looks like a bikini, it is not
functioning as a bikini– its function is mostly expression. There are fun and healthy concepts that may utilize a bikini (such
as when a piece has a beach theme), and when the movement and song are not sexual in nature the costume choice of a
bikini is not sexualization. However, if the message behind the costume choice is “be sexy,” the children wearing those
costumes are being sexualized.
On a related note, are you against bare midriffs?
• No. We don’t believe that the midriff is sexual in nature, as it is the core and foundation of dance; however it is sexualized in
culture and research reveals that it can be a point of shame and comparison for many young dancers. We have
recommendations and resources for keeping it “body positive” on our website: http://www.ypad4change.org/standards/. We
invite you to use these resources to help facilitate a conversation with your dancers on these important issues.
What’s wrong with “dancing sexy”? Don’t we have the right to express our sexuality?
• Adults absolutely have the right to express their sexuality, including through dance. We are sexual beings and healthy
sexuality is an important part of life. However, when adults impose sexuality on children (whether it be through instructing a
child to do sexualized movement, dance to highly sexualized lyrics, wear sexual attire, or “act sexy” for the
camera/audience), the effects can be very damaging.
• Children can begin to view themselves as objects, only appreciated and valued for their sexy appearance, as opposed to
their competence, training and skill. When expressions of sexuality are one-directional, as is the case in dance performance
(designed for a viewer, a judge, or an entire audience to look at and evaluate) then the “expression” of sexuality is not
mutual or consensual. The expression is solely for other people’s enjoyment. When very young children “perform” sexuality
this way, then they are learning that their bodies belong in a sense to others, not to themselves.
While YPAD’s mission is focused on protecting children in dance, we are concerned with the increasing levels of objectification of
adults (which affects both women and men) in our media-saturated culture and in the world of dance. Young dancers admire and
emulate their instructors, as well as the adult dancers they see on YouTube, in music videos, on awards shows, TV, etc. When
those adults are being objectified or engage in self-objectification, those behaviors become not only acceptable to children, but
also influential and something with which to aspire. We are encouraged, however, by the work being done by amazing
organizations like the Geena Davis Institute on Gender in Media, RewindReframe.org , American Psychological Association, the
#WomenNotObjects campaign and others to address these disturbing trends on a more general level.
Children don’t understand the sexual messages or double-entendres, so how harmful can lyrics be?
• Unfortunately, a great deal of research shows that children often DO understand lyrics and, in fact, these lyrics actually
impact the way children’s brains, identities and attitudes toward sex, drug-use and violence develop. This is especially true
for adolescents, who connect deeply with music. For them, music influences identity development probably more than any
other entertainment medium.
• In a nutshell, when lyrics suggest that men force themselves on women and treat them as sexual objects to collect, they
can have a terrible effect on how boys treat girls. These types of lyrics can also teach girls that their main value is to give
sexual pleasure, which can impair a teenage girl’s self-worth and lead to a poor or distorted body image, eating disorders,
depression, and even drug or alcohol abuse.
• On the other side of this is increased music messaging of females dominating and objectifying men. Music and many music
videos distribute the message that in order to be an empowered feminist one must take away the power of another gender
and aggressively dominate them. This is not moving towards gender equality, but instead teaching young girls a distorted
definition of empowerment.
• These effects can be compounded in the world of dance. When we dance to music, we simultaneously internalize it and
strive to express the message of the song with our bodies. When we rehearse, we listen to the song – including the lyrics –
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over and over and over. When the lyrics of that song involve direct or indirect messages of sexualization, drug and alcohol
use or violence, our children and teen dancers are hearing those messages in a very concentrated way. And when they are
also affirmed by external sources such as social media, applause or a trophy, the effect of the sexualization is compounded
even further.
Two psychologists on our Advisory Panel have weighed in on this important issue – please take time to watch Dr. Tomi-Ann
Roberts’ and Dr. Christina Donaldson’s videos on our resource page at ypad4change.org/resources.
There aren’t that many “clean” songs out there these days – won’t we all be using the same music?
• It’s true that lots of the popular music today contains profanity, sexualized lyrics and references to drinking, drugs and
violence. This can make finding healthy music for your dancers more difficult. YPAD is committed to helping you by
developing resources and relationships with groups who can make the music selection process easier. For example, please
take a look at our curated list of age-appropriate music on Spotify, and check out our affiliates like Squirrel Trench music,
which can edit music into a form that works for you.
But my students want to become professional dancers – shouldn’t they be learning the sexualized dance moves that
music video choreographers use… or learn to dance in heels so they’ll know how later on?
• Not all professional dancing jobs require sexualized movement. In addition, most of the sexualized movement we see
adults doing in music videos, award shows, etc., require a solid foundation of technique, which is where we should be
focusing our educational efforts with children. Dancing in heels does not need to equate to sexualized movement but all too
often that is the trend. We are not referring to character shoes.
• There’s also a risk of physical injury. Children’s muscular and skeletal systems are not fully developed and dancing in high
heels creates the same risks as putting a child on pointe in ballet too soon.
• For children who are preparing to enter into the professional dance world, it is crucial they are aware of their worth as
humans so they can advocate for themselves. Exploitation in the dance world comes in many forms, whether it be dancing
on concrete without hazard pay, being paid below Dancers’ Alliance rates, or being sexually harassed on set.
• Staying healthy as an adult in the professional dance industry requires a strong self-esteem and the ability to enforce safe
boundaries. We can help children build these skills now by teaching them that it is okay to act their age, to advocate for
themselves, and that they should never compromise their physical, emotional or sexual well-being for any job.
Who is Leslie Scott?
Dancer, choreographer, artistic director, educator and dance and child protection advocate, Leslie Scott is the Founder of YPAD.
Leslie has been teaching for 26 years and is well known not only for her talents but her unwavering work ethic, contagious positive
energy and bold use of movement and education to spread a positive message. She is on Faculty at the Edge Performing Arts
and Millennium Dance Complex in Hollywood, CA and on guest faculty on several conventions, has taught in 22 countries and
currently travels the world with her purpose partner, husband and YPAD Director Joseph Zanovitch and their cherub Carmella to
spread the YPAD LOVE!
Leslie created YPAD as a reaction to the dance media and trends she used to be involved in creating. As entertainment media,
social media and dance have merged, Leslie witnessed harmful consequences on the healthy emotional, physical and sexual
development of youth. She believes dance can change the world because dance changes people. Through education and
activism she is committed to uniting our global dance community, parents included, to always put the dancer before the dance.
How can I help?
There are so many ways you can help YPAD! Our power comes from the commitment of many—studio owners, instructors,
parents, teen and child dancers and all who care about creating positive, safe, healthy dance environments free from exploitation
and commodification. Please join with us in using dance to empower our community and teach youth to advocate for themselves.
MEMBERSHIP: The easiest way to support our cause is by becoming a YPAD MEMBER! Members make a significant difference
in helping us help kids and teens stay safe in dance. Your tax-deductible membership gift will be put to immediate use in many
urgent advocacy, outreach and education initiatives. You receive discounts from our growing list of affiliate vendors and have
access to our distance learning webinars, discounts on services, certification and more! Visit YPAD4change.org/membership for
details.
Other ways to get involved with Y.P.A.D. include:
• Volunteering: We have a wide variety of volunteering opportunities, ranging from outreach, project management,
newsletter production, assisting in social media communication to fundraising and participation in one of our advisory panel
groups. If you have the will and skills to help us, we’d love to hear from you. [email protected]
• Certification: YPAD’s first-of-its-kind certification program is described above in these FAQs. For information and pricing,
email us: [email protected]
• Endorsements: Do you have a business, non-profit, goods or services with a message and purpose that aligns with
YPAD’s? If you do and are interested in obtaining a Y.P.A.D. endorsement for your convention, conference, studio,
business, goods or services, please email us at [email protected]
For more information, please go to ypad4change.org
TAMIA SANTANA
SEMINAR • TRANSITIONING DANCERS
Help transitioning dancers from competitive to professional dance
Creating Performance Experiences for your Dancers and Studio
My name is Tamia B. Santana. I am the Executive Director of the Brooklyn Dance Festival and Jeté Dance Center, in Brooklyn,
NY. Born, trained and currently raising my family in Brooklyn and an advocate for the arts.
As a young girl, I trained at the local dance studio in Brooklyn before going on to dance as a principal soloist with Jacques
D'Amboise' National Dance Institute. I went on to study dance throughout high school and college. I was grateful to dance at
Carnegie Hall, Madison Square Garden, Lincoln Center, Brooklyn Academy of Music and in Europe.
