Caitlyn Lawson and Mitchell Kelly

This powerful duet was well danced by these two very talented young professional. Contemporary is Mr. Kelly's forte and this is his original partner he was suppose to compete with the week before but because of an injury he did not compete. Lucky for us, the viewers, he was not sent home. In fact no one was eliminated so this week all competitors are competing knowing that now its for real.

Mr Kelly and the very beautiful Caitlyn Lawson very a strong passionate couple. Both dancers have amazing control and use of their facility. This beautiful piece demonstrated the passion and control the male dancer must

Melanie Moore and Marko Germar Jazz Dance

Melanie Moore and Marko Germar - Jazz - So You Think You Can Dance

Watching Melanie and Marko dance together is such a joy because they are both such strong dancers technically. Being a great dancer does not mean you're a great partner. If you pay attention to how they both move you can tell that some some the partnering looks labored. Unseen to the trained  eyed small things  like hand holds and grabs as well as the momentum going into a lift and descending out of lifts can look tiresome. Don't get me wrong their chemistry and performance ability more than makes up for whatever small things that happen to go wrong on stage and things always go wrong. Its just that the next generation of dancers are becoming superstars when there actually still pre-professional.

Melanie Moore and Marko Germar Contemporary

 

As a couple these two seam to have a well balanced match of technique personality and physical ability. When two people dance as a couple they not only move together, they move as one. Moving  as one is not dancing at the same time as each other or mimicking each others movement. Well rehearsed couples will hear the music the same, have the same timing and be able to partner. As dancers we can not only have to accomplish the physicality of dance but we have to remember the character we're portraying and make that come through in our movement . 

SYTYCD Atlanta Dancers

Summers here and along with rest and relaxation comes recharge. The hit dance show So You Think You Can Dance (SYTYCD) kicks off summer in full swing with very lovely young dancers from Atlanta. Mitchell Kelly who graduated from Grady High School and Melanie Moore from Lassiter High School in Marietta. They are 2 technically strong dancers who represent Atlanta well. Mr. Kelly had recently participated in "Lift Dance", an all male dance concert promoting, celebrating and supporting men dancing in Atlanta. Produced annually at the Woodruff Arts Center Mr. Kelly had recently graced the stage with his beauty and power as a young dancer and artist. It's a shame that he could not perform the first week because of an elbow injured gained during the first week of rehearsal for the show. He is quite a beautiful dancer and will represent the Atlanta male dancers well

Marietta’s Melanie Moore seams to be a dancer of effortless beauty. Her lines and extension are clean strong and powerful. She's beautiful and nice to look at. Nigel said the her duet maybe one of the first dances to be nominated for an Emmy. I can certainly see why This quiet beauty is one to watch out for. A graduate of Lassiter High School now attending Fordham University in New York. She trained for 12 years at Centre Stage School of Dance in Marietta, then added training at Rhythm Dance Center, also in Marietta. Voted most likely to succeed this quiet beauty will for sure go far in the season.

Guest Blogger: Amalia Rosa

Amalia Rosa is a professional dancer living and working in New York City. She has a  30 year career as an artist, educator, and mentor.  She has written for a number of publication across the United states and has owned her own dance school for a few years.






  According to the National Endowment For The Arts there are more than 1,700,00 professional dancers in the United States.  However there are only 900,000 performing positions.  Thats means 800,000 dancers are in a highly competitive job market that has greatly affected the industry and it's morale. 

 In New York City where most dancers either move or visit temporarily to pursue their career ambitions, have discovered finding employment has become a very steep up hill battle.  In fact New York City has the highest concentration of professional dancers in the United States.  To these professionals, dance is viewed as a pure form of expression, that is loved with ones entire being.  The dreams of performing with ones favorite company and performing works from an admired choreographer are the common glue of these artists.   Many have diversified their training to make themselves more marketable and have taken short terms jobs (gigging) to do what they love.  With most dancers not being aware of the severe lack of employment it leaves many disenchanted about there bodies, talent, and over all dance industry experience.   Yet the ongoing rejection has not just only taken its toll financially it has also shattered hearts by breaking the dream of their passion. 

