Danz'n

Danz n ---------BACK TO SCHOOL EDITION --------

~ The Community Dance-Focused Magazine ~

Person of Interest Philip Neal Doctor’s Advice Back to the Future Teacher in the Spotlight Melissa Waters Healthy Eating & Lifestyle Pizza, Pizza A Year in Review Dance Studio Reviews Personal Development DanceLife Coach

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Ta b l e o f C o n t e n t

F E AT U R E S 18

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In July/August Issue 2017 4 Notices

14 Teacher in the Spotlight

6 Message from the Publisher

Melissa Waters

7 Highlights Dance Inspiration

8 Dance Highlights What’s Happening in the Dance Communities

10 Dance Highlights Dance News

15 Students Corner

24 Healthy Eating & Lifestyle Pizza, Pizza

26 Doctor’s Advice Back to the Future

Five Must Have’s

16 Personal Development DanceLife Coach

18 A Year in Review

29 Community Resource Guide 30 Person of Interest Philip Neal

Dance Studios

22 Education Plan B

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Danzn . The Community Dance Magazine . July/August 2017

Notices /// In Print & on The Web On the Cover

WEBSITE www.DanznMagazine.com

Want to see your Favorite People in Print?

Founder/Publisher Karina Felix Assistants to the Publisher Kiara Fedele Sergio Fedele Stefanie Mora

Featured Students We accept submissions for students who has achieved exceptional accolades for winning a special award, overcoming a difficult situation, are involved with outreach programs, and have a great story to share.

Contributing Writers Jenne Vermes Kate Corallo Dr. Kathleen Davenport Natasha Felix Dominique Robinson

Teacher in the Spotlight We encourage students to nominate their favorite teacher to be featured in this segment.

Students can go online and fill in the forms under submissions – Teacher in the Spotlight. We are always excited to recognize hard working and dedicated teachers.

Contributing Photographer Patricia Reagan REGIONAL ACCOUNT MANAGERS Publisher Ingenious Publishers

Dance Highlight This is your opportunity to share with everyone all the good news and updates about your studio, company and events. Visit our website under submissions and let us know what is going on in Florida’s Dance Communities.

Short Stories Teacher, Moms, and dancers. Do you have a story to share, teach or educate. Submit your story to us to be published in one of the next upcoming editions.

Submit your information at www.DanznMagazine.com under Submissions

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Dancer: Emily Price Photo: Patricia Reagan

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READER SERVICES TO SUBSCRIBE

ON OUR WEBSITE • <RX FDQ À QG D OLVWLQJ RI Dance studios & Retail shops in your area • Locations to pick up a copy of World of Dance Magazine • Articles on health, healing, injury prevention, nutrition, and more • A listing of Dance Competitions in Florida • The latest news and updates • Also more opportunities to expose your events and workshops online.

• Don’t forget to subscribe to our newsletter. www.DanznMagazine.com

DANZ’N Magazine is a free publication that you can pick up at your nearest Dance Retail Stores. If you would like your own personal copy, subscriptions are only $19.95 for one year and $29.95 for two years. There is also a Student Subscription for only $9.95 for one year and $16.95 for two years.

Students must submit any form of ID that shows their age. This fee covers the cost of shipping and handling.

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LETTERS TO THE EDITOR We want to hear from you. Letters must be signed and include a phone number in the event we need to contact you.

(Your contact info will not be published.)

CALENDAR OF EVENTS We publish in print and on our website; information about events, performances, festivals and fundraisers. Share these events by visiting our website under submission/Save the Date. Workshops, competitions, registrations, summer camps & intensives, will be published with your advertisement. Deadline for submitting information is approximately two and a half months before the month the event occurs.

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COMPETITION EDITION Danz’n Magazine is published six times a year by Ingenious Publishers. The content of Danz’n Magazine are copyrighted and may not be reproduced without the expressed written consent of the publisher. Danz’n Magazine accepts no responsibility for the return of unsolicited manuscripts and/or photographs and assumes no liability for products or services advertised herein. Danz’n Magazine reserves the right to edit, rewrite or refuse material and is not responsible for products.

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Message /// From the Publisher

I

am excited to announce the new community dance magazine – DANZ’N.

My vision with the creation of this publication is to give dance a voice, locally.

A venue where all can acknowledge the importance of dance. Companies and studios work hard to create yearly performances to the audience’s delight. They perform within their communities and at fundraisers, showcasing their talents and dedication within their towns and cities. They continue to train and educate our children.

To be able to reach an even bigger audience, it was imperative that I figured out another way to reach further into the dance world and thus I choose to franchise the magazine. This gives like-minded entrepreneurial individuals an opportunity to have their own publication in their own area, while simultaneously expanding the voices of the dance communities all over.

My journey with this publication has been a long road. Starting in 2009 with The Dance Magazine of Florida, becoming World of Dance Magazine in 2013, and now as a new venture to DANZ’N. Short, direct and impactful.

I look forward to continuing working with all of you, while other communities receive the same opportunities to have a place and voice within their own towns.

In this issue, our Back-to-School/ A-Year-in-Review Edition, dance studios reflects on this past dance season and look forward to new endeavors in the new school year.

Writer Jenne Vermes, writes about students “five must haves” for the new school year. Our health coach, Kate Corallo, is giving step-by-step instructions on creating the ultimate Vegan Pizza, and our beloved doctor, Kathleen Davenport, focuses on using technology to enhance your dance training.

Dancers are experiencing a new level of stress in their lives due to the high level of competition in this field. At times, they will need a break and additional guidance. Within these pages, Susan Silva, explains how DanceLife Coaching can assist a dancer.

This is a new beginning and new venture for the magazine. I am counting on your continued support and dedication.

Enjoy DANZ’N.

Karina Felix CEO/Founder

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Highlights - DANCE INSPIRATIONS -

“Darkness cannot drive out darkness;

only light can do that.

Hate cannot drive out hate; only love can do that.” ~ Martin Luther King, Jr.

Dancer: Nicky Garlo

Photo: Patricia Reagan

Dance Highlights /// Local News Sarasota, Fl

The Sarasota Ballet Announces 2017 – 2018 Season The Sarasota Ballet’s Director Iain Webb announces the Company’s 2017 – 2018 Season, with seven programs, including 12 ballets by some of the most celebrated and prestigious choreographers and composers of the ballet world. The Season will see the a World Premiere by Marcelo Gomes, star of American Ballet Theatre, as well as Company premieres of Sir Frederick Ashton’s The Dream, George Balanchine’s Theme and Variations, David Bintley’s ‘Still Life’ at the Penguin Café, Paul Taylor’s Airs, and Antony Tudor’s Leaves are Fading. Revivals include Sir Frederick Ashton’s Illuminations and Marguerite and Armand, Ricardo Graziano’s Valsinhas, Matthew Hart’s John Ringling’s Circus Nutcracker, Robert North’s Troy Game and Will Tuckett’s The Secret Garden.

“The repertoire of The Sarasota Ballet has been one of the main driving factors for the growth and success the Company has seen over the past 10 years,” explains Webb. “My goal in planning this Season is to once again bring to our audience, and indeed our dancers, an array of works that showcase ballet’s versatility and beauty. In just a single season our audience will see works by such prestigious Choreographers as Sir Frederick Ashton and George Balanchine, while in the same evening witness Choreographers like Marcelo Gomes who are impacting this art form today.”

Before the 2017 – 2018 Season commences in October, The Sarasota Ballet will tour to Salt Lake City for Ballet West’s inaugural National Choreographic Festival, May 19 – 27, where they will perform Ricardo Graziano’s In a State of Weightlessness alongside performances

by Pennsylvania Ballet and Ballet West.

For more information on the Festival visit their website at https://balletwest.org/ events/national-choreographic-festival.

Sarasota Contemporary Dance is pleased to announce that we will be moving into our own home in October of 2017. Located in the Rosemary district, our new home studio will grant us the opportunity to expand our classes and extend our outreach to the community. Further, it will allow us to continue offering groundbreaking contemporary and classic works, and to collaborate more closely with our fellow arts organizations in the area and around the world. The new address is 1400 Blvd of the Arts, STE 300, Sarasota FL 34236

chased by calling 813.229.STAR (7827) or 800.955.1045 outside Tampa Bay, in person at the Straz Center Ticket Office or online at www.strazcenter.org.

The accredited Patel Conservatory offers classes in dance, music and theater for students of all ages and experience levels. Each year, the Patel Conservatory and the Straz Center’s arts education programs enrich the lives of more than 70,000 students in our classrooms, on our stages and through the community.