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Currently executive directing the Brooklyn Dance Festival and a studio in Brooklyn, I sit on the Board of Directors for "One
Brooklyn" through Brooklyn Borough President Eric Adams, co-founded "ONE LOVE NY" Organization, bringing arts and
resources to children in NYC Juvenile Hall and also a proud member of the Bessie’s Steering Committee.
Create Your Own Experiences
• Workshops
• Guest Choreographers
• Reviews
• Performance- Concert
• Festivals
Create and Connect with your Community
• Local Politicians
• Holiday Show with World Renowned Dancers/Performers
• Summerstage- Community Festivals
• Submit your work
• Community Events
• Bringing dance to cultural events- local calendar
• Find a “Dance for Good” Project
• Build Relationship with a sister school
Company Dance
• Seeing more concert dance
• Males and partner work
• Experiment
Preparing them for the Future of Dance Success
• Acceptance to Middle School, High School and College Dance Programs
• Take Advice from the outside
• Review
• Harkness Dance Center for Injury Prevention
• Finding the best teachers for your students- Listening more
• Refined Costuming
• Perform for a real audience
• Level vs. Age grouping
Talking Club
• The Rules of dance that have nothing to do with dancing
• When does class actually begin
• What are you wearing?
• We ALL talk
• Parents who push always have dancers who receive less
• Learning to adapt
• Tights and tricks
• Who is hireable?
Effects on Dancers:
• High Rate or Acceptance towards education
• Self Esteem
• Performing not competing
• More genuine attachment to dance
• Easily hirable
• Dancers are seen in different light by different teachers
• How are you listening?
Questions, Answers and Shares:
Closing Comments
BONNIE ERICKSON
SEMINAR • CAREERS IN DANCE
So, they think they want to dance!
There are myriad ways to work in the dance industry, and so the focus of this seminar is to help put your dancers on the path to a
sustainable career in the dance industry.
First, let’s discuss the different kinds of careers that are available to dancers – we mainly think of dancing as being a performer,
on stage or on screen, and that will be the majority of our discussion, but then we’ll talk about other careers in dance as well.
PROFESSIONALISM
More important than your training, believe it or not, is the professionalism with which you comport yourselves. The Boy Scouts
were right, it’s most important to Be Prepared!
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Be on time. Always.
Have an excellent headshot and résumé.
Do your research!
Be nice. It’s just that simple.
Build your network. By being nice. And easy to work with.
GOALS
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Determine which types of jobs they are interested in auditioning for – RESEARCH and don’t let them limit themselves to just their
one “dream job.”
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Commercial
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Company
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Broadway
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Regional Theaters
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Show Tours
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Cruise Ship
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Theme Parks
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Casinos
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Teaching
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Videos
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Choreography
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Disney
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Cirque de Soleil
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Backup Dancer Tours
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Vegas
WHERE TO FIND OUT ABOUT AUDITIONS
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Backstage – magazine or online
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DanceNYC.org
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ActorsEquity.com
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CastingNetworks.com
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ActorsAccess.com
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NYCastings.com
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Stagedoorconnections.com
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Auditionupdate.com
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Answers4dancers.com
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BroadwayWorld.com
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AuditionUpdate.com
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Theater-related posts: playbill.com
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Networking and word of mouth – talk to your teachers and fellow students
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Eye-5.com
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Danceplug.com
AGENCIES
Dance
Mcdonald Selznick
Clear Talent Group
Bloc
The Movement Agency
Casting
Telsey Casting
Binder Casting
Central Casting
Duncan Stewart
UNIONS
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Actors’ Equity Association (AEA) (Equity)
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Screen Actors Guild (SAG)
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American Federation of Television and Radio Artists (AFTRA)
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American Guild of Musical Artists (AGMA)
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American Guild of Variety Artists (AGVA)
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Canadian Actors’ Equity Association (CAEA)
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Stage Directors and Choreographers Society (SDC)
Other
KSR
Creative Artists
CESD
Abrahms
Tara Rubin Casting
COMMERCIAL AUDITIONS
Let’s use the Gap as an example:
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Gap has a new product they want to sell
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Producers come up with a concept with marketing department of Gap
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They hire an advertising agency to develop and convey their ideas and the look or vision
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Ad agency contacts casting directors with a “breakdown” (type of dancer needed: specific look, vibe, hair color, height, body
type, ethnicity, style, overall personality, etc.)
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Casting director calls (Dance) Agency to hire choreographer
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They send dance agency a breakdown, and/or post an “open call”
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If it’s agent only, dancers come from agency
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If it’s an open call, dancers read about it in the trade papers, anyone can show up
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Date and time is set, audition is held
COMPANY AUDITIONS
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Usually posted in Studios, Newspaper, website, or word of mouth
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Educate yourself about the company: the choreographer, dancers, history, style of dance
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Study with the choreographer, learn the style
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Familiarize yourself fluently with the company’s mission
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Read about the company/show or go see it
THEATER AUDITIONS
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Posted in Backstage for both NYC and Regional; some calls Equity or Agent only.
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Shows are developed by producers; regional theater has ongoing seasons
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Educate yourself about the show and the choreographer
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Study with the choreographer or a similar one, learn the style
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Read about the show or go see it
DRESS THE PART!
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Consider carefully how you want to present yourself
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Figure out what they’re looking for and dress the part
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Always look groomed, even if it is a wild or funky look, but always be yourself
Let your choices reflect your personal style – your creativity and style should stand out and add some sex appeal to your
ensemble
SHOW YOUR BODY
SHOW YOUR LEGS
Women – WEAR MAKE UP and style your hair out of your face.
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TAP
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Women: Unless it’s swing or an athletic style or clogging, WEAR HEELS.
BROADWAY
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A form-fitting ensemble, jazz pants, sexy unitard, or you can study the character and dress the part or style of the show
VIDEO & COMMERCIAL
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Anything goes! Study the latest trends, develop your own version
READ BETWEEN THE LINES
“Dressed to dance” = form-fitting dancewear, creative outfits that make you look like a dancer, (not class wear), no baggy sweats!
“Athletic” = funky sweats, cargo pants, brand name sportswear (make sure you wear the same brand as that being cast!), body
conscious, hip, cool work-out clothes.
“Hip hop” = anything that is hip, young, expresses an urban look, trendy, unique personal style. Don’t be afraid to go over the top,
the more the better, just make sure you can dance in what you choose!
“Musical Theatre” = body conscious, women in heels!
AT THE AUDITION
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Be the picture of professionalism. Arrive early and immediately turn off your cell phone
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Sign in neatly and legibly. Hand in your picture and résumé if required. Make sure it is taped or stapled together before you
arrive. Carry extras, have a pen and be prepared to wait
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Listen to the directions from the choreographer
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Try to get exactly what they want, don’t rely on tricks
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Learn combo, pay attention to details, and do it full out (depending on space)
– never mark
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Make creative choices in the combo, express your individuality and personality
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Stay focused (ask valid questions that relate to the combo only)
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When your name is called, go to designated spot and dance your face off
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Positive attitude (leave your problems at the door)
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Don’t talk or socialize with your friends
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Be yourself
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Be mindful of your fellow dancers and their dance space, respect them and understand that you are all in the same boat
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You’ve worked hard, and you deserve to be there. Be confident, smile, have fun. Focus on dancing as well as you can, but
without self-judgment – try to have fun as well as push yourself to be your best
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Remember, every audition is a learning experience, keep your eyes and ears open! Don’t get discouraged. Cultivate
methods for dealing with rejection
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Always know that you have options. IF AN AUDITION SEEMS BOGUS, LEAVE! If they ask you to do things that don’t
seem right, leave. Stand up for what you believe is right, but of course be gracious in how you exit any situation – “Thank you so
much for your time, I think this job is not a fit for me.”
HOW THEY CHOOSE
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From the breakdown/look/typing
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How well you delivered what the choreographer wanted, how quickly you picked up the movement, how versatile you are in
styles
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Technique (but not always! They are looking for performance qualities and fire)
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Your personality, your creative choices and the passion shining through
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ATTITUDE! Your work ethic, and how hard you work, your positivity
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Sometimes because you know them. Don’t let this ever discourage you; your time will always come. This isn’t necessarily a
bad
thing – it can work in your favor. Network!
IF YOU GET THE JOB
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CALLBACKS: usually the same day or same week
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They usually want to see more of you, how you express yourself and how well you can replicate the choreographer’s work –
you need to be better than you were at the original audition
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Listen very carefully to their corrections, these are usually the answers you need to improve and give them exactly what
they want
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If you are chosen, there may be another callback, or they may ask you to sing or do special skills. Be prepared!