 Of course the dance industry was not so bleak in the 1970's and 1980's; in fact it was booming.   In the last decade there has been a very sharp decline in public support and interest.  The main issue is dance companies themselves performing the same works for decades and not introducing new works that reflect a more contemporary mentality.   In fact most the supporters of dance are other dancers, patrons, or the aging dance lovers.  This has caused the public to look for other avenues to enjoy dance that reflects their contemporary world such as television, movies, and the internet.  

So what is a dancer to do in such a grim employment market?  The first thing is don't ever give up on your love for dance, no one can take that away from you-ever.  Second, although it is a passion and love, realize most importantly that this is a business based  industry just like car manufacturing and healthcare.  An employer and employee arrangement based up supply and demand.   Do your research about the industry regularly and just the angle of artistic passion.  Money is money, benefits are benefits ... most of all dance is love.

Dancers are the athletes to the gods. Albert Einstein

This collaboration of dance and athletics is not uncommon but forgotten. Albert Einstein once said that dancers are the athletes of the gods  


Over the past 12 seasons that " Dancing With the Stars" has been  airing there has been six professional athletes that have gone on to win and hold the coveted disco ball trophy. This past week  Hines Ward of the Pittsburgh Steelers  took home the coveted mirror ball trophy on the hit show and joined its winning group of alumni Athletes. Ward, a Pittsburgh Steelers wide receiver and former Super Bowl most valuable player, credits his professional dance partner, Kym Johnson, with their dance victory. He plans to keep his new mirror ball right next to his Super Bowl trophy.

Originally the show premiered in the UK in 2000 before  premiering stateside in 2005. In the seven years that American audiences have been enjoying pop culture icons dance their have been  three Olympians, two football stars and one race-car driver have been named “Dancing” champs. Three other NFL stars and an Olympic skater finished the popular show in second place.

Professional athletes actively use their bodies for their work, so they have the mental discipline and physical fitness to train and adapt to the challenges of competitive dancing. They’re also more likely than other candidates to avoid over-training, said casting director Deena Katz. Ward consistently posted high scores throughout the 10-week competition, and judges praised his showmanship and dedication. The thrill of competition is something that all athletes share including dancers. Competitors are always aiming to be better than they are because they know and understand that the only real competition is yourself. That the heart of an athlete, to constantly and consistently improving and increasing, strength, speed and agility.

 “It’s special,” the 35-year-old said, glittery trophy in hand. “With football, it takes all 53 guys. With this mirror ball, it was just Kym and I together in the studio putting in the hours. I’m just glad I didn’t let her down.”

This quote from Ward speaks to the dedication that it takes to be the best. Whether in the athletic arena or the stage nothing gets done without putting in the required amount of blood sweat and tears. Ward consistently posted high scores throughout the 10-week competition, and judges praised his showmanship and dedication. I assume Ward like past athletic winners put the athletes mind set into action when studying dance. Dedication is another fine attribute that dancing artist share with traditional athletes but don't get it twisted dancers are athletes too. “His commitment was especially evident after Johnson suffered a serious neck injury during rehearsals two weeks ago. The couple triumphantly returned to the dance floor, earning perfect scores for their performance and drawing tears from Ward, Johnson and judge Carrie Ann Inaba.

Besides Ward, the other athletic “Dancing” champs are NFL star Emmitt Smith, speed skater Apolo Anton Ohno, IndyCar driver Helio Castroneves, figure skater Kristi Yamaguchi and gymnast Shawn Johnson. Football stars Jason Taylor, Warren Sapp and Jerry Rice were runners-up on the show, as was Olympic skater Evan Lysacek.