Events, days, dates, times and prices are subject to change without notice.

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--------/// --------St Augustine, Fl

Tampa, Fl Next Generation Ballet Summer Showcase

Jr. ROWITA Fellowship Awards

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The Patel Conservatory’s Next Generation Ballet (NGB) will present Summer Showcase on Friday, July 21, at 7 p.m. in Ferguson Hall.

More than 150 students from across the United States, Mexico, Canada and Hong Kong who are enrolled in the Next Generation Ballet Summer Intensive will perform in Summer Showcase, directed by NGB Artistic Director Philip Neal.

During the two, three or five-week summer intensive, students receive individual attention in ballet technique, pointe/men’s class, musical theater, jazz and contemporary with NGB’s award-winning faculty and internationally renowned guest instructors. In Summer Showcase, dancers from the three and five week options will demonstrate what they have learned in classical ballet, contemporary dance and musical theater.

Under Neal’s direction, NGB is a stepping stone for great dance talent as the program prepares students for professional employment through instruction, coaching and performance opportunities. NGB dancers have been awarded scholarships to the world’s leading ballet schools such as Royal Ballet School and The School of American Ballet, and have been hired by top ballet companies such as Boston Ballet and the Stuttgart Ballet.

The NGB Summer Showcase will be held Friday, July 21, at 7 p.m. Regularly priced tickets are $15 and may be pur-

The St. Johns Cultural Council “Bought the House” for the Friday, May 12th performance of I Ought to be in Pictures at the Limelight Theatre in St. Augustine, Florida. Money raised through the benefit will support the Jr. ROWITA (Recognizing Outstanding Women in the Arts) Fellowship fund. The purpose of the Fellowship is to aid graduating high school women seniors achieve their goal of developing their artistic skills through higher education.

Three talented young women were chosen this year to receive the 2017 Fellowships. Each of them received a check for one thousand dollars, a bouquet of flowers from 57 Treasury, and a certificate. The St. Augustine Amphitheatre also donated tickets for them to attend a show at the Amphitheatre.

To be eligible for a Fellowship, candidates must have a 3.0 GPA and plan to continue their artistic skills through continued study and training. They must submit a letter of recommendation from their primary arts teacher, write a one page essay describing their relationship with the arts and provide a sample of their work. Each year applications are reviewed by a panel comprised of ROWITA awardees. This year’s judges were Jan Tomlinson Master, Wendy Mandel McDaniel, and Dr. Dorothy Israel.

Kiera Pheffer, a senior from St. Augustine High School, St. Johns County Center for the Arts (SJCCA)will be continuing

July/August 2017 . Danzn - The Community Dance Magazine

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Key: Central Florida /// South Florida /// North Florida

Local News /// Dance Highlights

Jr. ROWITA: Gemma Smith, Musical Theatre; Delaney Maxwell, Visual Artist

her dance studies at Nova Southeastern University. Gemma Smith, also from St. Augustine High School SJCCA intends to pursue a BFA in Musical Theatre at Florida School of the Arts. Delaney Maxwell, from Creekside High School has set her sights on a career in medical and scientific illustration at the University of Georgia.

I Ought to be in Pictures was the first show produced by the Limelight Theatre when it was opened twenty-five years ago by its founders, Jean Rahner and Anne Kraft. Rahner and Kraft have both received the Dr. Gail Pflaster ROWITA award for their significant contributions to the St. Johns County arts community.

Applications for the ROWITA and the Jr. ROWITA Fellowship are available at www. stjohnsculture.com. For more information call the St. Johns Cultural Council at (904) 808-7330.

--------/// --------Orlando, Fl

Orlando Ballet 2017/18 Season Our 2017/18 season at the Dr. Phillips Center for the Performing Arts features an exciting mix of classic masterpieces and bold, contemporary ballets, including two world premieres, one of which is a collaboration between Artistic Director Robert Hill and Central Florida’s own beloved vocalist Sisaundra Lewis. 2017/18 Season www.DanznMagazine.com

tickets will go on sale June 19. Subscribe today. For questions, contact Patron Services at patrons@orlandoballet.org or 407.418.9828.

Contemporary Wonders will feature two world premieres. Artistic Director Robert Hill and vocalist Sisaundra Lewis will create a spellbinding work rooted in the joy and positive energy of the healing power of love. Sisaundra Lewis gained global recognition and stardom after delivering show stopping, electrifying performances on NBC’s The Voice! Following the success of Beauty & the Beast, Arcadian Broad will once again compose and choreograph a hypnotic telling of the Alice in Wonderland story, as seen through the eyes of the Mad Hatter. The evening will conclude with an Orlando Ballet premiere of New York-based choreographer Jessica Lang’s From Foreign Lands and People.

SPECIAL PERFORMANCES Orlando Ballet is also expanding its partnership with the Garden Theater in Winter Garden and will be performing an Uncorked performance on November 3, followed by performances of the family ballet The Swan Princess on November 4 and 5.

Building on the success of Orlando Ballet’s Tribute to Harriett: Best of Broadway at the Dr. Phillips Center for the Performing Arts last February, the Company will take a bespoke version of the show, Best of Broadway to the Garden Theater, April 1315, 2018.

--------/// --------Boca Raton, Fl

New Scholarship Program Targets Female Dancers Several years ago, HARID established the Marcelo Gomes Scholarship program, aimed at encouraging male dancers to enroll in HARID’s Summer School. Named in honor of distinguished HARID alumnus, Marcelo Gomes (Class of 1996), the initiative has since provided two young men, Cy Doherty and Kim Cockrell, with substantial awards to offset their living costs at the school.

This year, HARID is pleased to announce the establishment of a similar scholarship

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program aimed at encouraging and assisting young female dancers. The new program is named in honor of HARID alumna (Class of 2005) and American Ballet Theatre principal dancer, Isabella Boylston.

Originally from Sun Valley, Idaho, Isabella began dancing at the age of three.

In 2001, she was awarded top prize at the Youth America Grand Prix Final in New York City. She was then invited to enroll at The HARID Conservatory on a full scholarship. Three years later, in 2005, Isabella graduated from HARID and was im-

Isabella Boylston

mediately invited to join American Ballet Theatre’s Studio Company. She was made an apprentice with the Company a year later, and promoted to the corps de ballet not long thereafter. Isabella was promoted to the rank of soloist in 2011 and made a principal dancer of the Company just three years later.

Isabella has danced many soloist and principal roles with American Ballet Theatre. In addition, she has been featured in new productions by leading choreographers including Alexei Ratmansky, Lauri Stalling, Demis Volpi, and Christopher Wheeldon. She is a past recipient of a Princess Grace Award and, in 2009, was nominated for the Prix Benois de la Danse. She received the Clive Barnes Award in 2011 and an Annenberg Fellowship in 2014. Isabella has appeared as a guest artist with the Mariinsky Ballet in St. Petersburg and the Royal Danish Ballet in Copenhagen.

HARID is very proud of Isabella’s significant accomplishments and happy to honor her with this new named scholarship. If you would like to help underwrite the Isabella Boylston Scholarship program, please contact Annabel Russell or Gordon Wright at HARID (561-997-2677).

Danzn . The Community Dance Magazine . July/August 2017

Editorials /// Dance News Boca Raton, Fl

6TH ANNUAL COLLEGE DANCE FAIR

C

reated for high school dance students and their parents to network and navigate the college dance world over the course of one weekend, September 1, 2 & 3, 2017. The College Dance Fair features master classes and informational sessions with renowned faculty from the country’s top dance programs. These session topics will include: admission requirements; the type of dance programs available and the structure of each schools’ programs. Boca Ballet Theatre and Só Danca are pleased to offer a solution that is cost and time-efficient, and that opens the door to a vast array of resources and experience.

The Colleges for 2017: Butler University Jordan College of Fine Arts, The University of Arizona, University of North Carolina School of the Arts, University of California Irvine - Claire Trevor School of the Arts, Boston Conservatory at Berklee, University of Oklahoma School of Dance, Florida State University School of Dance, Point Park University and State University of New York (SUNY) at Purchase .

The College Dance Fair is extremely helpful in exposing students to schools that may not have been previously considered. Taking master classes with the faculty from the universities helps them get a glimpse of the different styles of teaching to see what is compatible. Students received information about their programs, the degrees that are offered, the summer intensives, and the success rates of their graduates. The College Dance Fair is a wonderful tool in so many ways - and it’s right in our own back yard, in Boca Raton! Together So Danca and Boca Ballet Theatre have been committed to present the College Dance Fair for the past six years.