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Stay calm and upbeat, you’re halfway there
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Let that confidence beam, do your very best
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If you get the job, you’ll sign a contract – consult your agent, or ask a mentor to help you read it thoroughly
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Make sure you agree and can fulfill everything stated in the contract
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Sign on the “x” and start rehearsals
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CONGRATULATIONS!
WHAT TO DO IF YOU DON’T GET THE AUDITION DEALING WITH REJECTION
“If I have one word of advice: resilience. Resilience beats talent every time.” - Rachelle Rak
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Walk out of the audition knowing that what matters is that you did your best and that you left a favorable impression for the
next
time you audition for this company. The decision process is out of your hands
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Get right back into another audition or go take a class at BDC!
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Get back in class and apply what you’ve learned
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Try approaching class like an audition. Use the combinations to exercise your creative choices, smile, eye contact, focus,
and other performance qualities
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Use every opportunity to perform: combos, rehearsals, etc
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Express your goals to your teacher or mentor, and ask for help!
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Keep working hard and have faith that it will pay off
THINGS YOU MUST HAVE IN YOUR DANCE BAG
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Picture and résumé, date book, pens
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Dance shoes: heels, sneakers, flats, tap shoes if needed
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Extra: tights, jazz pants, tops, outfit, kneepads (check out these sleek modern ones: http://contactquarterly.com/kp/kp.html),
makeup, hairpins and accessories, mints, powder, band-aids, aspirin, ibuprofen, water, snacks, dry shampoo.
EDUCATE YOURSELF!
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Read the trades!
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Find the best classes and take ALL styles
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Cultivate relationships with teachers and have them mentor you
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NETWORK – talk to friends, fellow dancers, teachers
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Study your trade
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PLAN AHEAD – prepare yourself so that all you have to do the day of the audition is get up, get dressed, and go dance.
“It’s not enough to be a good dancer, you have to be a good person”
Ethan Steifel
SO GO DANCE!
ADDITIONAL NOTES
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FRIDAY, JULY 29 TH
PLEASE NOTE THAT YOUR 9:00AM CLASSES WILL BE TAKING PLACE AT BDC!
• 322 WEST 45TH STREET, 3RD FLOOR •
You must create an account and sign into your selected Teacher Workshop
class prior to Friday morning. Please visit one of the Broadway Dance Center
booths on-site at the Grand Hyatt for assistance.
WEBSITE:
http://www.broadwaydancecenter.com/studioinfo/new_students.shtml
GERMAINE SALSBERG
FRIDAY, JULY 29TH, 2016 9:00AM
TAP TECHNIQUE
Focus on technique –underpinnings of good technique:
1. Steps, heels, step/heel, heel/step – quarter, eighth, triplets and 16th notes
2. “disengage feet” exercise – 2’s, 3’s 4’s on ball and heel
3. push with ball and heel & travel
4. “Condos” – 4’s, 3’s, 2’s + heel, 2’s + ball, single 7 out start on ball, 7 in start on heel, double time – one foot and two feet
5. shuffle step and shuffle step heel then make a pattern -,
1&a2&a3&a4& - leap (shuffle step) 3x, step step
1-4& repeat
1&a2& 3a4& - (leap shuffle step step)2X
1&a2&3Ay a4& -leap shuffle leap leap shuffle leap leap shuffle to start again
ADD HEEL DROPS TO MAKE 16th notes
DO SAME AS PADDLE ROLL
6.
7.
8.
9.
flaps frt, sd bk (7 + heel ) then break side, then cut to 3 + heel and triplet chassee side
Take flaps across floor or down floor as chassee side and double flap frt
Pull backs intro, wings intro exercises
Combo and improve game – develop your own time step
LINDA FARRELL
PILATES FOR DANCERS
Class will cover classic Pilates mat exercises: how to choreograph them to provide a balanced workout and how to vary and adapt
them to meet the special needs of dancers.
Class will include a special Qigong warm up and will also incorporate Pilate’s principles such as stabilization, differentiation, and
opposition.
Warm Up: Qigong (Stand at top of mat)
1. Spine opener -arch spine and open arms, round spine and close arms
2. Head rolls
3. Spine twist -swing arms and twist spine to either side. Keep knees slightly bent
4. Tiger-bring hips back, bend knees forward and lower down and up
Supine
5. Half roll back-add twist
6. Full roll back-add arms up and around the world
7. Leg circles- “letter D” add knee folds
8. Bridge-stretch
9. Single bent leg
10. Criss cross
11. Bilateral clams
12. Double bent leg-hundred, teaser segue
13. Bridge-add knee folds and elevator
14. Straight leg stretch
Prone
15. Swan-lift hands, arms forward & back
16. Swan dive-prep and full out
17. Single bent leg-forearm plank variation
18. Child's pose
Side
19. Side Kick-up and down w bottom leg up
20. Side lifts
21. Swimming
Supine
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22. Roll over-jack knife
23. Stretches
LindaFit Pilates. Website: www.LindaFit.com • Facebook: lindafitpilates • IG #lindafitpilates
JAMIE SALMON
BALLET
CLASS FOCUS
• Strengthening exercises for the Basic and Beginner Pointe Dancer
• Exercises for stiff and/or loose ankles, hyper extended legs
• Tools for “firing up” correct muscle groups
• Q & A….ask me questions
• Talk about choosing the right students for pointe work
• Shoes
Sample Barre exercises, More detailed notes at the class.
Exercise #1Warm Up: 6th position, 1st, 2nd, 5th
1-8 from parallel,6th position. articulate one foot at a time… demi, pointe, demi,foot flat. repeat other foot.
1-8: Repeat both feet adding a plié
1-8: “stepping up on shoe” articulate r to pointe, step onto pointe in 6th position..articulate down r then l.
1-8: repeat starting l
1-16: Repeat 2x again
1-16: 16 prances
1-8: Tendu R devant parallel from 6th, flex&pointe 2x, 2 circules in each direction
1-8: bending r knee, cross foot to opposite side of l instep, plié on l and allow r to stretch in forced arch.
1-8: Release r foot and step back into achilles stretch
1-32: repeat last 32 counts with l then open to 1st position
From 1st
1-32: Repeat roll up section up to prances
1-32: Tendu deviant, rotate leg parallel, turnout close 1st. Plié, relievé, roll down straight,
Repeat to side and back..balance
1-32: Repeat tendu section with L then tendu to 2nd
From 2nd
1-16: Plié roll thru forced arch to pointe, straighten, plié over forced arch straighten, plié tendu to 5th.
from 5th:
1-32 Repeat roll up section
1-32; Tendu front flex foot and plié, straighten and pointe, close 5th. rise to pointe from straight leg, plié straighten.
(opposite of above). Repeat with L to back, R to side closing back, cross to sous-sus and short balance.
1-64: Repeat everything with L foot 5th front
Exercise #2
6th, 1st, 2nd, 4th 5th 8x in each position
& 1: Plié rélevé
2-3: hold
4: lower/roll down
Exercise #3
1st,2nd,5th 2-4x in each position
1-4: plié, roll up and over into forced arch plié
5-8: straighten 2cts. plié forced arch 2cts
1-4: repeat
5-8: straighten then plié heels down straighten.
1-16: Repeat again
Exercise #4
4th position 4x eat side
1-4:: plié, straighten, roll up demi, pointe
5-8: roll down to demi,back to full pointe, plié heels down, straighten
Exercise #5
1st position then from 5th
1-4: Tendu r to side close, repeat L
5-8: 2 echappé
1-8: Repeat with tendu starting with other foot.
1-16 Repeat both sides again
Exercise#6
A 5th position 8x on each side
&1-4 Plié,relevé to sous-sus holding 2cts., plié
Exercise #7:
5th 8x front,side, back then other side
1-4: coup de pied devant, plié tendu devant/front, relève to sous-sus
5-8: hold for 2 counts then plié straighten
Exercise#8
5th 8x front, side ,back, then other side
&1-4:dégagé leg on the & ,relèvé to sous-sus on the count..release dégage on the &, sous-sus on the counts
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Exercise #9 sous-sus
1-32: Plié ,, straighten on pointe with “held” arch 16x
1-32: Repeat other leg
Exercise 10
Pas de Bourrée
First with no pick up to coupé or Passé
Exercise #11
Bourree
Stationary then moving down barre
Exercise #12
Moving down barre
Piqué sous-sus & coupé/passé
GINGER COX
FRIDAY, JULY 29TH, 2016 1:00PM
CONTEMPORARY PROGRESSIONS
Dear Fellow Teachers!
These brief notes are to inspire ideas and exploration of movement to create contemporary progressions. Please feel free to
email me with any questions!