Dancers are the athletes to the gods. Albert Einstein

This collaboration of dance and athletics is not uncommon but forgotten. Albert Einstein once said that dancers are the athletes of the gods  


Over the past 12 seasons that " Dancing With the Stars" has been  airing there has been six professional athletes that have gone on to win and hold the coveted disco ball trophy. This past week  Hines Ward of the Pittsburgh Steelers  took home the coveted mirror ball trophy on the hit show and joined its winning group of alumni Athletes. Ward, a Pittsburgh Steelers wide receiver and former Super Bowl most valuable player, credits his professional dance partner, Kym Johnson, with their dance victory. He plans to keep his new mirror ball right next to his Super Bowl trophy.

Originally the show premiered in the UK in 2000 before  premiering stateside in 2005. In the seven years that American audiences have been enjoying pop culture icons dance their have been  three Olympians, two football stars and one race-car driver have been named “Dancing” champs. Three other NFL stars and an Olympic skater finished the popular show in second place.

Professional athletes actively use their bodies for their work, so they have the mental discipline and physical fitness to train and adapt to the challenges of competitive dancing. They’re also more likely than other candidates to avoid over-training, said casting director Deena Katz. Ward consistently posted high scores throughout the 10-week competition, and judges praised his showmanship and dedication. The thrill of competition is something that all athletes share including dancers. Competitors are always aiming to be better than they are because they know and understand that the only real competition is yourself. That the heart of an athlete, to constantly and consistently improving and increasing, strength, speed and agility.

 “It’s special,” the 35-year-old said, glittery trophy in hand. “With football, it takes all 53 guys. With this mirror ball, it was just Kym and I together in the studio putting in the hours. I’m just glad I didn’t let her down.”

This quote from Ward speaks to the dedication that it takes to be the best. Whether in the athletic arena or the stage nothing gets done without putting in the required amount of blood sweat and tears. Ward consistently posted high scores throughout the 10-week competition, and judges praised his showmanship and dedication. I assume Ward like past athletic winners put the athletes mind set into action when studying dance. Dedication is another fine attribute that dancing artist share with traditional athletes but don't get it twisted dancers are athletes too. “His commitment was especially evident after Johnson suffered a serious neck injury during rehearsals two weeks ago. The couple triumphantly returned to the dance floor, earning perfect scores for their performance and drawing tears from Ward, Johnson and judge Carrie Ann Inaba.

Besides Ward, the other athletic “Dancing” champs are NFL star Emmitt Smith, speed skater Apolo Anton Ohno, IndyCar driver Helio Castroneves, figure skater Kristi Yamaguchi and gymnast Shawn Johnson. Football stars Jason Taylor, Warren Sapp and Jerry Rice were runners-up on the show, as was Olympic skater Evan Lysacek.

Interview Blog

Edward Franklin a native of Atlanta has traveled with world with several notable dance companies. He received his beginning training here in dance before going on to dance in Philadelphia, New York City and China. He has an interesting and slightly jaded view of Atlanta’s dance scene. He seams to thinks its sub par compared to where he has previously danced. Ha has a vision of what he would like to bring to the Atlanta professional dance scene.

Bernard:

Hello Edward, thank you so much for doing this interview for me.

Edward: 

No problem, why did you choose me I barely perform in this city anymore. If you get me on stage it’s not cheap. 

Question 1:

Being that you started dancing here in Atlanta how has it grown and changed?

Edward:

 Atlanta has more professional dancers and dance companies now versus 20 years ago when I first stared dancing at North Atlanta High School with Gary Johnson. He was my mentor. He had a junior company that I was in when I was high school.

Question2:

What does Atlanta need in order to grow?

Edward: 

 I don’t enjoy the quality of the work thats being presented here. It has no “flavor”.

Question 3:

Flavor?

Yeah the movement has no passion. Every one is giving the same thing. No ones offering anything different. Everybody’s using kids or pre-professional dancers to show there work. There are not offering these kids any kind of knowledge about the movement. Where it comes from and how to dance it with passion.