“The College Dance Fair was the perfect opportunity for us to begin the search for a college program that best fit our daughter. Not only did we get to meet and talk to the faculty in a relaxed environment, we gained an understanding of the advantages of attending college for the long term success of our daughter.” – Mary Theisen Register now to secure your spot! Rising High School juniors and seniors are eligible to participate. Registration is $129 before August 1st or $179 after August 1st, and includes a boxed lunch for the students on Saturday and Sunday, up to three master classes a day, and informational sessions.

--------------------------------------------///// ------------------------------------------Merritt Island, FL

THREE GENERATIONS OF DUSSICH DANCE STUDIO TEACHERS CERTIFIED BY FLORIDA DANCE MASTERS INC

All three are certified teachers of Florida Dance Masters Inc. Certified by Test to Teach.

Dussich Dance Studio is going on their 60th anniversary this year. They held a special celebration On June 10th 2017 with family members, special appearances by past students that are now professional dancers and much more. You could join in their celebration. Contact the studio at 321-452-2046 or email us at dussichdancestudio@gmail.com

Right to Left Elizabeth Dussich Bevilacqua (since 1959), Grand Daughter Tabatha Spangler (joined 2016) and Daughter Anna Spangler(since 1983) July/August 2017 . Danzn - The Community Dance Magazine

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Dance News /// Editorials Winter Park, Fl

THE CENTER FOR CONTEMPORARY DANCE WINS FIFTH GRANT FROM NATIONAL ENDOWMENT FOR THE ARTS National Endowment for the Arts Chairman Jane Chu has approved more than $82 million to fund local arts projects across the country in the NEA’s second major funding announcement for fiscal year 2017. Included in this announcement is an Art Works award of $19,000 to The Center for Contemporary Dance to support fully inclusive dance-puppetry classes and a final performance produced by multigenerational students of all abilities, and conducted in partnership with Orlando’s MicheLee Puppets and UCP of Central Florida. The NEA received 1,728 Art Works applications and will make 1,029 grants ranging

from $10,000 to $100,000.

“The arts reflect the vision, energy, and talent of America’s artists and arts organizations,” said NEA Chairman Jane Chu. “The National Endowment for the Arts is proud to support organizations such as The Center for Contemporary Dance, in serving their communities by providing excellent and accessible arts experiences.”

The fifth NEA award to The Center for Contemporary Dance for Excellence in Dance will be used to partially fund the $178,000 dance-puppetry project that brings together traditional students and those with unique abilities, ages 10 to

adult, who will study dance, puppetry and stagecraft over the course of the 2017-18 school year at both The Center for Contemporary Dance and on site at UCP of Central Florida’s Bailes Campus.

For more information on projects included in the NEA grant announcement, go to www.arts.gov.

To learn more about The Center for Contemporary Dance, visit www.thecenterfordance.org. For information on project partner MicheLee Puppets, go to www. micheleepuppets.org, and to learn more about UCP of Central Florida, visit www. ucpcfl.org

--------------------------------------------///// ------------------------------------------Miami Beach, Fla.

MIAMI CITY BALLET ANNOUNCES COMPANY ROSTER FOR 2017-18 SEASON Three Dancers Promoted and Seven New Dancers Added to the Roster Miami City Ballet (MCB) has announced its 53-member roster for the 2017-18 season, which opens on October 20 in Miami, including the promotions of Jennifer Lauren to principal, Lauren Fadeley to principal soloist and Ashley Knox to soloist, and the addition of seven new dancers: former longtime MCB dancer Katia Carranza will return as a principal dancer, Alexander Peters as a principal soloist and Eric Beckham, Julia Cinquemani, Aaron Hilton, Harrison Monaco and Alyssa Schroeder as corps de ballet dancers.

Jennifer Lauren has been promoted to principal dancer just two years after her promotion to principal soloist. Since being named as one of Dance Magazine’s “25 to Watch” in 2014, she has been featured in principal and soloist roles, including her debuts as Giselle and Odette in Swan Lake, and lead roles in Who Cares? and A Midsummer Night’s Dream. She joined Miami City Ballet in 2007 as a member of the corps de ballet, was promoted to soloist in 2011 and principal soloist in 2015. She is a native of Tuscaloosa, Ala., and danced for Alabama Ballet prior to joining MCB. Lauren Fadeley has been promoted to principal soloist after joining MCB in 2016 as a soloist. During her first season she danced the role of Giselle and lead roles in Walpurgisnacht Ballet and Serenade. Fadeley previously spent nine seasons with Pennsylvania Ballet, four of them as a principal dancer, and two with New York City Ballet. She received her training at the School of American Ballet (SAB), Indiana University and the School of Performing Arts in Orlando, Fla., where she grew up.

Longtime MCB dancer Ashley Knox has been promoted to soloist. Last season alone, she danced feawww.DanznMagazine.com

tured roles in Giselle, Serenade and Divertimento No. 15. She joined MCB as an apprentice in 2002 and was promoted to the corps de ballet in 2003. Originally from Shelby Township, Mich., she trained at the Rochester School of Dance in Michigan and SAB. Returning to the rank of principal dancer is Katia Carranza, who previously danced with MCB for nine seasons and then as a guest artist for six. Carranza graduated from the Escuela Superior de Musica y Danza de Monterrey in Mexico in 1996 and then joined Ballet de Monterrey as a soloist. She first joined MCB’s corps de ballet in 1998 and was promoted to principal dancer in 2004. In 2007 she rejoined Ballet de Monterrey as a principal dancer, yet continued to perform as a guest artist of MCB. The 2017-18 season will mark her comeback as a full company member.

Alexander Peters of State College, Pa., joins as a principal soloist and is formerly of Pennsylvania Ballet where he has been a principal since 2015, dancing many principal roles in ballets by Balanchine and other leading choreographers. During his time as a student at SAB, he participated in the New York Choreographic Institute, an exchange program with the Royal Danish Ballet and the 2008 Jerome Robbins Celebration with New York City Ballet. Peters is a recipient of the 2008 Princess Grace Award and the 2010 Mae L. Wien Award for Outstanding Promise.

New to the corps de ballet, Eric Beckham joins from The National Ballet of Canada where he recently finished his second season as an apprentice. Originally from Columbia, S.C., Beckham was accepted into SAB at 15 and was awarded the Rudolf Nureyev Scholarship for three years during his training.

Julia Cinquemani joins from Los Angeles Ballet where she has been dancing since 2010, as a princi-

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pal since 2014. She trained in her hometown at Dallas Ballet Center and Booker T. Washington High School for the Performing and Visual Arts, and spent summers at SAB. In 2008, she was named a Texas Young Master by The Texas Commission on the Arts and then spent two years in Pacific Northwest Ballet’s Professional Division.

Aaron Hilton is currently a student at Princeton University and is taking a leave of absence in order to dance professionally with MCB. He received a scholarship to attend The Washington School of Ballet where he grew up in Washington, D.C., and later attended the Royal Swedish Ballet School in Stockholm, Sweden (2007-2009) and SAB (2013-2015) also under scholarship. Hilton was a member of Boston Ballet’s second company for one season before heading to Princeton.

Also coming from Pennsylvania Ballet, Harrison Monaco of New Berlin, Wisc., began his training there from an early age before heading to SAB at 16 where he trained for two years as the recipient of the Rudolf Nureyev Dance Foundation Scholarship. Professionally he has danced with PAB for six seasons, performing numerous principal and featured roles.

Finally, Alyssa Schroeder, from Portland, Ore., began her early training at the School of Oregon Ballet Theatre and at 13 she moved to Carlisle, Pa., to continue her training at Central Pennsylvania Youth Ballet.

Also of note on the roster, principal dancer Jeanette Delgado and corps dancer Rebecca King will take leaves of absence from the company for the upcoming season. Both will return to their current ranks for the 2018-19 season.

Dancers’ full bios are available at miamicityballet.org.

Danzn . The Community Dance Magazine . July/August 2017

Editorials /// Dance News Boca Raton, Fla.

It’s Never too Late to Celebrate!

A Surprise Celebration At the beginning of this year Gordon Wright, was caught off guard by a surprise celebration of his twenty-fifth anniversary as director of The HARID Conservatory.

That evening, Wright was busy acting as host of what he thought was an event he had arranged for guests and contributors.

In the middle of his comments to the guests, however, he was interrupted by HARID staff member, Annabel Russell. She then “stole the show” from Wright by redirecting the focus of the evening to his long history and record of achievement with the Conservatory. Wright was taken completely by surprise and overwhelmed by what followed.