1. Use basic progressions: turns, kick, jumps
2. Create contemporary movement utilizing
o Levels, speed
o Take the body off center
o Lift hips
o Porte bras that ‘swim’, slice, or push, the body through space
o Arm positions into negative shapes
o Percussion
o Off center
o Fragmentation
o Manipulate a certain section
o Adjectives
o Use music without words- experiment with timing, let the students find their own musicality
3. Use a non-conventional movement vocabulary o Use isolations (head, arms, shoulders) to initiate movement
4. Take a phrase of movement from your dance piece or combination rearrange, reorganize and develop the material
o Address the needs of the choreographers vision
o Help the dancer improve technically and stylistically
5. Duplicate/replicate a. Improv in front of your students and have them ‘do what they see,’ without any explanation or counts
6. Retrograde the movements
7. Type words on a piece of paper, cut them up, randomly and use them for ideas to initiate movement
A. We’ll use this standard phrase to initiate ideas to transform this into several contemporary phrases: Plié 2nd, soutenou, tombe
R, cut L, ran de jambe R, cut back; battement L, cut back, 1st to parallel use arms, jump, roll up, turn out 1st. plié 2nd, back
soutenou, pas de bourree (l,r,l,r) pirouette L, end facing front, plié to turn out, cut back, step step jete
B. Plié 2nd, plié soutenou, fly R, pass through 1st, fly other side, barrel, star jump, inside pas de chat jump
a. Take this phrase off center, use levels
C. Use this same phrase to manipulate the movement- Do it facing front, or use all facings within the room
Email: [email protected] • Website: Linkdancecompany.org
MARK ALBRECHT
TAP PROGRESSIONS
•Flaps
7-7-3-3-1-1-1-1
Add heels
Add toes
Add heel toes
Double Flaps (fa-la-lap)
•Shuffles
7-7-3-3-1-1-1-1
Add heels
Add toes
Crossing in front
Crossing in back
Heel shuffles
Alternating heel & toe shuffles with flap
(Heel Shuffle, Toe Shuffle, Heel Shuffle, Toe, Flap Heel,
Shuffle Step)
•Paradiddles
Single and double
Paddle and roll singles and doubles
Reverse paradiddles (heel-step-spank-dig)
Paradiddles with heels sequence
•Pullbacks
Single
One footed single
Pull changes
Double pullbacks (1-e-&-a-2)
Slow syncopated double pull back (1-&-2-&)
Double pullbacks with heels
Double pull back with a crawl
Double single
Front pulls
•Wings
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Wing prep
Single wings
One footed wings
Switching one footed (&a-1,& a-2, &a-3, &a4-&a5)
•Condo’s
4-2-1
Add heels
Add toes
Alternate heels and toes
Cross pattern
Shuffle pattern
•Rhythm Turns
Shuffle step heel heel toe toe
Scuff, Pull Back, Heel Heel Toe Toe
Stamp rhythm turn sequence
•Riffles and Slurps
7-7-3-3-1-1-1-1
Parallel
Crossing in front
Crossing in back
All of these exercises can do done to a variety of music and tempos depending on the age and or level.
JT HORENSTEIN
MUSICAL THEATER • DRAMA DANCE- MOVEMENT THAT REALLY MATTERS
“DRAG BLUES” FROM THE VICTOR/VICTORIA SOUNDTRACK
MUSIC BY HENRY MANCINI
Good afternoon and welcome to NYC. Welcome to my class and thank you for joining me in a wonderful experiential dance
moment today. I am always available for questions and discussions. My goal is to have you all as teachers understand the
concepts given in this hour and relay this information to all of your students. I have many acting through dance and choreography
workshops and tips to pass along, so if you are really interested in elevating your students’ performance level, feel free to keep in
touch and ask for pointers and ideas. The entire point of this class is to elevate the performance skills of your students and
dancers in a few easily constructed steps.
Begin your class by having each student know what the theme is for your next hour or 90 minutes. You can do this by setting the
class in a particular time period, specific setting, with detailed action and the commonality for each dancer to create and build an
immediate need. Start by having the students enter the room and let them know where they are, who they are and what they will
be doing for the combination portion of the class.
After they understand the above, ask them to create a new persona....
First their personal character’s name... it cannot be their own, or anyone else’s in the class at that time. Once they establish their
name, one by one and very quickly, have them speak their character’s name to the entire room, with enthusiasm, volume, energy
and verve. (and in their character.... their character could possibly have a different sounding voice, dialect or accent of their own.)
As you begin warm up, (mine is a full stretch, plié combo, passé combo, flat back and yoga lunge series, 5 floor Pilates based
abdominal and core movements (including Roll ups, pelvic rise, single leg stretch, scissors, eagle, 3 little inches, crisscross and
Teaser, all ending in a belly stretch pop-to planks, chest expansions and a final sun salutation or yoga based snake. If there is
time, a develope and passé floor barre is added on, as well as a contraction and second stretch series.)
As soon as the class is warm and stretched, ask them to put on the appropriate shoes that this particular choreography calls for.
As they are doing so, and stretching out anything else they personally need, put on the music track so they can hear the style and
feel of the song.
Before teaching any of the movement, explain to them the plot and history of the song.... what characters are involved and who
they are. Then become even more specific. Help your dancers create an entire atmosphere... but leave some of the elements to
their imagination, so they have room to make character choices and create as an artist.
•
Character’s name
•
5 senses: where are they, what are they wearing, what are seeing, smelling, hearing, feeling, touching, etc...
•
What is their immediate need within the scene. If you don’t need anything then there is
no tension created, and no imminent consequence.... therefore there is no drama... Theatre requires drama... if there is no
drama, there is no theatre and the dance becomes repeated movement, which is basically a choreographed work out.
•
The only bad character choice to make is making no choice at all.
•
Explain to students that they are now at a level of artistry where they get movement and direction from their Director and
choreographer, and now it is time for them to make bold choices and jump off that cliff. This will enable your dancers to really
become artists and take matters into their own hands. They are now responsible for creating all details about their character’s
movement, always keeping their directive and immediate need in mind. This will give each step, even if a transition step a reason
for them to execute and treat the movement as if a written script for them to really break down each acting beat and even change
their tools to get what it is they want and do so as if this was the very first time they have experienced the movement and scene.
You as a teacher of this process can always throw in a game changer and have them play the opposite that they chose.
When students get to a more advanced level in this process, you can even start to play theatre games with the dancers and have
a written letter or document delivered to them in the middle of their choreography, with news that they are really seeing for the first
time. And then their challenge is to still communicate the choreography within their immediate need, but having new knowledge
about something... could be good news or bad news... you can create whatever you want to create a “game-changer”
Often times, I have dancers arrive to my class with a piece of choreography already prepared and a short monologue, written
word, or spoken poem, line, mantra, etc. that can be attached to explain the movement in a story form. I will then have the dancer
perform this choreography while speaking the meaning concurrently. once I believe what their message is, I will ask them to do
the exact same movement, now, without the spoken words, still getting their point across, but this time only thru their physical
movement.....
There are many ways to go with this kind of workshop, and there are no wrong answers.... Explain to your dancers how to actually
approach a spoken word acting monologue, with each new though becoming a new acting beat.... That will give them the
opportunity to create new ways to achieve their characters’ goals.
In class today we will be doing a combo from Victor Victoria, The Movie by Blake Edwards and starring Julie Andrews, Robert
Preston and Leslie Anne Warren. It is a perfect musical and many of the number, such as the one we are doing today, contain
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various performance energies, or changing character and character motivation. Today’s lesson is simple- how to bounce back and
forth between two different character energies…. even without thinking about a story line or plot theme. “Drag Blues” which is an
instrumental piece composed by Henri Mancini, has two very distinct energies: a female energy and a male energy. As you hear
the different musical segments, the dancer can differentiate between the slow, sustained and suspended style and the quick
abrupt and staccato feel. Each style matches the energy. This lesson is not about sex or really even gender. It is based on finding
the inner monologue and tempo of the character, even in a simple walk. All of the chore for the combo will be taught as one piece.
But once the steps are taught, the instructor can then announce while dancers are mid phrase…”switch characters” and the
dancer can bounce to the opposite energy to see how that energy now affects the choreography.
The dancers will be asked to create 2 character names: one of a luscious show girl and the other a very grounded masculine
chorus man. They are to perform each segment in either of those characters. Once that is established, the dance can create an
interplay between their two characters and decide to be on the “offensive line” of the defensive line”. That means they can create
a story to be active, or reactive.
