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.