Unknown to Wright, the faculty, staff, students, and others had secretly conspired for several months to plan the celebration.

A number of guests flew in to participate, including Kansas City Ballet principal dancer, Angelina Sansone (Class of 2001); Tulsa Ballet soloist, Cavan Conley (2012); Juilliard freshman, Alex Sargent (2016); HARID resident choreographer, Mark Godden; and Wright’s son, William, who travelled from Victoria BC in Canada in order to surprise his father!

In her opening remarks, Russell summarized Wright’s tenure at HARID, noting his commitment and contributions to the success of the school and its many graduates over the past quarter century. She then introduced resident choreographer, Mark Godden, who also spoke about Wright’s achievements before announcing that he had created two short works in honor of the occasion. Twenty-five of HARID’s dancers then dashed individually into the studio bearing signs representing each year of Wright’s directorship—from 1992 through 2017. As Godden indicated, it was a one-minute, fast-forward representation of twenty-five years of excellence. Having lined up across the studio, the dancers then flipped their signs over to reveal an image of Wright’s smiling face. They then charged toward the audience, providing a light-hearted impression of the weight of Wright’s presence at the school.

Godden, who has been a close friend and July/August 2017 . Danzn - The Community Dance Magazine

colleague of Wright since they danced and worked together at Canada’s Royal Winnipeg Ballet, then introduced a duet he had c re a t e d — i n secret—and named simply, “A Ballet for Gordon”. HARID dancers Rebecca Trionfo and Isaac Allen then performed the striking duet, set to The Bell Song from “Lakmé” and sung by Aida Garifullina. It was Godden’s very special gift to Wright, who was visibly moved by the honor.

The guests then enjoyed a delicious dinner in HARID’s Thomas M. Chastain Studio, which had been transformed by plants, potted palms, yards of draped tulle, and lovely center pieces. And, there the celebration continued. 2016 graduate, Alex Sargent, treated Wright to a video presentation he had produced: a series of congratulatory messages from friends and colleagues across the U.S. and in Canada.

Among them were American Ballet Theatre artistic director, Kevin McKenzie; Royal Winnipeg Ballet artistic director, André Lewis; Joffrey Ballet artistic director, Ashley Wheater; Texas Ballet Theater (and former Houston Ballet) artistic director, Ben Stevenson; and numerous HARID alumni, including, Riolama Lorenzo-Lasa (1993), Marcelo Gomes (1996), and Mehri Paydar (2004). Janet Trivino, who has worked closely with Wright as his executive assistant since 1992, then presented him with a crystal award commemorating his service to the Conservatory.

The evening was generously underwritten by Redgrave & Rosenthal LLP. The HARID Conservatory is pleased to congratulate and thank Gordon Wright for twenty-five years of leadership and accomplishment.

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Teacher in the Spotlight /// Melissa Waters

Congratulations to this issue’s Teacher in the Spotlight!

M ELISSA W ATERS Nominated by student Devan Solomon

5) If you could describe your dance classes in 3 words, what would they be?

Challenging, Fun, Informative 6) How do you inspire your students?

I think that I inspire them by truly loving what I do and by being a hard worker. They know that I always give one hundred percent and that I truly love what I do and their presence in my life. I think this helps them to continue to push themselves even when they might be tired. I also think I inspire creativity in many of them by exposing them to the process of choreographing story ballets and other dances. Lastly, I believe I inspire them is by showing them that everyone makes mistakes: Even their teacher. I think it is important for them to realize that mistakes are okay and that we often learn from them.

1) How long have you been teaching dance?

About 15 years 2) What classes do you teach?

I teach Ballet, Pointe, Variations, Contemporary and Acrobatics 3) What makes teaching dance fulfilling to you?

Teaching dance is fulfilling in so many ways. I think the most fulfilling part about it is seeing the joy and sense of accomplishment it brings each person. I also love seeing a dancer find their voice through movement. They may be shy and withdrawn outside of the studio, but once they step into the studio or onstage they blow you away with what they express in their movement. Lastly, seeing the love and friendships the dancers develop for each other is also really fulfilling. They become extended family for life.

7) What’s your favorite dance production?

Wow! That’s a tough question to answer! Swan Lake has to be one of my favorites because of beautiful story and dancing with not only the leading dancers, but also the corps de ballet. I also love the music.

8) What has been your most memorable moment as a teacher so far?

The most memorable moment so far has to be a recent moment.

The dancers I work with all threw me a surprise bridal shower. It was absolutely incredible. The dancers created dances, read stories and poetry, sang, and played the piano. It was beyond anything I could have ever imagined and so special to me. My heart overflows with love thinking about it.

4) What is your teaching philosophy?

I believe in age appropriate curriculum while still challenging the dancer both physically and mentally. I use imagery to help dancers grasp different concepts and believe it is very important for them to understand basic anatomy and physiology. I even have a mini skeleton in the ballet studio that I like to bring out to show where rotation comes from, etc. I like to make sure dancers know exactly why we are doing certain exercises. We often stop and talk about the many steps that can come from something as simple as a rond de jambe. I also believe that every dancer is different and there is no one way to learn or do something. I work with each individual to devise a plan for them to become the best dancer they can be.

I think it is important to teach as many ways as possible (verbal, visual, musical) to ensure each dancer gets what they need. Lastly, it is important that the dancers feel safe in my class. I teach from the heart and treat each child as if they were my own. I value their feedback and welcome it. Their feedback only helps me become a better teacher.

July/August 2017 . Danzn - The Community Dance Magazine

9) Best piece of advice for students and/or teachers: Never give up on your dreams. Life may take you on detours, but determination can bring you back to whatever path you choose.

Believe in yourself and never sell yourself short. Always follow your gut. Sometimes you have to turn down opportunities to allow for the opportunity of a lifetime to come. Whatever you choose to do, do it with your whole self.

10) Share a funny story about class or students.

I have a tendency to get tongue tied when I am dancing and singing the steps at the same time. I remember one day I was teaching and shouted out, “square your ships” instead of square your hips. That got a good laugh. There are so many of these moments, but that is one I often think back to and chuckle about.

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Five Must Have /// Students Corner

Five essential must-have items for the start of the new dance season The new school year is arriving, and it’s time to think about all of the things we need to buy to be ready for class. Tis the season for the excitement of new leotards, fashionable warm-ups, brand new shoes of all kinds and nifty new dance bags. But there are lots of items we don’t always remember that we need in the rush of it all, so here is a handy list of things every dancer should try to make sure they have in their dance bags for their first week of class.

1. Athletic tape, band-aids or other blister and minor injury solutions New shoes are exciting, but they are also often painful to break in. Be prepared with things that will keep shoes from rubbing and causing blisters or other irritations as shoes get molded to a dancer’s feet in the first couple of weeks. It is also a good idea to have an ace bandage on hand just in case something minor happens in class like a rolled ankle or an overused tendon or if one’s muscles need a little extra support, especially being so sore from the first week back in class. Other items dancers may want to have include things like Biofreeze, Ibuprofen or other OTC headache medicine, antibiotic ointment, and other first aid essentials.

3. Deodorant, body spray and a towel Dancers sweat. This is a given, especially when they take multiple classes in a row each night. These dancers may want to have deodorant handy for reapplication throughout the night and a towel to dab themselves with in between classes. Body spray or cologne/perfume is also good for staying fresh through hours of class, but dancers should be careful and make sure none of their classmates are allergic to what they bring before they use it in the studio.

4. Water Bottle Along with dance attire and accessories, a BPA-free water bottle has become an absolute essential for dancers to bring to class. The good news is that stores are now selling plenty of water bottles in all kinds

5. Notebook and Pen/Pencil Dance classes are generally movement-based, so the main things that come to mind to purchase for new classes are clothes and accessories. But there are many times in dance classes that teachers give sage advice, complex directions or history lessons that might require or incite a dancer to need a notebook to write in. Some teachers also require dancers to write down choreography in a notebook throughout the year, and every class teaches steps and vocabulary at one point or another. Therefore, having a notebook and pen are vital to a dancer’s progress in class, even if they only use it a few times.

Many studios give out lists and dresscode requirements before the first week of classes, and it is important to follow the rules get all items that teachers and studio directors require dancers to have before the first week of class. There are many other things a dancer may need for class, but these are an essential five to start with as the back-to-school shopping ensues.