This will be explained and walked through in class. The other point of these different energies is a way to find how to place
footwork into rhythms matching the style and energy of that particular character. Once walked thru this process, the entire class
will then try 3 different acting exercises based on their own characters’ needs and see how each of the 3 trials change the way
they deliver their choreography.
This class is an open forum to play, communicate, question, create and investigate the depth of one’s own character commitment,
thus elevating the dramatic value of the dance and greater piece itself.
If you would like further information from me: Email: [email protected] • Facebook: J.T. Horenstein • IG: jthorenstein70
SUSAN EPSTEIN
SEMINAR • DANCE COLLEGES & CAREERS
DANCEPATHWAYS.ORG
• Things you should know to help your dancers/students follow their dreams, and discover their future
• WHY GO TO COLLEGE TO DANCE?
• Dance Careers that benefit from college study
o Teaching
o Choreographing
o Arts Management
o Arts Marketing
o Dance Therapy
o Dance Medicine and Science
o Lawyers with Arts Specialty
o Writer/Critic/Grant Writer
o Development Director
o Designers
o Production Management
o Event Management
o Historian
o Exercise/Personal Training Science
• The Dance/Arts Environment requires an entrepreneur
o Emphasis today in colleges is to prepare students for more than one career focus.
o Dancers need to prepare for a sustainable wheel of fortune
• To develop technical skills, versatility and artistry
o Experience several forms of dance, develop multiple interests, discover different dance centric careers and explore
opportunities.
• Making connections for your future
o The community built at college will open doors. Not only fellow students, but professors, guest teachers, lecturers
and guest choreographers.
• Get a Liberal Arts education - getting a global perspective
o Dancer’s today need to be entrepreneurs, creative thinkers and skilled marketers. A Liberal Arts college program
teaches those tools.
• Studies show that college graduates earn, on average, 98% more income than those with a high school education
o Inherent in dance training are valuable life/marketable skills
• What to look for when evaluating a college
• Conservatory vs Liberal Arts – What’s the difference?
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• Conservatory places more emphasis on performing than academics. It’s great training, but very specialized.
• At a Liberal Arts school the training is better-rounded.
• BA, BFA, BS, MFA – What do those letters mean?
•
BA is a Bachelor of Arts. Advanced degrees: MA and PHD (terminal degree)
• BFA is a Bachelor of Fine Arts. Advance degree: MFA (terminal degree)
• BS is a Bachelor of Science
•
Double Majors or Minors: Dancer’s may be feel pressure to g a BFA in Dance, but may find a compromise by doing a
double major, or pursuing a minor in another area. It’s a good idea to develop a parallel career.
• The benefit of a double major is gaining expertise in two fields, often complementing each other.
• The downside students may have to take courses over a summer, or a 5th year to complete all the hours required for a
double major.
• The benefit of getting a minor in dance is getting technique class at least once a week. Usually those seeking a dance
minor also study dance history, choreography and pedagogy, among other dance courses.
• Warning: majors get first choice for the classes, so if the class is full, minors get closed out. At some schools minors may
not audition for main stage performances, and may only perform in student choreography.
• Major and minor candidates will find they still have to go through the same audition process as faculty will be looking for
levels of technique for class placement.
• Certification Programs – extending earning power
o Pilates
o Yoga
o Massage
o Gyrotonics
o Personal/sports trainer
o Dance Therapy/Medicine
§ American Dance Therapy Association: https://adta.org/
§ Harkness Center for Dance Injuries: http://www.med.nyu.edu/hjd/harkness/education
§ International Association for Dance Medicine: & Science: https://www.iadms.org
o Dance and Medicine and Healthcare
§ http://arts.ufl.edu/academics/center-for-arts-in-medicine/
• RESEARCH – start in Junior year or before
• College Guide – Dance Media
• Books:
o There Is Life After College – What Parents and Students Should Know About Navigating School to Prepare
for the Jobs of Tomorrow - Jeffrey J. Selingo
o The World’s Your Stage – How Performing Artists Can Make A Living While Still Doing What They Love –
William F. Baker, Warren C. Gibson, Evan Leatherwood
o The Artist’s Compass – The Complete Guide to Building a Life and a Living in the Performing Arts – Rachel
S. Moore
o The Thriving Artist – Saving and Investing for Performers, Artists, and the Stage & Film Industries – David Maurice
Sharp
o The Business of Show – A Guide to the Entertainment Business for the Performing Artist – Adam Cates
• Go to a College Fair
o CNADM – November in Chicago
o Boca Ballet Theatre – September in Florida
o Dancewave – NYC - September
• Campus visit – Spring of Junior Year – Make a list of questions
o What are the dance genres taught?
o How many students are in each class? What kind of activities are there that foster collaboration with fellow students?
o What kind of program is it? What is the career focus?
o How big are the technique classes?
o What are the performing opportunities? Who are the choreographers for the shows?
o Is there a senior project? What does it entail?
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o Transfer possibilities
o Completion rate
o There a semester abroad or other special programs?
o Who are the upcoming guest artists? What will they teach? Repertoire or technique or both?
o Who are full time and who are part time faculty? Be sure to get their bios and know who they are.
o Outside of technique, what are the other dance degree requirements and other classes offered? Do any of these
classes satisfy the college liberal arts requirements as well?
o Where are the alums today? Do they still work in the field? In what capacity?
o Do they offer a double major, minor, etc.?
o What kinds of job preparation/career services are offered?
• Read blogs – www.dancepathways.org
• APPRENTICSHIPS, MENTORSHIPS AND INTERNSHIPS
• Dance USA: https://www.danceusa.org/
• Dance NYC: http://www.dance.nyc/
• NDEO: www.ndeo,org
• Dance Informa: http://www.danceinforma.com/
• Dance Media: http://dancemedia.com/
• TAKING A YEAR OFF
• Time to test out interests
• Time to gain a perspective on personal values and goals
• Gain needed life experience
• Warning – must be structured – can’t simply be a break
• APPLICATION & AUDITIONS
• Apply Online
o Must apply to both the college and the dance division
• SAT or ACT?
• Auditions - What to expect
o All day classes
§ Ballet
§ Modern/Jazz
§ Solo/Interview
• FINANCIAL AID - SCHOLARSHIPS
• Apply to FAFSA and CSS
• https://www.fafsa-application.com/preparer.php
• https://student.collegeboard.org/css-financial-aid-profile
• Get Accepted
• https://getacceptd.com/
• Scholarship resources
• THINGS TEACHERS CAN DO TO PREPARE STUDENTS AND PARENTS FOR COLLEGE
• Encourage summer intensive participation – not with friends if possible
• Keep a library at your studio (see books and College Guide info in research section)
• Have students write critques of movies, performance, pieces they see at competitions – encourage them to evaluate and
think critically
• Bring in speakers to talk about careers in the arts and college programs (link up with other area studios)
• Links to articles and resources on your website
• Introduce new classes
§ Improvisation
§ Choreography
§ Dance History
• Talk about Parallel/Sustainable Careers
• Have students assist with performances/recitals
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§ Marketing
§ Backstage
§ Front of House
• Take students to performances/movies/TV performances
§ Have them write a critique – see above suggestion
• Conventions – take classes from a variety of teachers
• Audition preparation
§ Stage mock auditions – combine with other area studios
• Solo preparation
§ Not a competition solo
SHEILA BARKER
JAZZ
TURN COMBO NOTES – for working on spot and parallel position
BEGINNER
Starting in a parallel 1st position
1/2 – Step right forward/(pivot turn to the left)
3/4 – Step right forward/(pivot turn to the left)
5 – step right together parallel first releve, (arms up)
6 – plié in parallel 1st
7 – go to parallel passé
8 - land in parallel first plié
Repeat starting with the left leg.
ADVANCED BEGINNER
1/2- Step out on the right, (right arm up/left arm in second), drag left to step in
3 - Flick left leg to low battement as you rotate a quarter turn to the front (left arm up to meet the right)
&4 - Ballchange left/right to 4th position parallel prep
5/6- En dehors (outside) pirouette to the left
7&8- Chaine (3 step) turn out of it, left/right/left
Repeat starting with the left
We’re living in such a distracted and multi-tasking world. Technology is always advancing and moving forward. Our students are
born to know this lifestyle at birth, but learning how to dance can never become a deleted file – we need them to be present and
engaged. Here are some suggestions to try:
- Start your warm-up without music to encourage finding focus and breathing patterns. This allows your students to get used
to listening to your guidance.
-
Have students put their fingers on their belly button to enable them to find their core more easily; giving them a visual and
visceral sensation allowing them to find their center from the inside and engaging it.
-
No more nodding – let your kids voices be heard. When you ask your students a question, make sure they answer you
with a clear voice.
