How to Find a Competition Coach–And What to Do When You Get One
When you're preparing for a competition, it's critical to find a coach who can refine your technique and bring out your artistry. Their expertise, along with your trust, professionalism and commitment, will be key to getting the most out of your solo rehearsals—and will make or break your performance. But how do you choose a coach who's right for you?
What a Coach Does
Coaching is one part science and one part inspiration, says Ilka Doubek, artistic director of Litchfield Dance Arts Academy in South Carolina. "A coach should be able to create exercises that help you build up to the skills you'll need and get you to express yourself through the movement," she says.
Bo Spassoff, PC Catherine Park
But there's no one-size-fits-all approach to coaching, says Bo Spassoff, co-director of The Rock School for Dance Education in Philadelphia. "For some students it may be important to have someone tough, but for a student who is very self-deprecating, the coach's ability to give positive reinforcement may be the biggest priority." Either way, a coach should analyze exactly what you need to do to reach your goals and match your level of commitment.
How to Find the One
As important as it is to find a coach who can bring out your best, the final pairing may not be up to you—your parent or teacher may end up making the call. Studio-hoppers or dancers from a large academy may get the value of multiple perspectives: At The Rock School, Bo and Stephanie Spassoff have a unique approach in which dancers are coached by multiple faculty members. "Once the variation has been taught by one of us, we start rotating within the coaching staff so there are a lot of eyes on them," says Stephanie. Dancers benefit from each coach's specialty, whether it be turning, jumping, musicality or character—almost like a board of advisors.
Stephanie Spassoff with students
The Spassoffs admit their approach is atypical. They recommend trying the more traditional route of looking at top schools in your area to see if someone on faculty has extra time to spend with you, or developing a relationship with someone from your own studio.
If you need to lock down a coach outside of a studio environment, think of it as finding a mentor, says Doubek. Go to summer intensives and master classes, and look for teachers whom you relate to.
Don't Get Comfortable
You might think you know what teaching style works best for you and picture learning a variation in that kind of environment. But succeeding at competitions isn't just about being proficient at the steps—a large part of a coach's role is to push the dancer to understand the arc of her character and the feeling of her variation. "We work together to carry a story through the steps," says Claudio Muñoz, who serves as ballet master for Houston Ballet II and has coached students for the Prix de Lausanne and Beijing International Ballet and Choreography Competition.
Claudio Muñoz, PC Jaime Lagdameo
To challenge yourself, find a coach who can take you outside your comfort zone. "The truth is that the meanest teacher might be the one to connect and relate best with you about the artistry of the variation," says Doubek.
When you're considering working with someone new, Muñoz says that a rapport may take some time to establish, but you have to see the potential to trust each other, because the process won't always be easy. "You may have to lose something to gain something, to unlearn the wrong way of turning to be able to get it right, for example," he says. "If the dancer doesn't trust in me, it's very difficult to get through that."
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.