2. Hair essentials Ballerinas and dancers of all styles all likely have a dress code for class which includes requirements for how to wear their hair. This can range from standard ballet buns to pony tails and french braids and anything in between. Making sure to have elastic hair ties, bobby pins, hair nets, hair spray or gel, a hair brush and anything else needed to secure hair for class is a must. www.DanznMagazine.com

of designs and styles that can fit the needs and personality of every dancer. Whether a ballerina is obsessed with filtered water and chevron patterns or would prefer a large capacity bottle with a Batman logo on it, there are water bottles available for any dancer.

--------/// --------Author

Jenne Vermes

Professor of Tap at Florida School of the Arts | Dancer/ singer for The Cruxshadows | Dance teacher and choreographer throughout Jacksonville, FL,| Fitness and Health blogger: www.FIT-it-in.blogspot.com · Certified Zumba and Group Exercise instructor (AFAA) Contact me : annyk113@gmail.com

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Danzn . The Community Dance Magazine . July/August 2017

Personal Development /// DanceLife Coaching

DANCE LIFE COACHING A Column To Help Dancers Journey In Life

By Susan Silva

“WHAT IS DANCE LIFE COACHING?” I have been privileged to write close to 40 articles for Dance Beat in the last six years. Finally I thought it was important to explain what Dance Life Coaching is about, why I do it, and whom it is designed for. But first, I need to tell you a little bit about myself so you can understand why I write this column and why I became a Dance Life Coach. My passion for Dance started when I was three years old, and I had already decided that I wanted to become a dancer. My original dream was to be a ballet dancer, but at nine years old being on scholarship in one of the best ballet schools in NYC, I was told that my back was not strong enough for Pointe work. What a disappointment that was at such an early age. I then decided to pursue other styles of dance: modern and jazz. None of this was easy, since my father died when I was nine, and my mother worked just to put food on the table. So in order to take dance lessons I had to get scholarships. At age 18, I landed a job that was a turning point for my career, being part of “The Discothèque Dancers”, an act that wound up touring with the Beatles for three weeks. This changed my life forever, and I continued my career dancing on Television and Broadway.

During these years it seemed I always needed to work some type of part time jobs in order to make ends meet. Between my financial circumstances and my family always trying to get me to have a more stable career, I finally left my dancing passion and pursued a business career. I had many great jobs including managing a modeling and merchandising school in New York. Dance was still my deep passion, but no one ever coached or mentored me as to how to move forward in a dance career and be successful. Years later, one night I was invited to attend a free ballroom lesson at the Fred Astaire Ballroom studio on Fifth Avenue in New York City. That was it for me and I was hooked. After a short while being a student I became a professional, eventually danced with David Van Hamilton, and we became champions in Theatrical/Exhibition and American Style. We also had an adagio act, toured and traveled all over. Then later I worked for Arthur Murray International and with David wrote their Theatrical Syllabus. I became a coach and judge, yet always saw that couples needed more than just dance coaching.

stances and dealing with my mother’s dying I had an encounter with God. After years of college study, I became an ordained minister being trained to counsel and help people with personal issues. When I returned to the Ballroom Industry I wanted to help dancers in an area that I was never helped in, so I became a Dance Life Coach. Some of the areas I coach in are: emotional stability, stress, being able to cope with the pressures of competition, getting along with your partner, managing money, achieving future dance goals, and life decisions in general.

There is a proverb that says: “The way of a fool is right in his own eyes, but he who listens to counsel is wise.” The type of counsel you get affects your decision and future. Everyone needs a voice in his or her life that anchors you to your purpose. Be ware if you are the smartest and stop seeking advice. Everyone who leads people must have someone who speaks to them, if not they are in pride. Going higher in your career requires you seeking someone out that can expose your weakness. When you take a dance-coaching lesson, you seek the coach with the skills you want to be better in. The coach will correct what they see wrong, then you have to practice the steps and technique given.

It is the same in life coaching, a person who cares and is interested in your well being will help you in your fears, anxieties, issues you are dealing with so you can move forward with your goals.

In the years David and I danced we had many wonderful coaches that choreographed and coached our dancing. David and I got married, but eventually got a divorce. Had we had a coach that was trained in dealing with more personal life issues I believe our lives would have benefited greatly, and our decision-making would have gone in a different direction. Through difficult life circumJuly/August 2017 . Danzn - The Community Dance Magazine

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DanceLife Coaching /// Personal Development

We invest in coaches for our dancing skills but do we invest in coaches for our personal skills?

For many dancers they need a coach not just in their dancing, but to help in their life choices and more serious decisions. I have had the privilege of doing Dance Life Coaching with many couples and individuals, and have been a part of their lives being changed for the better. Here are two comments with names withheld from ballroom dancers that I have helped and coached: “You help guide us with your experience. I have been dancing for 8 years now and am especially grateful for the insights you have shared.” (Female dancer) “Hi Susan, It was your words which I wrote down over the phone that day which really helped. Brought that with me on the plane. You took time to answer and asked questions and thought carefully about your answers. That meant a lot.” (Male professional needing to make a decision whether to continue with his current dance partnership).

My joy comes from being able to help these dancers move toward their dreams. Dance Life Coaching is not counseling, or psychology, it does not dwell on the past, but looks to the future and the resources available within yourself to achieve and reach your biggest dreams. Here are some points and questions I tell people to consider in making your choices and decisions.

Slow down; do not make a decision under pressure.

Do you have all the information you need in order to make this decision in wisdom?

Will you be happy with the choice you are making now a few years later?

Every right decision you make helps reverse a wrong decision from the past.

You must take responsibility for your decision.

So many people live regretting their present circumstances, but they don’t realize they can make choices to change their future. It does not work to keep doing the same thing the same way and hope for different results. A lot of what sometimes needs changed is our own behavior, or patterns we have developed.

Your dancing is a journey, not a destination. Picture your future and take the necessary steps to move forward towards it! www.DanznMagazine.com

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Susan Silva

is an NDCA National Championship Certified Adjudicator in all styles of Ballroom Dance plus the Performing Arts.

Former Theatrical, Exhibition, and American Style Champion. Broadway, Television, and Film Performer, toured with the Beatles in the mid 60’s, Author of a Theatrical Ballroom Syllabus, Choreographer & Lecturer. Available for judging, lectures, choreography, and coaching. Susan is also a Personal Dance Life Coach, certified and ordained to counsel people in all areas of life. Counseling is done by e-mail, phone, skype, or in person.

She is now located in the Florida, Palm Beach Area. Contact Info: s.silva@snet.net, phone: 860-984-8387

Danzn . The Community Dance Magazine . July/August 2017

A Year in Review /// Conchita Espinosa

Conchita Espinosa Conservatory of the Arts For over 80 years, Conchita Espinosa Conservatory of the Arts (CEC) has been committed to developing and training young artists from beginner to professional levels. Founded by concert pianist and educator Conchita Espinosa, CEC has housed exceptional faculty throughout the years, including Rosita Segovia, Dulce Anaya, Martha Mahr, and Elena del Cueto. Conservatory faculty is handpicked for their excellent teaching skills and superb reputation in their respective areas, continually aiming for their students become well-rounded artists with excellent technique and a profound understanding, respect and love for the arts.

Marisol Moreno, Spanish Dance Department Head Ms. Moreno, originally from Madrid, Spain, began her dance career under the guidance of Pacita Tomas and Joaquin Villa. She performed with the Ballet Juan Sierra, traveling throughout Spain and Europe. She danced in Cristóbal Reyes´ flamenco company and has shared the stage with dancers such as Adrián Galia, Antonio Canales, and Joaquín Cortes.

Ms. Moreno has been part of numerous companies in the United States and abroad, including American Bolero Dance Company (NY) and Homenaje (Seattle, WA), among others. The Spanish dance curriculum at CEC is thoughtfully designed to cover the four disciplines of Spanish dance: classical Spanish dance, Escuela Bolera, folklore, and flamenco, forming well-rounded and educated dancers with a deep understanding of their art. Spanish dance students at CEC have the opportunity to travel to Spain once they have reached a certain level, in order to immerse in the culture, take class, and perform. Segovia Ballet Español, CEC’s Spanish dance ensemble, has performed in numerous venues, including at the “Antonio Ruiz Soler” Conservatory in Seville, Spain and with the Florida Chamber Orchestra, among others.

Faculty Highlights Danella Bedford, Ballet, Lyrical and Jazz Department Head Ms. Bedford, originally from the United Kingdom, was valedictorian of her graduating class from the Royal Ballet School. At Royal, she received her teaching diploma under the direction of Valerie Adams (FRAD) and was awarded the “Strength and Grace” award from Dame Ninette de Valois.