Question 4:

Your vision for Atlanta and the Atlanta dance scene?

Atlanta needs to decide what its dance scene is going to be? Atlanta is known for its Hip Hop scene but thats limited. If you can’t teach what to do then you’re not helping anyone but yourself. Everyone is so busy trying to be “ Fierce” that the work looks like shit.

Question 5:
Fierce?

Fierce is when people give a lot of extra that has nothing to do the work or the dancers.

Bernard.:

Its seams you have a lot of opinions and thoughts about the state of the current Atlanta dance scene. 

Edward:

I do

Bernard:

We’ll have to continue this discussion later I did not plan on such a spirited interview.

Edward: 

I look forward to it

Science of Dance Pt. 2

"Dancers realize that understanding the physics can genuinely help their technical facility; science folks enjoy seeing physics applied to the human body moving in impressive ways that most of us can enjoy only vicariously. But we all have bodies, so there is an inherent curiosity.“ Keneth Law

 Looking at the art and practice of dance through the lens of physics has been accused of  “reducing ballet to a science”. Dance is 90% conviction and 10% science. If you believe you can make your body do what you command it shall be done. The 10% that is science is highly important. Under standing the human physique from a muscular lever lets you know how far and in which ways the human body can be pushed. This knowledge give a dancer more control of the body allowing for  the creation of the strongest and most imaginative shapes. Our bodies are complex systems and while we largely submit to the laws of physics, many aspects of how we dancers work are not yet fully understood.




 Finding ones balance is something that we dancers strive to have an innate sense of.  We should be so keenly in tune with our body that we know days when we are on and off your central point of balance. A dancers equilibrium is constantly changing as the posture and movement changes. When a male partner lifts his female partner upside down her sense of equilibrium has changed and she can easily become disoriented, but only for a few seconds.  Equilibrium is controlled by structures in the inner ear, Research has shown us that muscles help to support and maintain posture and balance by generating automatic responses that preserve the vertical orientation. In other words, it’s easier to balance standing up straight than bending at the waist.  With modern dance balancing in an off-axis position happens to be part of the style  and appeal.
From "Postural Orientation and Equilibrium" by Fay Horak & Jane Macpherson, 1996.

While these automatic responses are more complex than the stretch reflex , they are both involuntary responses requiring no conscious thought on your part. So, if these responses are involuntary, how do I get better balance? Through the nature of their practice, dancers are better at balancing than ordinary people because of the simple logic that  practice makes perfect. The best way to get better at balancing is to practice. While this may seem simplistic, its true. (regardless of whether or not they are consciously activated) are controlled by muscles.  There’s no magic muscles become stronger through use or more through practice so does putting science to use with dance and movement. It betters better with use and practice.

The Discover article noted that Laws had in the past received criticism for his work in attempting to reform ballet instruction by looking at the art and practice of dance through the lens of physics. The Philadelphia Inquirer had once accused him of “reducing ballet to a science.” further develops the notion that science and art need not be mutually exclusive, especially when it comes to ballet and physics. Laws explains that he believes these boundaries have become less rigid in the past few years:

The Science of Dance Pt. 1

Many people would not believe that art and science could collaborate. One of the most interesting components  of dance is the science  involved.  It is necessary for dancers to under stand science and laws of physics to be the best technician possible. Learning the science of dance and movement can make a better dancer, coach, choreographer and teacher. Breaking down movement to the how and why of every movement and every muscle can take a dancer from a person that mimics movement to an artist that crafts movement. We know of one man that understands this philosophy. Kenneth Laws, a physics professor from the the University of Illinois and late-blooming ballet dancer has studied dance as an athlete, an artist and a scientist.

