Dance Production, Dance in Education & Careers

Week 12: Dance Production, Dance in Education & Careers

 

Objectives

This week you will..

• learn the duties of the production staff for a dance concert.
• understand the development of a dance production.
• examine the options for careers in dance.
• continue to develop an understanding of the history of dance.

 

 

Reading

The production of a dance concert (including any play, Broadway musical, Ballet, modern dance concert, etc) is a time consuming and stressful undertaking. The real difference between the production of a professional company’s concert and an educational concert is the fact that one-two people may be entirely in charge of all of the details of a dance concert at a college or university, while an entire team of experts may be in charge of a professional production. No matter where a dance concert takes place, the jobs remain the same.  

 

Read the following..

• Chapter 11 in Learning About Dance
• Chapter 12 in Learning About Dance

chapter eleven

Dance Production: Behind the Scenes of a Dance Concert

It would be surprising for some to realize exactly how much work and energy goes into mounting a dance production. An incredible amount of work has to be done in addition to creating the choreography and holding the rehearsals. This chapter discusses the steps that must be taken to produce a dance concert, and the people who play key roles in executing a production.

The Artistic Director

No matter what the size of the company or the company’s budget, having an outstanding artistic director is crucial to the success and survival of any dance company. The artistic director is responsible for the overall aesthetic and artistic vision of the company and makes decisions relative to all artistic issues.

No matter what the size of the company or the company’s budget, having an outstanding artistic director is crucial to the success and survival of any dance company.

One of the many responsibilities of the artistic director is to choreograph for the company or invite guest choreographers to make dances that will be performed in the company’s repertoire. Companies that perform dances choreographed by someone other than the artistic director are usually known as repertory companies. Once it is determined which dances will appear on a concert, the artistic director “programs” the dances so that they are performed in an appropriate concert order. For example, beginning a concert with a dance that has a dark and dramatic theme might be too much for the audience to view as soon as they sit down in their seats. It might be more appropriate to begin a concert with a lighter dance, to allow the audience time to adjust to the concert setting. Similarly, the final dance of a concert should be one that will send the audience away with a lasting impression.

In addition to making artistic decisions, artistic directors sometimes also make business decisions, or at least give input into certain business issues. For example, dealing with touring and teaching schedules, financial concerns, and fund-raising efforts are all a part of the artistic director’s job. They are also usually responsible for hiring (and sometimes firing) the dancers.

Most artistic directors are the “founders” of their dance companies. For example, Paul Taylor founded the Paul Taylor Dance Company in 1961 and still serves as its artistic director. There are, however, many people who have taken over the artistic directorship of an already existing company. Judith Jamison, for example, took over the artistic directorship of the Alvin Ailey American Dance Theatre after Ailey’s death in 1990. Before a new director takes over an already existing company, decisions must be made as to whether or not he or she will continue to direct the company in the same artistic manner that the previous director had. In Jamison’s case, there was a commitment to keeping the artistic vision and legacy of Alvin Ailey alive. Therefore, she directed the company with that intent and priority in mind. Upon Jamison’s retirement, Robert Battle became the artistic director, again with the intent of preserving Ailey’s legacy. But for other companies, it might be determined (possibly by the Board members), that the new director should take the company in a different artistic direction that would benefit the dancers and the audience.

Steps in the Production Process

Properly planning and organizing a dance concert is of the utmost importance. It is crucial that the organizers have a well thought-out plan of action and adhere to the timing and schedule of that plan. Of course, certain adjustments might have to be made if an emergency should arise (for example, problems with lighting equipment). In these cases, every effort should be made to fix problems as soon as possible. It is important to remember that many items have to be accomplished that cannot be put off until the last moment.

Properly planning and organizing a dance concert is of the utmost importance.

The beginning point in the process of producing a dance concert is deciding where the program will be performed. Assuming that the dance company has an operating budget, securing a space to conduct the concert (theatre, gymnasium, senior center, museum, etc.) is obviously important. Some companies have agreements to perform their home seasons in the same theatre every year, but many smaller companies rent out space on a concert-to-concert basis. Sometimes dancers have to perform in spaces that are less than ideal and many are willing to compromise in order to get the chance to perform. Compromising with regard to an adequate dance floor, however, may not be wise. Having the right kind of dance floor (preferably a sprung, smooth, wood or vinyl floor) is important, since dancing on one that is not appropriate can be dangerous. For example, dancing on a floor that is too hard can lead to injuries such as shin splints, or ankle, knee, and lower back problems. Other considerations for securing a space include: the availability of dressing room space; the stage size; available lighting; location of the space and availability of parking and public transportation; the space’s policies; and, of course, the cost.

Once a space is secured and rehearsals are underway, the artistic director, choreographer, or any other person who may be responsible for the concert, must direct their attention to factors including: publicity; designing and printing posters and programs; ticket sales; designing costumes; setting up lighting design(s); music (live or recorded); any sets and scenery; use of video or other technology; program order; and possibly renting equipment. In large, established companies, a number of people are responsible for accomplishing these tasks. Smaller dance companies who cannot afford to hire extra help are often left to take care of these details on their own. Therefore, in addition to creating the dances and running the rehearsals, the choreographer(s) or artistic director may also be responsible for most of the aforementioned tasks (with the dancers often pitching in as well). It is startling to see how many companies can successfully produce a concert, considering the enormous amount of work, effort, and finances it takes to achieve this goal.