She remained an additional year as Assistant Director and was a guest teacher for numerous schools in London, including London Studio Center, The Royal Ballet School and London Junior Ballet. She has performed with the Scottish Ballet, English National Ballet and The Royal Ballet. In the US, Ms. Bedford taught at the North Carolina Dance Theater and the Charlotte School of Ballet, where she also performed as principal guest artist. She was also a soloist and rehearsal mistress for Momentum Dance Company. Her choreographies have a wide range and are very diverse in style. They have been showcased numerous times at Florida Dance Festival and won many choreographic awards. Ms. Bedford´s students benefit from her meticulous teaching and keen awareness of the physical, mental and emotional development of each young dancer. Select dancers travel to New York City biennially and to London, England, where they have the opportunity to take class and perform.

For more information on CEC’s program offerings and faculty, visit www.conchitaespinosaconservatory.com

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Paris Ballet /// A Year in Review

Paris Ballet and Dance, and Paris Ballet Conservatory Looking back over the past year, there were many things that have made Paris Ballet and Dance, and Paris Ballet Conservatory shine. Besides many performances of “The Nutcracker,” the school was invited once again to perform with Jupiter Academy of Music’s production of ”Bach n’ Billy.”

Paris Ballet and Dance, and Paris Ballet Conservatory were also invited by the Kravis Center for the Performing Arts to participate in their 25th Anniversary Community Gala. They were one of the few dance schools in the County invited to dance, and the only one to be asked to perform something classical. Vera Bradley and the Gardens Mall in Palm Beach Gardens, Florida, sponsored a discount shopping day while the school performed twice at center court in the mall. Director Mr. Feray was very proud to bring several dancer to experience the Youth America Grand Prix and they received very high scores!

Students also had the chance to attend Master Classes with truly renowned teachers, Abigail Simon and Olivier Pardina. These two wonderful teachers will be joining the staff next season.

Emily Schubert will be returning as a staff member, and will be specializing in Progressing Ballet Technique. Also joining the staff will be Yumelia Garcia. She is an amazing and renowned dancer and master teacher.

In 2017/2018, Paris Ballet and Dance, and Paris Ballet Conservatory will be increasing their performances repertoire which will include more

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opportunities for the students to perform in collaboration with the Gardens Mall. The new season will see more effort in their outreach programs, as well.

With summer coming up, there are many great things in which to look forward. July 3 through 8, in collaboration with The Kravis Center for the Performing Arts, Paris Ballet Conservatory will be hosting Magnifique Ballet Intensive. For the first time in the United States, this intensive will include some of the world’s truly greatest teachers. “Like myself, these teachers all hail from France, and from the Paris Opera Ballet School, and Paris Conservatory. We all have had incredible careers on stage and now in the classroom. Magnifique Ballet Intensive will be like “Olympic” training with the top people of their field. Make no mistake; this is a rare and very important opportunity for any serious dance student”, remarks Director Jean-Hugue Feray.

There will be specialized classes and camps for students of all ages and levels including The Summer Intensive with great teachers including Olivier Pardina and Yumelia Garcia. Students who participate are likely to progress at a higher and more noticeable rate.

Talent, commitment, hard work, desire and dedication deserve great training!

The website: www.parisballetdance.com

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Danzn . The Community Dance Magazine . July/August 2017

A Year in Review /// FSDE

Florida School for Dance Education F

lorida School for Dance Education is about to start its seventh season. This has been a very exciting and busy year for us.

Our non-profit dance company, Dance Theater of Florida, had a tremendously successful year starting with a series of sold out performances at the Kravis as part of their Star Series and going on to rave reviews about both The Bell, an adaptation of the classic children’s story of The Polar Express, and our Spring mixed bill of Don Quixote and Golden Age of Hollywood.

FSDE had thirteen graduating seniors this year. Their accomplishments are vast and impressive, ranging from acceptances into major ballet company training programs, prestigious conservatory and universities, and over $400,000 in scholarship monies awarded. For the second time, one of our students was a Young Arts Finalist as well as a contestant on So You Think You Can Dance. Our Alumni are also creating a stir in the professional world.

They have gone on to careers ranging from dancing for Stuttgart Ballet, International Broadway Tours, becoming a Dolphins Cheerleader, a member of Cirio Collective, music videos and dancing on Broadway. Some of our other alumni have just graduated from such fine schools as Julliard, Ailey/Fordham and Kirov Academy.

FSDE is always looking for ways to give back to our community.

We donated over $8,000 in scholarships and goods and services to various groups in our community. Dance Theater of Florida, in conjunction with Venus Williams Eleven clothing line has created the Elevé program. Our staff has spent 12 weeks at 2 different title 1 schools, bringing the joy and discipline of dance to those children who would not normally have the opportunity to experience dance.

Our new Professional Training Program has had its first graduate. At just sixteen years old, our first PTP graduate is going off to Colorado Ballet to join their trainee program. This program is blossoming into a fantastic opportunity for the very serious student.

The teachers and staff at FSDE all share the belief in a complete approach to training students. We realize that the lines of dance styles are becoming blurred and serious minded students must, above all, be versatile if they plan to pursue dance as a career.

Florida School for Dance Education also understands the awesome responsibility handed to us with the care of these students. We recognize that only through a safe and nurturing environment will the students be able to explore and develop into confident and dynamic adults, no matter which path they choose to pursue. We feel so proud to be able to say we stay true to our mission and always put students first. Our track record demonstrates that.

July/August 2017 . Danzn - The Community Dance Magazine

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Harid Conservatory /// A Year in Review

The HARID Conservatory New Series of Master Classes

National Honor Society Inductees

The HARID Conservatory, South Florida’s internationally recognized professional-training school for dancers, has “re-imagined” it’s annual Weekend Master Classes. Open to all aspiring dancers, 13 – 16 years of age with a minimum of three years of ballet training, the Master Classes will offer separate women’s and men’s classes, plus pointe, partnering, and modern dance.

On Saturday, September 9, beginning at 1:00 p.m., HARID faculty members Victoria Schneider and Alexey Kulpin will teach women’s and men’s ballet, followed by pointe and partnering classes. Lauren Carey, will then teach a modern-dance class from 4:00 p.m. – 5:00 p.m. Two weeks later, on Saturday, September 23, HARID faculty members Svetlana Osiyeva and Meelis Pakri will teach ballet, pointe, and partnering, followed, once again, by modern with Lauren Carey.

Take advantage of this opportunity to study with HARID’s expert faculty. Experience “The HARID Difference” for yourself! The new Master Classes cost just $50 for one Saturday or $90 for both Saturdays. Register early, since enrollment will be limited. Online registration is available at www.harid.edu/master-classes. For more information, call 561-997-2677.

Eleven students were inducted into the HARID Chapter of the National Honor Society (NHS). Congratulations to Rosemary DeIorio, Reese Desaulniers, Jeremy Hanson, Sarah Hurty, Lauren Leb, Patrick Mihm, Isabelle Morgan, Kyle Peterson, Ana Vega, Julia Vinez, and Xander Visker. The criteria for NHS membership are outstanding scholarship, leadership, service, and character.

The HARID Conservatory

Weekend Master Classes MEN’S & WOMEN’S BALLET POINTE Ȉ PARTNERING Ȉ MODERN Study with HARID’s renowned teachers!

September 9 & September 23, 1:00 p.m. – 5:00 p.m.

Register now*. Call 561-997-2677, or visit www.harid.edu/master-classes Single Saturday: $50. Both Saturdays: $90 All classes will be held at The HARID Conservatory 2285 Potomac Road, Boca Raton, 33431 *Must be 13–16 years of age to participate. Minimum 3 years of ballet (including pointe) required.

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Danzn . The Community Dance Magazine . July/August 2017

Education /// Plan B

So, what will be your plan B? A true dancer dies two deaths; the first is the day (they) can no longer dance…

These words pierce many dancers’ hearts in a studio as Professor Jo Rowan states in her ballet class at Oklahoma City University. It is something that, if you let it resonate in your soul, can consume you.

Although she once told me that I was “absolutely born to dance,” I knew I had to have a plan B. It was not because I need something to go to in the case I never got my big break; not because I cannot perform; not because I’m afraid to take risks. In fact, my life has been quite the opposite. I created my plan B because I knew that any unforeseen circumstance could come along, and this talent, this God-given gift I possess, could be taken from me physically. I needed to create a plan B to fulfill my talent and passion for dance mentally and emotionally, beyond my personal ability to move and perform.