If given the chance many dancers could think of ways that science could be applied to there dance. Intuitively we know that dance  follow the laws of physics and gravity.  Most do not  understand the connection between physics and ballet. It is neither taught. spoken about or pondered on. Before trying a grand jeté en tournant explaining how physics are applied may help a young dancer to to understand the concept and attempt it sooner and with a different perspective.  Many of us were taught to believe that starting your turn in midair is the way to accomplish such things. Science says you begin twisting from the ground up, clasping your legs together at the apex of your leap while raising your arms above your head, you will do a rapid 180-degree turn. Science can be proven and replicated, guessing at a feeling can not.


Laws obsessed with the science of dance continued dancing until health issues required him stop three thirty years later. He still writes and lectures frequently about understanding ballet movements through physics, and he even taught ballet for a number of years as well. Through teaching ballet as a scientist he has given the dance world a few times and terms in which physics can be applied.


According to an  article in 2008, Discover Magazine, says while teaching  partnering "the pas de deux" he  would try to slip in a little physics into the teaching and explanation of movement. He would explain, to the dancers that bringing their legs together will help them complete a grand jeté en tournant. Or while a female is standing on tiptoe on one leg in an arabesque bent at the waist, with her other leg extended horizontally behind her and her partner gives her a twist, she will do a rapid “pencil” turn if she straightens up and pulls her leg in. “We’re using a physical principle there,” Laws would tell the class. “What’s the principle?” One of the students would inevitably shout “Toooohhhrque!” Torque, Laws would explain, was not the point in this case. Sure, a boy who twists his partner’s hips is applying a torque, but after that she’s on her own, and her angular momentum stays about the same (although the friction of toe on floor will slowly wind her down). Her angular momentum is her rate of spin multiplied by her moment of inertia, which depends on how her mass is distributed around her spin axis. If her momentum remains the same but she reduces her inertia by pulling in her leg, she must spin faster. That’s physics. Some dancers get it some don't but it definitely is something to explore, explain and apply to the art and education of dance.

Habits of Professional Dancers Pt2

Fourth is training. Not just in your particular area of dance but cross training in ALL areas of dance. There's a choice to be made you can either be a jack of all trades or you can become extremely proficient in your craft. There are pros and cons to both ways of approach. The major difference is those who cross train  with various styles of dance work a lot more often because of there versatility. The versatile you are the more valuable you are. 

Fifth is preparedness. A professional understands that luck is when preparation meets opportunity. Getting to class, auditions and performances with enough time to prepare your body and mind for the physical and mental  demands of whats about to take place. One must be focused, eager, open and willing to give of themselves to create, experience, and share art

Sixth, is stewardship. Dance has to become your life. It takes years to know your body completely. The dedication to  exploration and the pursuit of your art has be a MAJOR priority. For many professional dancers it is there one and only priority.Whether you're a dancer or a dance lover it is and should be  lifetime commitment.

Seven is vulnerability. It is one of the hardest to  master.
You must be comfortable with your body,
You must be comfortable with touching another body
You must be comfortable with someone touching your body and
You must be comfortable with doing this in front of an audience.

There are times when the world of dance can get very very hard. It can seam at times that to be overly judgemental and extremely unfair. What has helped me the most as an artist was to remember why I fell in love with dance. As a creator and teacher I tried to remember that it was about the work. As long as I keep focus on the work I can keep my ego out of the creation and outcome of the art.

Habits of Professional Dancers Pt.1

 Regardless of style, gender, age and training there are  7 highly effective habits that will contribute to any professional dancers overall excellence. Education, technique, etiquette, training, preparedness, stewardship and most important is vulnerability. As one grows professionally so should these character traits. In my 20 year love affair with dance has gifted me with the following pearls of wisdom that I now share.
Education about the industry in all its facets are to be explored. One will never master all dance styles but they should at least be familiar with them. It is not enough to stay in the bubble of one particular style of dance, you do not grow as an artist and you are not contributing to the industry.

Second is to be a technician. Every dancer has their own set of physical advantages and challenges. Understanding of your body how it moves and function are the beginnings of building a strong technical foundation. Understanding body positions and having the ability to mimic movement is putting technique into action.


