Search

The article focuses on the decision-making process for dancers when choosing between doubling down on their primary dance style or trying something new during summer intensives. Topics include the experiences of adapting to a new style, the need to only take what is beneficial, and the importance of staying realistic about expectations during the summer break.

The article focuses on the decision-making process for dancers considering whether to return to the same summer intensive or explore new programs. Topics include the benefits of returning, such as familiarity and relationship-building, the advantages of branching out for diverse experiences, and considerations for finding the right balance between familiarity and growth.

The article focuses on the advantages of high school students considering college summer dance programs, emphasizing the holistic growth, residential experience, and academic aspects these programs offer. Topics include a taste of undergraduate life, the integration of academic perspectives in dance, and the preparation for future academic and professional goals through participation in these intensives.

The article focuses on cost-effective planning for summer audition tours, exploring options such as virtual auditions, maximizing in-person audition opportunities, and travel tips. Topics include the advantages of virtual auditions, strategies for getting the most out of in-person auditions, and practical advice for planning and executing audition tours without breaking the bank.

The article discusses on the dance audition of visiting choreographer Tom Weinberger at State University of New York College at Purchase (SUNY Purchase). It cites that during the visit of Weinberger, the students get the chance to regularly interact with professionals in their field, whether via class, rehearsal or observation and were exposed to new dance techniques, engaged in novel choreographic processes and help them develop contacts in the industry.

The article offers information on opportunities offered to dance students at the ballet school New Zealand School of Dance (NZSD) located in Wellington, New Zealand. Topics discussed include views of Garry Trinder, director of the NZSD, on providing technical skills to students based on demands of 21st century dance, participation of dancers from New Zealand in dance companies of Great Britain and training for graduation programme delivered by experienced choreographers.

The article discusses perks and perils of assisting at dance conventions in college. It mentions that convention assistants help students pick up choreography and rub shoulders with industry influencers. It mentions views of New York City Dance Alliance assistant and Marymount Manhattan College alumna Alyssa Ness, on how assisting has exposed her to new styles and choreographers.

The article discusses the importance of connecting with guest choreographers in boosting future jobs and opportunities for college dance students. It offers information on the views of choreographer David Parker on the factors possessed by dancers that attracts them, the multistep process taken by Lex Shimko in securing a spot in Diavolo's second dance company and the use of faculty members as the most valuable resource in approaching choreographers.

The article offers tips for choreographers on how to inspire individuality in students of all styles of dance, from ballet to hip hop. Topics include the need to foster happiness and excitement in students, the importance of encouraging students to take ownership of their dancing, and the value of improvisation in dancing.

The article discusses information related to concussions that are of interest to dance choreographers and dancers. Topics include how concussions happen that result from violent shaking and getting hit in the head, physical signs of concussions including being unsteady or acting confused, and the need for students to see a doctor if they are experiencing headaches or other symptoms of concussions.

The article focuses on nurturing of choreographers to help students develop their creative voices.

The article presents an interview with choreographer Tyce Diorio. When asked for his advice for dance studio owners, Diorio replies that studio owners should create safe environment for outside choreographers. He discusses theater jazz and Broadway genres of dancing. He says that dance teachers should teach their students to take care of their body.

The article presents several suggestions from the author on how dance students can balance professional dance career and working with guest choreographer on solo. Topics discussed include how to find the best choreographer; how to optimize rehearsal time; and try to be confident as much as a dancer want to impress his choreographer.

The article presents the tributes made by several dance personalities to their instructors as the annual "Dance Today Teacher of the Year" competition is launched in Great Britain as of February 2015. ZooNation artistic director Kate Prince cited Jimmy Williams of Pineapple Studios as her most influential teacher. The others who gave tributes to their teachers include Dance UK's Caroline Miller, Jo Scanlan of Tap Attack, and "Strictly Come Dancing" professional Janette Manrara.

The article discusses the hesitations of dance students regarding floorwork which generally proves difficult for technically trained dancers. It mentions that floorwork helps dancers to enhance their versatility and movement efficiency. Further included are efforts of choreographer Mandy Moore who conducts introduction-totumbling classes for the younger dancers that helps students control on their nerves and tells how to safely approach the ground.

The article discusses steps to be taken by a dance teacher and choreographers in preparations of students for unexpected challenges and hazards of dance performances in a wide range of venues. It states that gathering information regarding the venue such as its size provides better chances of success. It suggests preparing students for unconventional stages to learn how to fit their movements in different types of venues.

An interview with choreographer Joe Goode is presented. When asked about his Resilience Project, he refers such as an effort in dealing with trauma and finding strength in adversity. He talks about the association of language with body movement when dancing. Goode also advises students not to think of dance as a career for it could be depressing and self-defeating way of going about it.

An interview with dance choreographer Peter Darling is presented. When asked about making of any choreographic suggestions by students during rehearsals, he refers to their ability to replicate the work that they have been taught. He highlights several abilities that he looks for while auditioning children including the ability to attack movement, the ability to express, and ability to understand the norms. He also shows his liking for the work of novelist Roald Dahl.