In the era of standardized assessment, there is a lot of talk about “teaching to the test”. While this generally refers to classroom teachers catering content and delivery to what may appear on those standardized tests, there is a fair amount of that happening in the dance classroom, too. What should be an exhilarating adventure […]
“The only thing new in dance is you.” A friend shared that quote from an Ohio University professor years ago and it has stuck with me. Every year I find myself chuckling to myself as I listen to kids claim movements as “their” choreography when really many are sampling from the limited palette of movement […]
In honor of Black History Month Roger looks to a future with more African-American donors, board members, staff members — more diverse dance organizations as a whole. Dance has been a major part of the African-American culture since the beginning, but how can dance producers and presenters take a step toward this future and build black audiences?
What are the pros and cons of traversing multiple genres in the dance field? Does it pay to be a Jack of all trades or will choreographers assume you’re a master of none? Featured columnist and dancer, Roger Lee shares his thoughts on what it’s like to find work and collect income from a variety of sources.
When working with students on choreography it’s possible to get them thinking beyond steps to a more robust concept of creative process that encourages thoughtful choices about all areas of production. Heather demonstrated this with her previous article. This time, she goes a step further, showing you ways to connect these ideas with dance history to enrich students’ understanding.
Nichelle interviews Dwight Rhoden whose company, Complexions Contemporary Ballet, which he co-founded with dancer Desmond Richardson is performing in Houston. We talk about the future of dance, the fusion of dance forms, and his work in commercial (namely So You Think You Can Dance) and concert dance, including the works Rise, set to selections by U2, and Richardson’s solo CLICK.