Third is etiquette. Dancers have always been identifiable by there posture. The way in which a dancer carries there body and holds there frame has always been admired. This way of being comes with a particular perception and retaliation. Often observers of dance love the grace and power in which a dancer moves on and off the stage however, this is often seen as narcissistic. 
Source: http://www.isnare.com

S.E.R.B.A.

Atlanta has always been a hub for dance. It doesn’t surprise me that there are so many company’s in and around the Atlanta metroplex.  On April 14-15, 1956, the first regional ballet festival in the United States took place at the Tower Theatre in Atlanta. The success of this festival led to the founding of the Southeastern Regional Ballet Association. Dorothy Alexander, founder and artistic director of the Atlanta Civic Ballet (now the Atlanta Ballet), spearheaded the endeavor. Miss Dorothy’s vision inspired others throughout the country and eventually led to the establishment of the five regional associations (Southeast, Northeast, Southwest, Pacific and Mid-States) which now comprise Regional Dance America.   

The southeast regional ballet known as S.E.R.B.A. follows the mission of its parent company, Regional Dance America, to promote excellence in instruction, choreography, performance and production. This is great for Atlanta area dance company artistic directors regional support for networking between directors, choreographers and dancers helps provide local educational artistic and professional opportunities for dancers, choreographers and dance administrators. This network ensures that growth and appreciation for dance in the communities continues across the southeastern region of America.

Regional Dance

Fifty years ago when dance was becoming commercial, only audiences in select cities could enjoy quality dance from seasoned choreographers who took the time to craft a beautiful ballets performed by powerful dancers. Today
Regional Dance companies have grown in stature, quality and size having an enormous impact on dance and its mission in this country. In half a century over one hundred companies, including more than two-dozen nationally recognized professional groups have been formed

In the past 50 years regional dance has advanced the growth of professional dancers, choreographers, directors and dance companies across the United States and Canada. Being divided into five associations; Mid States, Northeast, Pacific, Southeast and Southwest. There is a standard set for promotion and development of member companies. Once a year all regional companies come together for evaluation and performances to which all members are held. This is further promoted through a national dance festivals to affirming standards of appraisal of its members.

With a vision to bring quality dance to all individuals in every community across the United States and Canada pre-professional dance company are at its core. The goal is to reach communities and populations that may not be served by larger, professional companies. Regardless of geographic boundaries access to quality dance performance and training opportunities is the ultimate mission of regional dance. Choreographers can thrive in an enriching settings with all resources necessary to help foster the growth and development of its artist and member. A few of these companies will claim national and international recognition for dance

R.I.C.E.

Rest, Ice, Compression, Elevation

R.I.C.E. will be your best friend when an injury occurs. For the professional dancer injury prevention is a must.  Dancers have great physical demands placed on their bodies all the time and should condition themselves accordingly. If the unfortunate but common occurrence of an injury should happen the following steps will help get you on your toes.

When an injury happens while on the road touring or in the middle of a run rest may not be an option. For the few companies that offer them a physical therapist can be a life saver night after night. If budget and production don't allow for such a luxury homeopathic care can work. Ice as a first line of defense will slow swelling and numb pain to. Compression of an injured area will stabilize the injury while reinforcing strength. Bandaging helps artist feel secure while dancing and gives extra support to bones. For pain generic anti-inflammatory will keep you mentally alert and non lethargic.

Dancers typically do not take injury well because to carry out the simplest ballet exercises or dance movement not only is painful and limited but can quite often incur further injury delaying recovery. Rest and preserve overall strength, flexibility, and endurance while the injury heals. This often takes creative techniques. With the advances in dance medicine and fitness there are so may options for low impact injury recovery that a dancer can retain optimal condition while nursing an injury.