-
Mix up your class from warm-up to combo – new spots in the room. This will put everyone on an equal playing field and
help build confidence. Everyone becomes a leader at some point in the class.
-
Try some balancing work with their eyes closed; work on balances on one leg, two legs/passé/different shapes. Use it for
placement/breathing/listening to music/picturing the choreography
-
Train students to pick up choreography and movement with their eyes. Show a movement/exercise full out/do it one time –
then do one step and ask them what comes next in the exercise. Minds need to be woken up to picking up quickly and
being engaged/present in class.
KELBY BROWN
CONTEMPORARY BALLET • INTERMEDIATE ADVANCED COMBINATION
MUSIC BY JAMES VINCENT MCMORROW
Focus/style:
The first part of the combos is very earthy; soft with an introverted sensuality…the 2nd half is a bit more powerful, aggressive
• Start with a pencil turn to 2nd position grand plié
• Swipe the right knee to the ground, into pinwheel arms to floor in a contraction, while sliding feet around to 2nd position parallel
• Reach up while sliding to the floor, then roll over into a penchée plank, then break down to elbows and bend back leg to flex foot
• Attitude, roll and arch up from the floor
• Run back into plié arabesque, developpé front, little drag turn to attitude front on profile holding the leg…flick the attitude leg into
a lunge, battement with flex foot into a port de bras in 2nd position parallel facing the back
• Rond de jambe leg side to over the toe on floor, roll into stretching legs parallel, pull the knees into you and then crawl back
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• Go over both toes to knees, into a rombracé on knee to standing
• Dégagé side, step across lunge side side side, into rombracé attitude into a hinge
• Collapse to the floor, arch up from the floor
• Step into a fan kick en dehor, then en dedon, into a forced arch lunge
• Arch back, contract forward x2
• Turn into a side split, roll into a reach up on one hand with the hips up, roll into pinwheel roll get up
MELISSA WOLFE
SEMINAR • KEEPING YOUR STUDENTS SAFE WHILE IMPROVING TECHNIQUE, STRENGTH AND FLEXIBILITY
•Strength and control of abdominal muscles is the number one priority for safe dancing at any age.
Exercises:
1. Visceral sphere (belly ball)
a. Roll abdominal contents back towards spine
b. Narrow the space between ASIS (hip bones)
c. Shorten the space between lumbosacral shelf (low back) and pubic bones
•When strength is built around the pelvis, the alignment of joints through the limbs improves.
Exercises:
1. Rotators- “clam shell”, “butterfly”
2. Inner thighs- “baby feet”
3. Hamstrings and glutes- “extended prone ( face down) beats”, “bent and straight legged bridge”
4. Abdominals – “extended crunch”, “crazy fish”, “side lying contract to extend”
•Understanding and performing proper alignment is crucial to maintaining healthy joints with minimal wear and tear.
Exercises:
1. Visceral sphere
2. Grow taller from pelvis towards head
3. Push downward with legs from pelvis toward floor
4. Expand outward from sternum to shoulder
•Basic alignment issues:
- finding neutral pelvis
- flattening of thoracic spine
- hip, knee and ankle line
- Valgus and varus knees
( “knocked” knees and “bowed” legs )
- hyper extension
DOUG SHANKMAN
TAP
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Objective: To explore a strong tap pocket by using rhythmic structures including; Swing, Syncopation, bass rhythms and drum
rudiments.
“In the Pocket” What?
“In the pocket” is where a solid rhythm section lives.
Keeping the groove consistent and never losing timing. “Its nothing more than keeping good time and playing a part that sounds
good for the song.” To me the pocket is the rhythmic glue that holds the rhythmic structures together. It is also a feeling… it’s just
feels good.
Definition of swing
Defining swing is a notoriously difficult thing to do, since the swing quality of a musical piece is essentially a matter of perception
and appreciation. Any time a note is not accentuated in a “straight” way, exactly on the beat, but rather slightly before or slightly
after, a special kind of push or accentuation is given to that beat, making it feel “bouncy.” When that effect is repeated throughout
a piece, with all kinds of variations, the phenomenon of swing is generated, one may be unable to define swing, but one knows it
when one hears it.
Technicalities
Things become more complicated and controversial when one tries to be technical. “A way of performing eighth notes where
downbeats and upbeats receive approximately 2/3 and 1/3 of the beat, respectively, providing a rhythmic lift to the music”
(jazzinamerica.org) is one of the more accessible definitions. In our electronic age, the swing effect has been subjected to
computer analysis, yielding essentially the same results—that of measuring an intentional departure from the regular, straight
beats of European music.
Definition of syncopation
Involves a variety of rhythms which are in some way unexpected which make part or all of a tune or piece of music off-beat. More
simply, syncopation is a general term for “a disturbance or interruption of the regular flow of rhythm”: a “placement of rhythmic
stresses or accents where they wouldn’t normally occur.”
“All dance music makes use of syncopation and it’s often a vital element that helps tie the whole track together”. In the form of a
back beat, syncopation is used in virtually all contemporary popular music.
Technically, “syncopation occurs when a temporary displacement of the regular metrical accent occurs, causing the emphasis to
shift from a strong accent to a weak accent.”[5] “Syncopation is,” however, “very simply, a deliberate disruption of the two- or threebeat stress pattern, most often by stressing an off-beat, or a note that is not on the beat.”
Playing a note ever so slightly before, or after, a beat is another form of syncopation because this produces an unexpected accent
It can be helpful to think of a rhythm in eighth notes and count it as “1-and-2-and-3-and-4-and”. In general emphasizing the “and”
would be considered the off-beat.
This unsyncopated rhythm is shown in the first measure directly below:
Bebop
Differed drastically from the straightforward compositions of the swing era and was instead characterized by fast tempos,
asymmetrical phrasing, intricate melodies, and rhythm sections that expanded on their role as tempo-keepers. While swing music
tended to feature orchestrated big band arrangements, bebop music highlighted improvisation.
Bass Rhythm:
A “new school” rhythmic pattern which accents and stresses the bass tones of a rhythm. It works well with hip hop, funk and rock
beats
Triplets:
Triplets are probably the most misunderstood rhythm for beginning musicians. A triplet is a specific rhythm, not a note grouping.
The most common example is the 8th note triplet. An eighth note triplet rhythm is 3 notes played in the space of 2 eighth notes.
You may find it easier to think of the eighth note triplet as being 3 notes dividing a quarter note (since 1 quarter note = 2 eighth
notes).
Other triplets exist, too. The next most common is the quarter note triplet. A quarter note triplet is three notes dividing the space of
two quarter notes (the same space as a half note).
In music notation, triplets are always marked with the number 3 over or under the triplet notes.
Counting 8th Note Triplets
There are lots of ways musicians count triplets. There’s no one correct way to count triplets.
You might just say “trip – ah – let” for each triplet.
Or, you might count “1 – Ah – Lee – 2 – Ah – Lee – 3 – Ah – Lee – 4 – Ah – Lee.”
Or, “One – Trip – Let, Two – Trip – Let, …”
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Playing 8th Note Triplets
It’s really important to learn to feel and play the 8th note triplet rhythm. You will encounter it in most every style of music. The 8th
note triplet is an essential rhythmic element for many styles like blues, jazz, and a lot of rock.
Basic Drum Rudiments:
Paradiddles, Flams, Rim shots, creating the bass and snare drum with your tap shoes.
Music:
Soul Man-Ramsey Lewis
Crazy Little thing called Love- Michael Buble
Gritty- Rod Howell
What do you mean- Justin Beiber
CALEN KURKA
MUSICALITY & IMPROV
MOVEMENT MECHANICS: A SENSATIONAL APPROACH TO CONTEMPORARY DANCE
Class Focus / Description
This class is a movement class grounded in Contemporary techniques and movement exploration through improvisation. The
class is designed to ground the dancer in their senses and their approach to exploring the human body throughout class allowing
the body a more physical, mental and spatial awareness to the approach of training. This connection nurtures the bodies’ natural
innate human ability to compare, recognize, obtain, and retain the information it is receiving.
Contemporary Mechanics
The class begins with a simple centering of the mind, and spatial awareness of the surrounding negative space, playing on the
senses and breath and agility.
Warm-up continues with a center combination layering and combining exercises moving through the torso, and spine, warming the
body slowly at first in repetitive patterns standing, and on the floor. Theses exercises are continual through active movement and
promote both connection, strength and stretch through the use of breath and the extension created by expansion through space.
Warm- up is followed with simple techniques in improve, accessing each artist’s inner creative ideas and choice making.