The power of an education is never going to be grabbed away from anyone. I have had so many students declare their desire to go straight to the audition world, and I discourage them immediately. Those jobs will be there. Take care of your body

July/August 2017 . Danzn - The Community Dance Magazine

and your craft in the meantime, but take care of your mind and future first. Numerous colleagues of mine didn’t, now only to find themselves frustrated, older, and despairingly trying to figure out what is next because they impulsively jumped to the work before the training. So few dancers are lucky to maintain a job in the business for the duration of their career without other skills and training in other avenues of work.

Did you know dancers are just as likely to be injured as football players, and are injured more than rugby players? In minor cases, the dancer will recover, but how long before another injury may occur? According to the United States Department of Labor, dancers have one of the highest nonfatal on-the-job injury ratings. Few dancers continue to perform for an entire lifetime, and typically cannot continue in their thirties simply because of the strain the work puts on one’s body…and that is if they were healthy and good to their bodies all those years of dancing.

You have to live under a rock to not know the economy is not as resilient as

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most had hoped it to be. In fact, it could be much longer than anyone wishes to fathom before we are the thriving country we once were. Unfortunately, dance and entertainment industries are considered discretionary expenses. Live shows do not receive the same support when people cannot afford the tickets. Students decrease enrollment in their dance studio to lower tuition costs.

What does this mean? That wonderful chain reaction of less demand for shows to be created, less choreography to be staged, less dances present to be cast, less auditions to attend. More dancers are out of work, more dancers after the same jobs, and more of the “starving artist” syndrome in effect.

But we love to dance…we have to dance!

Right? Wrong.

There is a mere estimated 6% employment growth, well below average for any other industry, for all dancers and choreographers combined between now and 2018.

Now more than ever it is time to truly be an artist and creative and develop a plan B. There is work out there for everyone; it just has to be found. But by limiting oneself to a satisfactory education and some training in the studio solely as a dancer or even a

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Plan B /// Education

“triple threat,” one will not get through life comfortably and produce a sense of stability. It is also unrealistic to think that all dancers move successfully into teaching or choreographing. Performers do not always make the best teachers or choreographers, nor do they automatically possess the business skills it takes to produce a dance organization of any sort, especially without the education relative to the field.

So what should be your plan B? Many dancers become the proverbial server at a restaurant or a crowd motivator, or a nightclub dancer, awhile waiting the callback to the countless auditions they attend. It’s tiring, daunting, and realistically, not a way to live forever. Am I discouraging the experience? Never. Go to that big city of lights and glitter, stand in those lines with your headshot and dance shoes, and do it. But know that being a server is not a satisfying plan B for most people when they reach their thirties and forties (just something to think about when you’re standing in line at a call).

I always knew in the back of my mind that I wanted a full life. Who doesn’t? I knew the consequences of going full throttle for a performance career could certainly compromise my personal and family life.

I could be super successful, only to turn to my left and turn to my right and have no one there to share it with me. I had a

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glimpse of this when I was touring as a headliner and saw these breathtaking views in foreign places and did amazing things - and I was alone. The person I wanted to share those moments with was not present. It was bittersweet, but a pivotal moment in my life that reinforced that I knew there had to be a way to juggle my career and find happiness in dance as I shared my focus and love for dance with other things this life has to offer. A cast friend of mine in New Jersey said it right when she said, “Dance is in my life, it is not my life. I should be able to be happy in other ways if dance was not there for me.” There is so much more to experience, and we only get one chance to do it all.

That is the truth.

I have found personally that possessing business skills and having knowledge beyond being on stage performing enriches my dance career, and also allots several opportunities otherwise I would not book if I did not pursue higher education.

I recently met for dinner with a fellow choreographer and learned he has just a few credits to obtain before completing a degree. I want for him so badly to commit to the finish; the sense of self-accomplishment, pride, and for his life’s plan B would be a true reward. He is living for the now and doing well, but it is already become difficult for him to want to do

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the work to finish what he started! Of the fellow dancers I attended college with, the bigger group of those working are the ones that completed school, with a degree that trained them for more than a piece of paper that told them they could dance.

There WILL be a time that a dancer can no longer dance; for some that time may be now. One never knows when the first death of a dancer shall come, be it due to a circumstance within or out of one’s control.

But being prepared for it would be the best way to reincarnate one’s self without delay or remorse. There are dancers that have not found the bigger picture of their life, and therefore are not chasing after more than their dream to be a dancer. But one day, perhaps that picture of life down the road will come into focus, and there has to be a plan B in place in order to fulfill that big picture.

So, what will be your plan B?

Contributing writer

Krystina Alexis: Bachelor of Science Dance & Arts ManageTLU[" *LY[PÄ LK -3 +6, +HUJL 2 " *LY[PÄ LK NASM Personal Trainer

Danzn . The Community Dance Magazine . July/August 2017

Healthy Eating & Lifestyle /// Pizza, Pizza

PIZZA, PIZZA! I

t’s Friday night and the family is ordering pizza. You are having salad because cheese and meat leave you feeling bloated, sluggish, guilt-ridden and worried about that new bathing suit you just bought!

Do you want to make a pizza that tastes fabulous, has no dairy, no eggs and no soy?

Do you want a pizza you can enjoy while others indulge in trans fat, calories, cholesterol, gluten and a meal laden with salt and sugar and animal fat?

I’ve got it for you!

It may take a little preparation, but it is so worth it!

Vegan Pizza with Cauliflower Crust Gather spinach, arugula, red pepper, unsalted chopped walnuts and basil, low salt - no sugar - pure marinara sauce and sautéed onions. You can add mushrooms and nutritional yeast flakes or *cashew ‘parmesan’ cheese.

Set aside.

First begin with the crust for vegans or those with gluten sensitivity!

Cauliflower Crust (Vegetable crust! How positively genius!)

You’ll need: • 1 pound of fresh cauliflower separated into florets • 6 T filtered water • 3 T chia seeds or sometimes I use flaxseed • 1/2 C almond meal • 1/2 teaspoon garlic powder • 1/2 teaspoon dried oregano 1. Preheat oven to 400F and line a baking sheet with parchment paper. *(You may want to use a quarter baking sheet.)

2. Place the cauliflower florets in a food processor using the “S” blade and pulse the cauliflower until the texture is “rice-like.”

3. Place the cauliflower into a large sauce pot and add just enough water to cover the cauliflower and bring to a boil. Reduce the heat, cover and cook for about 5 minutes.

4. Drain the liquid and transfer the cooked cauliflower into a freezer-safe bowl. Place in freezer for about 10 minutes to cool.

5. While the cauliflower cools in the freezer, mix together 2 tablespoons of chia seeds July/August 2017 . Danzn - The Community Dance Magazine

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Pizza, Pizza /// Healthy Eating & Lifestyle

or flax seeds with 6 tablespoons of water. This creates chia or flax “eggs” as your egg substitute 6. Wrap the cooled cauliflower in a thin dish towel. Squeeze the dish towel and remove the extra moisture from the cauliflower.

7. Put the drained cauliflower into a large bowl and add the vegan “egg,” almond meal, additional tablespoon of chia seeds or flax seeds, sea salt, garlic and dried oregano. Stir well.

8. Press the mixture onto the parchment lined baking sheet making sure to keep the crust a consistent 1/4 inch thick. Firmly press the crust together. Make certain that there are no thin spots where the crust may crack during baking. *(You may want to purchase a quarter baking sheet so the crust fills the entire pan, as a regular baking sheet is too big for this amount of crust.)

9. Bake the crust for 30 minutes or until the top is lightly golden. It should feel dry to the touch.

10. Take the crust out of the oven and use an additional piece of parchment paper to flip the crust and place back on the pan and bake for an additional 10-15 minutes.

11. Next, simply add your toppings including cashew ‘parmesan’ and return to the oven for about 5-10 minutes to heat up the cauliflower crust pizza.

Second, what’s *Cashew ‘Parmesan?’

You will need: • 1 C raw unsalted cashews • 1/4 C nutritional yeast flakes • 1 Teaspoon sea salt (optional) Process all in a food processor using the ’S’ blade.

Allow mixture to remain a bit crumbly.

Sprinkle on your pizza! (No, it won’t melt…it’s not really cheese, but tastes fabulous and not oily!

If there is left over cashew ‘parmesan,’ store it in an airtight glass container in the fridge. It is pure and without preservatives so it will last about 1 week properly stored.

Third, what are Nutritional Yeast Flakes?