Common Dance Injuries

Common Dance Injuries 

An understanding of the dancers physical demands and techniques are essential to both the treatment and prevention of dance injuries. First an artist mist understand that there is a difference between discomfort and pain. There are several types of injuries that occur. A constant moment of pain can represent a more obvious acute injury illustrated by joint muscle and tendon sprains, lumbar strains, collisions and falls. 

Injuries also can occur as a result of repetitive movement known as micro-trauma. These are the chronic overuse type injuries that occur from a constant repetitive movement. 

Acute injuries as a result of micro trauma’s are much more common in dance and make up the majority of dance injuries. They are often subtle and related to improper dance technique. Treatment should not focus only on the injury but should involve an evaluation of the dancers body mechanics and technique. Examples in this category include any types of tendentious, bursitis, chronic ligament strain, and stress fractures. Also an acute injury can occur superimposed on a chronic overuse injury. An example of this would include a chronic achilles tendentious which then ruptures acutely. Possible reasons for the chronic overuse injuries must be assessed if proper and speed y recovery is to be expected.

Dance Medicine

Dance Medicine is a fairly new practice born from the need of an emerging industry. The very unique characteristics of a  dancers training and injuries are different  in many ways from common sports medicine.  This includes not only their types of injuries but also their physical exam, evaluation and treatment. A professional dancers career will be riddled with common injuries that an artist must learn to live with and manage.
 When evaluating an injured dancers, one must not only focus on the injury but also the actions taken that led to the injury. This is true for all types of dance, from classical to contemporary,including jazz, tap, hip-hop and folk dancing. In understanding the types and patterns of injury we can hopefully prevent many in the future, or lessen the extent of the injury if it should occur. There are only a handful of physicians nationwide with in-depth experience in the medical care of dancers and other performing artists. The need for qualified and experienced dance practitioners has grown and with this growth the    International Association of Dance Medicine and Science was created.

Pas de Deux

The Romantic period and was a time when dance reflected the beauty and gragure of society. A time in our world where rules of society were a shared sense of reality. Dance as all art reflected this belief system. Mean and women were not trained together. Ladies had there classes separate from men and the the first time they came together was after years of training separately in the same school they would meet in Pas de Deux Class. Here is where young ladies were not just learning about the art of dance but also the art of feminity. The attire the etiquette and the attitude during this period led to some beautiful ballet that house some of the dance worlds most enticing pas de dueux. Pas de duex class is a requirement for young dancers serious about their career and training. It is this practice of learning to dance together where a dancer becomes comfortable enough with their bodies and themselves to touch another person intimately. Both sexes have have to overcome shyness and embarrassment when standing in front of another dancer tired sweaty and raw. It is in this moment when you feel most vulnerable where trust happens with you and your partner. A male must trust his self. He has to know and believe that when a girl jumps towards him he has the capability to lift her. Equally a young lady must trust her partner and know that he is there to assist her. Their union creates grandeur and romance for the audience. The skills tricks tips and techniques to creating such splendor lies in Pas de Deux Class 101. Women must learn to use there body weight in opposition to a man's to have shape and form. She must learn to present herself always in a beautiful manner even when she in her most uncomfortable position. She has to have an extremely strong core to hold and be well aware of her body. The audience thinks a man needs bruit force and herculean strength to accomplish many of the lifts they see executed, but he doesn't. He first needs to be aware of what the female is doing technically, there timing has to match and above all he needs to know correct hand placement and position holds. Pre professional programs or schools with a strong ballet program offers sometime of partnering class. For a dancer wanting to become a professional this is a must have. Dancers are more attractive to choreographers and companies because with this character building shill. Once a dancer gets in a company it should not be there first time touching another person. The process of having to perform a duet on stage is usually reserved for those artist who can entice and audience. It takes a lot of skill and experience to draw the attention of an audience of hundreds of people to look at two people. This of power starts with the training received in Pas de deux class.

The Mind is Like an Umbrella.....