Combo can combine any or all ideas explored throughout the class and will then be explored further allowing each artists to
exercise their own approach, thoughts and ideas, in order to better understand the body of work.
As this is only an hour long class sections of the class may be shortened in order to keep the integrity of the information and
respect the time allotted.
MATTHEW SHAFFER
SEMINAR • THE COMMERCIAL DANCE INDUSTRY
INTRODUCTION: Defining the Commercial Dance Industry
1.
2.
3.
4.
5.
6.
Commercial
Music video
Corporate industrials & live events
Television
Film
New Media / Digital content
TRANSITIONING: From the dance studio to the working professional
1. Attending a conservatory or college vs. entering into the “real world.”
2. Which city is best for your dance career––based on your look, style, and preferred genera of dance.
3. Getting started:
a. Housing
b. Day Job––we ALL need one.
c. Professional classes––building relationships with working choreographers and casting directors.
AUDITIONS: What do I need to know?
1.
2.
3.
4.
5.
Define your “type.”
Building a brand.
Acting is important!
Casting directors
Networking––this is called Show BUSINESS; you’ve got to network, if you want to work!
AGENTS: They only work for you if YOU do the work.
1.
2.
3.
4.
5.
How agents work?
How you can help agents work for you.
How to “get an agent.”
Building a relationship with your agent.
Tools: Head shots, reels, résumé and more!
BOOKING THE GIG:
1. Unions––what are they? Do I need to join? How do they work for me?
2. Contracts––listen and trust your agent, but READ everything.
3. Working conduct:
a. What to expect on a set or shoot.
b. How to continue booking the gig!
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SATURDAY, JULY 30 TH , 2016
BROOKE LIPTON
SATURDAY, JULY 30TH, 2016 8:30AM
CONTEMPORARY
SONG: TURNING PAGE
ARTIST: SLEEPING AT LAST
This combo is dedicated to my dear friend Andre Fuentes who recently past last month.
Intro
Start facing upstage, taking a breath in and slowing rolling down to have your hands land on your knees and contracting rolling
back up
Starting on the 1 and coming up on the ¾
Turn over your right shoulder, left hand comes up flat and flexed wrist, lyric is waited
Right legs starts to lift on lyric a million more, hold
L hand flicks on lyric for you
Start walking (4 walks to the left) having left hand lead
Crossing over with a ball change then 2 pas de bourrée, turning behind yourself, taking a plié on the down accents. Landing back
with head down hands on the knees
Contraction in the gut to lift you first
Looking up on lyric nothing, taking 2 steps forward both arms reach out then come back to cover stomach, slowing contact down
to the ground on 5, roll to get to knees.
Reach up 1,2, roll 3,4, and walk around yourself to the right 5,6,7,8.
First position, left hand out, push away stepping right, pull head over, circle arms out and push them through, stepping back on the
right foot, rotate and face the left wall, windmill arms with a pique and passé right leg.
2 runs back to face right wall right arm reaches.
Chasse back with push the right arm in opposition.
Quickstep out left with a look, repeat same look to the right and then first position head roll arms push down.
Unfold arms with a fourth position, rotate to look back with a prep to a low drag turn wrist rotate and stay with right arm up and left
in second.
Chaîné right, chasse arms over head, right chaîné left, repeat 2x
2 runs cabriole, 2 runs over the top, chainé inside pas de chat, keep rotating and walking around yourself to the right. Hold
throughout the eight count.
Four paddle turns to the right arms out in second head released to the ceiling.
Landing in a wide second letting our arms swirl over head and releasing until breakthrough accent.
TONI NOBLETT
TAP • MAKING MUSIC: FOOLPROOF FIRST LESSONS FOR BEGINNING TAPPERS
AGES 4-6+
The first two words in the name of this workshop are the most important concept you will EVER teach as a dance teacher of any
form. IF music is the centerpiece of every class you teach, your students’ musicality consistently will produce solid technique and
beautiful performance. You will find inspiration as you search for new tunes, and the musical maps you hear will simplify your
work as a choreographer. Your teaching will take a giant leap forward. Michelangelo was once asked how he could create
sculptures out of massive blocks of marble. He said “I saw the angel in the marble and carved until I set him free.” That
quote not only expresses the importance of the material on which we set our choreography, but encourages us to edit and
discover the dance within the music. Music lessons first, dance material second. Balanchine wisely said: “See the music, hear
the dance.” (He must have been a tapper in his other life.) For beginners, plan to spend more time on music selection than on
the steps.
1. At the beginning of the year –lesson planning: exercises and the music (a chicken and the egg question)
What are the steps or skills you will teach?
To what kinds of music do you want them to be exposed? (Thinking ahead to year-end productions.)
How do arrangements impact your teaching?
What are the possible learning styles that you will have to teach to?
2. The body as an instrument; playing your instrument acapella
a. resonance/body percussion
b. the pitches of the taps
c. loud and soft
d. tension and sound and speed
e. claps as musical notes
f. quality of sound
3. First skill to tackle—listening vs. hearing/dissecting music
4. What organizes/defines a piece of music. What colors it? Defines it? Makes it memorable—really important. REALLY
REALLY important!!!!!
a. Time signature
b. Style
c. Form
d. Tempo
e. Dynamics (exercises two ways)
f. The melody
g. Rests and stillness
h. Finding the downbeat and upbeat/claps as notes/conducting
i. Counting bars
j. The beat vs the rhythm
k. Keeping good time (the metronome and your class)
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l. Making up silly sayings to make rhythms easy to memorize
5. Intros and entrances Keep it clear and clean by practicing
a. ballet barre prep vs. tap warm-up
b. counting bars
c. pickups
d. The importance of transitions in beginning classes
6. Matching the music to the exercise or is it matching the exercise to the music? Making every class a music lesson.
A handout with a sample classes (and examples of beginning skills) for 4 – 6 year olds, older beginners, and beginning adults with
music suggestions will be given out in the class. A discography will also be included.
Email: [email protected]
CLINT SALTER
SEMINAR • STUDENT ATTRACTION FORMULA
The best methods to attract, enroll and retain students have dramatically changed…but are you keeping up with the changes?
Placing an ad in the local newspaper is not the way to get students flocking to your door! In this powerful and interactive
presentation, Dance Studio Owner Mentor Clint Salter will walk you through what's working in a clear, step-by-step manner so you
can better market online and offline throughout 2016.
Learn how to implement no-cost and low-cost marketing strategies and get those students coming to you!
CEO • Dance Studio Owners Association
www.dancestudioownersassociation.com
ALLISON HAYN
SEMINAR • RETAIL ROUNDTABLE
R E T A I L I N Y O U R S T U D I O – Making your own merchandise can be daunting, but ANYONE can do it! Stick up for
what you want, what your vision is, and don’t let yourself be charged for something you did not agree to!
Dancers are creative! So your logo should be too!
YOUR LOGO
- What is your logo? Where is your logo?
- Programs that can edit pictures: Photoshop! Publisher- save as jpeg.
- Vector versus Pixel art- quick overview
- Logo rules:
Make your logo fit in a box
Use an unusual, readable font
If you use 2 fonts, use a serif or sans serif
- If you are uncomfortable, one of your students can edit picture for you in front of you
- Ask your printer how they like artwork submitted. Jpeg? Tif? PDF?
-If they say .ai or .psd, find another printer!
- At BDC, ¾’s of the merchandise has only the basic logo- and it sells the best
-DRESS IT UP! You don’t have to be an artist
- Layers, colors, and ink rules- What is the Pantone matching system?
-Ideas to add to your logo
- abstract shapes like swirls, leaves and florals, splatters, stars,
- Outlines and fills
- Elements that will never be outdated
Once you’re happy with your logo, create a mock-up and start with pre-orders.
WHAT TO ORDER?
- Who is your market?
- What do they wear to dance? It doesn’t matter if you would wear it, just if you support it and if you want to sell it
- Start SMALL or with pre-orders- Don’t be tempted by bargains and promotions or feel the need to make a minimum- if you make that mistake once, you
won’t again, it will sit in your store and look at your every day
DECORATING
- Foil, felt, metallic, glitter, burn out,
SCREEN PRINTERS
- Check your local listing for screen printers
o Call each one and see who you connect with the best.
O You want them to LISTEN to your needs and OFFER their services, not force sales on you
o List your most important needs. Mine are 1)HIGH QUALITY, eco-friendly prints 2) LOW COST and 3)FAST!
O I have 3 close to New York City:
• On list- tell about my printers
SHOP AROUND!