NYF are made from a single-cell organism called Saccharomyces Cerevisiae. This single-cell is grown on molasses, harvested, washed and dried and deactivated. So it has no leavening ability. It’s a great source of B6 and B12, other vitamins, protein, amino acids, fiber and contains no animal product. It’s actually from the fungi family. I use Red Star Brand, GMO Free and Certified. You can add nutritional yeast flakes to your salads, soups, pasta and popcorn for an added boost of protein and a sort of cheese-like flavor.

------------------------------------/// --------------------------------------

Kate Celesta Corallo CN, RYT 500

The Kate Effect Plant Powered Nutrition, E-RYT 500, Reiki Master , Meditation Guide Young Living Essential Oil Distributor: https://bit.ly/2q3hdv6 www.TheKateEffect.org instagram and twitter:@the_kate_effect facebook:The KATE Effect - balancing body, mind, soul www.DanznMagazine.com

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Danzn . The Community Dance Magazine . July/August 2017

Doctors Advice /// Prevention

Back to the Future Kathleen L Davenport, MD

T

echnology pushes boundaries, provides new opportunities, and expands horizons. Advancement in technology can enhance our dancing, teaching, and health, let alone our everyday activities like communication, learning, and travel. These technological advancements are balanced with an art form that has existed for hundreds of years. What are some way we can incorporate new technologies in an ancient art form to optimize our performance?

Firstly, in terms of an art form, dance has always progressed and advanced. There are new dance movements and styles being continuously developed and shared.

On the other hand, many forms of dance, such as classical ballet, maintain strongly codified roots in the same movement patterns that were developed hundreds of year ago. Whichever style of dance is practiced, technological advancements have had a profound influence. From shoe wear to lighting, technology has allowed dance to progress and advance.

One of the major technological advancements for dancers has been the development and continual improvement of video recording. Currently, with the relative affordability and availability of visual equipment, video recording has become an important dance component. Filming has now become valuable for choreography retention, dance critique, and social media. Video recording can also be applied for dancer health. Taking video of a warm up or routine and examining correct technique together can be helpful to isolate movements that may improve quality of dancing, but will also be helpful in isolating motions that can place a dancer at risk for injury. Since incorrect technique may

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lead to injury, designated time and film to these areas can decrease the risk of an injury. If an acute dance injury happens to be recorded, bringing this video to a doctor can help with diagnosis and treatment options. When recovering from an injury, taking video of exercises can help a dancer remember which exercises they should be doing. Even though we have advanced technology, such as an MRI, in medicine, often a simple video can be the most useful to get back to dancing.

Another technology that can be helpful to dancers is scheduling and volunteering apps. As groups, studios, universities, and companies often rely

on volunteers to help out, scheduling all these times can present a challenge. Sometimes it is difficult to get volunteers to sign up because the extent of need is unknown.

Other times too many volunteers sign up and may be frustrated that they are not fully needed. Using a scheduling app can help mitigate some challenges for organizations.

This is important to reduce stress, prevent burnout, and improve the mental well-being of all involved â&#x20AC;&#x201C; both volunteers and organizers.

26

While we may not always think of technology as an influence on essential dance items, such as the dance floor or costuming, these are some of the most important technological advancements for dancers.

Dancing on a sprung floor is important to protect the joints and body from the impact in dance technique. Being aware if a floor is appropriately sprung can help teachers, dancers, and choreographers know how to tailor movement to keep the dancers on their feet and off the sidelines. Additionally, something as simple as flexible fabric for a costume rather than a stiff corset can make a difference in both quality of dance movement and avoiding injuries.

Technology continues to serve as an inspiration for choreographic exploration.

Costumes with built in lighting, make-up with reflective properties, and stage effects, to name just a few, can all enhance a dramatic vision. It is crucial that every technological exploration maintain the human element. By this, I mean that technology in dance provides unique opportunities but in most cases, human dancers are still the working element on stage. Therefore, these advancements and explorations must be balanced with respect for the human body.

As always, it is a balance between recognizing limits and pushing those as far as possible. Itâ&#x20AC;&#x2122;s a balance between human and machine. This balance, when done well, allows a dancer, choreographer, teacher to succeed in both wellness and wowness.

--------/// --------Kathleen L. Davenport, MD .DWKOHHQ / 'DYHQSRUW 0' LV ERDUG FHUWLĂ&#x20AC; HG in Physiatry and Sports Medicine. She works at Memorial Healthcare System and specializes in Sports, Performing Arts and Dance Medicine.

Danzn . The Community Dance Magazine . July/August 2017

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Danzn . The Community Dance Magazine . July/August 2017

Community Resource Guide /// Local Business

Community Resource Guide Krystina Alexis Nelson Choreographer & Dance Trainer Co-founder, Dancer Athlete Method &HUWLƓ HG )/ '2( 'DQFH . &HUWLƓ HG 1DWLRQDO $FDGHP\ RI 6SRUWV 0HGLFLQH Former professional dancer (MSA, New York/int’l.)

Former dance competition director and adjudicator Available for: - Studio & School Workshops - Private training for advance dancers - Competitive or Concert choreography -Competition coaching For Booking, please email: .U\VWLQD$OH[LV#PH FRP

Kate Celesta Corallo

Cheryl Dunn-Bychek

CN, RYT 500

Fundraisers - Easy Fun - Earn 40%

The Kate Effect 908-310-9098 Plant Powered Nutrition, E-RYT 500, Reiki Master, Meditation Guide, Young Living Essential Oil Distributor: https://bit.ly/2q3hdv6 www.TheKateEffect.org instagram and twitter:@the_kate_effect facebook:The KATE Effect - balancing body, mind, soul

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Danzn . The Community Dance Magazine . July/August 2017

Person of Interest /// Philip Neal

Philip Neal Artistic Director

Next Generation Ballet Chairman

Patel Conservatory Dance Department Repetiteur

George Balanchine Trust and Jerome Robbins Rights Trust During a master class at School of Richmond Ballet, famed dancer for New York City Ballet and former Miami City Ballet artistic director Edward Villella hand-picked Philip Neal for School of America Ballet (SAB). Neal was 12 years old.

He cut his teeth in SAB summer classes with the legendary teacher Stanley Williams. Often, Philip found himself in class surrounded by NYCB principles including Mikhail Baryshnikov.

choreographer, more open to his work adapting to different dancers. Balanchine has a little wiggle room, but Jerry? No,” he says.

The yin-and-yang dynamic between Robbins and Balanchine is well-known in the dance world and often cited in historical accounts of the wildly prolific and popular era of NYCB during the duo’s heyday as the company’s artistic powers. In fact, it’s legendary.

So, it is no small honor for Philip Neal, who began his career with NYCB in a Robbins rehearsal, to have performed in the choreographer’s beloved Dances at a Gathering at Robbins’ funeral.

When Neal left NYCB to take over the ballet program at the Patel Conservatory at the Straz Center, both the Robbins and Balanchine Trusts engaged him as trust holder of the great choreographers’ works, what is known as a repetiteur, or, someone who has been approved by the choreographers’ trusts to set their works on other companies. Neal joined the direct lineage of these master dancemakers, and, now, he brings this legacy to the dancers studying at the Patel Conservatory. In May 2017, Next Generation Ballet performed Robbins’ Circus Polka and Balanchine’s Donizetti Variations as part of their spring concert.

WHO CARES?

Neal continued to train at SAB NYCB photo by Paul Kolnik during the summer, attending another school during the year, with his eyes always on a spot with New York City Ballet. At 19, he joined the company, immediately thrown into principle roles because his height matched the rather tall ballerinas suited to George Balanchine’s style.

His first rehearsal was with none other than Jerome Robbins.

Neal arrived at SAB in the very last years of Balanchine’s life. He and his cohort group were the last generation of dancers to grace the halls while Balanchine still worked. When “Mr. B” emerged from a rehearsal room, Neal recalls, dancers silenced, the space filling up in reverential awe.

“It was a milestone performance,” Neal says. “My colleagues NYCB photo by Paul Kolnik in New York know what is happening down here, and they are paying attention. We’re only going to grow and go on to bigger things.”

MOZARTIANA

Neal performed for two decades with NYCB, touring the world and training constantly in Balanchine’s and Robbins’ styles. “Jerry called me in on almost all of his rehearsals, so I was able to study, to train in his work. He was direct, he was always like ‘no, it is this way’ whereas Balanchine was more of a figure-it-out-for-yourself

Written by Marlowe Fairbanks July/August 2017 . Danzn - The Community Dance Magazine

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