This time of year dance teachers prepare themselves and their bodies for their annual teacher dance showcase. This is where a studio has all or most of its teachers put on a little show and tell for the parents in the audience. For some dance teachers its the only time they dance. So now is the time to get in shape for your big day. While providing entertainment for our audience and doing a little self promoting  we as professional dance teachers and artist have an opportunity to do a little audience development.

There are many types of dance teachers. Those who have had a professional career and recital time is a chance to meet parents as they look forward to the summer off, some teachers are just traveling through because we dancers are gypsies by nature. Staying in one spot for more than 2 years can start to feel too familar and if you're gigging on the side and teaching then you probably have a crazy schedule with your anything but ordinary lifestyle.  Relax breathe take a moment and plan. During recitals time when parents and kids energy's are at an all season high don't take too much of it in, use the energy leave the anxiety.

 For those budding choreographers who use there students for movement ideas BRAVO!!  This is a prime a chance to help educate and develope your audience. Sure dealing with children the subject matter must be appropriate and its presentation may have to be innocent but we are still artist. We have a social responsibility to report and reflect the world through our art. Its a way of exposing the community and expanding their mind, and possibly changing there perspective.  Sure we have to stay in between certain parameters but that's a chance to display our creativity. Remember the mind is like an umbrella, it's best used when open, so THINK OUTSIDE THE BOX!!

Spring Break is Over

Okay spring break is over and today the kids came back to dance classes after having the week off. It's a race to recital time and if your choreography isn't finished then you better jump on it! Soon you'll be in full swing recital mode surrounded by little sequin covered, high energy, adrineline filled dancers.

Reciatl time is a dance schools biggest fund raiser. Older more established schools have it down to a science. The can produce up to 8 different shows in a single weekend. Getting the most out of the teachers, students, staff, guest artist, and even the venue.  For a budding choreographer its great to have bodies to place your work and ideas on, even if as a rough sketch to work out ideas. Parents and grand parents will enjoy seeing there little girl or guy on stage performing and having fun and wanting to know where there money has been going for the last several months.

North Atlanta Dance Recital

Pre-Professional Dancers Emerge

The spring brings many opportunities for dance of all standards and styles all over the city. Just as the Dogwood Flowers bloom in Piedmont Park, so are young do dancers. Pre professional dancers all over atlanta and its adjoining suburbs are preparing for last recitals and senior solos as a way of saying goodbye to those dance schools, mentors, family and friends that have help to nurture and direct their talent. High Schools like Pebble-Brook, North Atlanta, Tri Cities and   Dekalb School of the Arts  are sure to have 1 or 2 future dancers going for broke fueled by the overwhelming emotions as they dance with peers for the last time. What is the future of these artist?  Are there any colleges here in the Atlanta metroplex that cultivate such rich talent and create great artist who can add to the budding Atlanta dance scene.

There are sure to be exceptional dancers that are about to leave High Schools and colleges all over the metroplex. Why should they stay in Atlanta and not travel off to other more lucrative markets like LA or New York. Colleges in and around the metroplex have dance departments that are starting to look more appealing to young dancers seeking further training and education but they still lack a lot when it comes to training and choreography. Some institutions do not offer scholarships for dance nor is it a major so the quality of dance and dancers they produce tend to be poor. However, there are some colleges and universes in the Metroplex that seams to have taken up the gauntlet of responsibility in an effort to promote dance and bring it to the forefront if the arts scene here in the city of Atlanta. 

I have watched Kennesaw State University and Spellman College dance departments for a few years now.  Yearly the quality seams to have risen.   With a greater quality of dance professionals coming into the local market it leaves me wondering What are we as the current community going to do to help these young eager hungry artist have a place of there own to work. Are we going to give them quality work with seasoned choreographers that have the ability to inspire and cultivate their talent. Can we offer them theaters, a market and an audience educated for dance.  If the current dance community can only offer one thing at a time to the new artist coming into the Atlanta dance industry can we at least aim to pay our artist.