- A good printer should
- have a print out of a price chart. Printing should start at $1.20 for a one color, one print on a small job
- be able to give you a sample before running the whole job
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- screens should cost between $20- $40 but should last forever
- charge you for 50% or less up front, and after 6 months, you should have net 30 terms
- I PREFER printers to communicate through email and attachments- explaining your ideas can be hard and a picture is worth a
thousand words!
MY FAVORITE VENDORS- on contact sheet
ARTWORK PLACEMENT
- Art size- 3.5 inches for pocket size and 9 inches across the back
- Be economical with screens
- Make a mock up- even if its drawn
- Creative places to put art- over should
Create your first item!
- Sell in store, or pre-order items?
- What do your students want?
- Sweats, Tanks, Jackets, Shorts, T’s, Accessories
- You can make your own mock up of how your merchandise will look!
1-Save a picture of the front and back of the item you want on the internet.
2- in Publisher or a photo editing program, place your logo on the item.
3- use the transparency pen to get rid of the background of your logo
4- resize logo and move it around until you love it!
5- measure the size for your logo on a real person- then print it out that size, cut it out, and pin it on a similar piece of clothing- try
it on! See if it looks how you expect!
- Basic logo always sells best
(bring someone up and create their item for them?)
COORDINATING A LINE
- Who is your target market?
- Main color pallet- Dancers will always buy BLACK most!
- how bdc fashion and basic work
- Basics versus fashion
HOW TO MAKE YOUR OWN LINE:
ELEMENTS OF LOGO MERCHANDISE
1) Your logo
2) Artwork placement
3) Ink color, styles, and decoration
YOUR LOGO
• Creating your logo from scratch
o Draw it on paper first
o Photo edit software
§ Photoshop, Photoshop Elements
§ Illustrator
§ Microsoft Publisher
§ Microsoft Word (save as pdf)
o Email friendly file types (ask your screen printer first!)
§ .pdf
§ .jpeg
§ .tif
• Dress up your logo
o Abstract shapes- like swirls, leaves, florals, splatters
§ Photoshop brushes are a great source of background art
o Outlines and fills
• Save many copies of your final choice
WHAT TO ORDER?
• Who is your market?
• Start SMALL or with pre-orders
• Don’t be tempted by bargains
DECORATING GARMENTS
o Foil, felt, metallic inks, glitter, burn out, appliqué
SCREEN PRINTERS
o Check your local listing for screen printers
o They should LISTEN to your needs and OFFER their services, not force sales on you
o List your most important needs. Mine are
1)HIGH QUALITY, eco-friendly prints 2) LOW COST and 3)FAST!
You Can Do It! Get started now- Registration and Open House are the best times to sell your logo merchandise!
THE PULSE’S FAVORITE RETAIL CONTACTS
VENDORS
Alpha/Broder
Alternative Apparel
Miami Style
American Apparel
WHAT THEY SELL
EMAIL CONTACT
WEBSITE
Basic Blanks and Sweats- Many brands
[email protected]
Broderbros.com
High quality basics and fashion
[email protected]
AlternativeApparel.net
Beachy Bright inexpensive tops
miamistyle.com/wholesale
Name Brand, basics and fashion
[email protected] americanapparel.net
33
Soffe
Kavio
Boxercraft
Eva T’s
Royal Apparel
TQM
U-Trau
Independent
J-America
Beihmar
PearSox
Packaging Specialties
Junior friendly fashion
[email protected]
soffe.com
Junior friendly fashion
[email protected] kavio.com
Women’s and men’s basics
[email protected]
Boxercraft.com
Basic Blanks and Woman’s lines
[email protected] evatees.com
Unique basic and fashion blanks
[email protected]
royalapparel.com
Basics and CUSTOMS with a yoga feel
[email protected]
tqmapparelgroup.com
Fashion for Juniors
[email protected]
utrau.com
Fleece in bright colors
[email protected]
independenttradingco.com
Unisex Fashion Jackets
[email protected]
jamericablanks.com
Unisex Fashion Jackets
[email protected]
beimar.com
Custom Socks
[email protected]
pearsox.com
Logo Shopping Bags
[email protected]
pkgspec.com
PRINTERS
SPECIALTIES
Image Makers
Local, friendly, great service
Color Flo Graphics Fast, low cost
Quist Industries
Fashion forward
Satisfactory T’s
Best Quality, Low Price
LOCATION
New York, NY
Hackensack, NJ
Brooklyn, NJ
Athens, GA
EXTRAS
4imprint
discount mugs
WEBSITE
4imprint.com
discountmugs.com
WHAT THEY SELL
Logo anything
Logo anything
PHONE
212-594-0696
201-525-0105
718-243-2800
706-543-7081
SHELLY HUTCHINSON
CONTEMPORARY
“LET ME FOLLOW” MUSIC BY SON LUX
In this center phrase, we will focus on traveling through space while recognizing the intention and importance of transitions before
and after each step.
We will also give and leave space for individual artistry and interpretation of the music.
Will also talk about creativity when choreographing a phrase for class – How to seamlessly create one combo and apply it to all of
the different levels of dancers within your studio or institution.
Focusing on creative/efficient movement that can be effective for 5 different classes as opposed to coming up with 5 completely
different phrases.
Will also provide some ideas for Improv with your students at any level.
MATTHEW POWELL
BALLET • THE ART AND SCIENCE OF TURNING
Join Matthew Powell as we discuss all things turns in classical ballet for all levels of students! In this class, you will gain the
knowledge needed to help your students gain confidence and perfect their turns. From pirouettes to piques, we will break down
the science of turning in a method that your students will find easy to understand. Come armed with questions, and let’s get
turning!
Aspects of turning to be covered include:
• Spotting
• Pirouettes from fourth position en dehors (outside turns)
• Pirouettes from fifth position en dedans (inside turns)
• Chaîné Turns
• Pique Turns
• Fouetté Turns
• Barre exercise that help get your students placed and ready to achieve clean and beautiful turns.
WES VELDINK
CONTEMPORARY MOVEMENT
SONG: CONSEQUENCE OF SOUND
• inhale and rise hugging self
• exhale and step R, L, shoulders R, L
• conduct orchestra
• close eyes and listen R, L, spiral R, stop and open eyes
• R shoulder drops 8X, look R
• brick size box gesture 3x (A+B=C)
• jig right (towel)
34
• heavy head drop R, back center, shimmy up, arms drop dead, jump|shrug, grapevine L front, land on R with L in second
-step L, lame duck turning L, step to 2nd parallel with L
-turning R step around self R, L
-turning R step to face back with half head roll R
-L passé with contraction, arms swing above head
-step L, R ending 4th parallel
-hands on floor R, cross L, R, push off and contract
-tuck R and roll R onto balls of feet with sign in the air
-roll L to lay down with L arm reaching forward
-arch up and switch arms
-step L to an open passé
-step through with R into 4th position with hips up in the air
-sit, L arm circles on floor to bring you to sitting 4th
-lean back and gentle backward roll to crouched position on balls of feet
-creep walk R, L, R, L, stand up, look right
ASHLÉ DAWSON
CONTEMPORARY FLOORWORK
To Begin:
•Breathing exercise to center and bring focus to the body and the sensations moving through it
•Alignment & coordination warm up for joints and core
On Floor:
•Half Moon Contractions- to build deeper core strength and connection to the floor. Concentrating on initiating the contraction belly
button to spine and following through. Finding oblique strength. Variations given- 1.) Half moon in to full contraction 2.) Half moon in to
open stomach and return 3.) Half moon on to knees
4.) Half moon to knees into push up pike 5.) Half moon series-swing leg following knee into pigeon stretch, follow through open hip
stretch, engage pelvic floor and roll down.
Cardio:
•This will not be fully given in teacher workshop for time restriction but will be explained briefly with some ideas to help students focus
on proper parallel positioning, being mindful of the hips. Alignment in landing. Building a stronger core, focused on pelvic floor
engagement as well as proper push up position and arm/back connection to the floor for the following power tricks
Across The Floor:
• Combo exercises given. 1.) Reaching on the angle, melting down through spine to reach floor past feet, contract into pelvis to lift and
travel body. Helping to feel hands and back connected to floor. Repeat, this time swinging torso to the floor to initiate knee sweeps. 2.)
Front cross over sweeps into roll to push off floor into traveling sweep
Combo:
•We will learn a few variations to get off the floor using one hand/arm. 1.) Parallel push 2.) Parallel push with follow through kick 3.)
Parallel push into full split with suspension 4.) Tuck flip (focus on pelvis lift and simultaneous kick)
•Safety drops to the floor. Guarding the knees. How to come back up (level options).
•Variation of parallel scissors
ADDITIONAL NOTES
35

“Behind every dancer who believes in themselves is a teacher who

Transcription

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