People Behind the Production: The Support Staff

Few dance companies in the world can afford to have the ideal support and artistic staff. For the purposes of this discussion, let’s create the ideal scenario and see who a dance company might employ if they had the funds to do so.

Few dance companies in the world can afford to have the ideal support and artistic staff.

The ideal dance company would have a hard-working, dedicated Board of Directors. This group primarily consists of prominent members of the business and artistic community, most of whom dedicate their time to the company without receiving any pay. One of the Board’s main functions is to conduct fund-raising activities. Other functions may include establishing rules, regulations, and policies regarding contracts, pay schedules, working conditions, etc. In some instances, the Board has the power to hire, fire, and promote members of the artistic and support staff, including the dancers, choreographers, and the artistic director.

In an ideal situation, a dance company would have a business manager as well as a company director. The business manager is in charge of the company’s budget and may write grants and help with fund-raising efforts. Of course, he or she is also responsible for paying the bills and staff salaries. The company manager is more directly involved with the dancers and artistic director than the business manager. He or she is responsible for designing rehearsal and production schedules and making sure everyone has the appropriate information to ensure that things run as smoothly as possible.

A well-known public relations firm can enhance the image of a dance company immensely, while at the same time build an audience for the company. This firm is usually responsible for developing advertisements for newspapers, radio, and television. They, along with a graphics company, also develop posters, flyers, and the concert program. So many of today’s successful advertisements depend on flashy and provocative visual images in order to capture the potential audience’s attention. Dance companies that use photography in their advertisements can greatly benefit from these professional services

A company needs a box office manager, who is in charge of reservations and ticket sales. A house manager is also required and is responsible for the ushers, seating arrangements, intermissions, and anything else that might occur in the “house” of the theatre (as opposed to backstage).

Backstage, the technical director is in charge of all of the equipment and technical aspects of the performance. Usually, this person has an assistant technical director and a stage crew to help with the technical work. The stage manager is responsible for “calling the show,” or giving directions for the sound and lighting cues. This person works closely with the artistic director, technical director, and all the designers and assumes the majority of the responsibility once the performance gets underway. The stage manager’s ability is crucial to the overall success of the performance. This person usually has an assistant stage manager who helps with details. The stage manager also works closely with the lighting board operator(s), follow spot operator(s) and sound board operator(s), who, under his or her direction, “run” the show, usually from the lighting and sound booths.

In addition to the above mentioned positions, some dance companies might also have legal counsel; insurance agents; dance injury specialists, physical therapist and massage therapists; financial administrators; marketing directors; residency and workshop coordinators; rehearsal assistants; administrative assistants; and travel/booking agents.

It is typical for many larger companies to have a school associated with the company, and therefore the following positions may be necessary: school director; assistant director; administrative assistants; community outreach coordinators; accompanists; recruiting coordinator and recruiters; financial and budget managers; development personnel; on-site health professionals; a school board of directors; and of course, highly qualified faculty. Some schools offer room and board to students from all over the world, such as the School of American Ballet, which is affiliated with the New York City Ballet. In these cases, all residence life activities such as housing, food, and round-the-clock supervision must be considered. These schools typically offer community, pre-professional, and professional dance classes. Some schools use their pre-professional classes as a training ground for dancers who might eventually dance with the professional company, and these students usually go through the process of being accepted into a trainee program, internship, or second or junior company before being hired by the professional company. Some schools might offer specialized classes, such as the Mark Morris Dance Center, which is affiliated with the Mark Morris Dance Group, and offers classes for children with disabilities called Special Kids Dance. They are also affiliated with Dance for PD, which is a collaboration between the Mark Morris Dance Group and the Brooklyn Parkinson Group, and offers dance classes to Parkinson’s patients, as well as teacher training for this special population.

With the great variety of dance companies in the world, there are almost certainly some positions that have not even been mentioned that may in fact be a major part of some companies. It is striking, however, to look at the broad spectrum of dance companies—from the large, well-established companies to the small and struggling ones—and see how they are all committed to producing dance concerts and sharing them with the public.

The Artistic Collaborators

Several other people are important to the artistic development and production of a dance concert. In an ideal situation, a company would have a lighting designer, costume designer, costume construction crew, hair and makeup artist, and set and scenic designer. They might also have a musical director and composer(s), and even an orchestra associated with the company.

. . . the collaboration with the lighting designer usually takes priority over all other factors . . . because the lights provide a theatrical feel to the dances that most choreographers desire.

The Lighting Designer

In smaller, lower-budget companies, the collaboration with the lighting designer usually takes priority over all other factors, leaving the artistic director, dancers, etc., to design and make costumes, do their own hair and makeup, and work with previously recorded music. One of the main reasons why this collaboration is so important to the production is because the lights provide a theatrical feel to the dances that most choreographers desire. This statement does not imply that dances cannot be performed in natural light (or even under fluorescent lights!), but lighting can help transform the stage space and help choreographers “say” what they want. “Light itself is mysterious, inseparable from what it makes visible. In the natural world, though light fosters sight, it is neutral on matters of meaning. Theatrical light, entirely unnatural, fosters sight and insight; it is a subliminal whisper, providing emphasis, telling us what to make of what we see.”¹

Another reason why lighting designers are so valuable to most dance companies is because these designers not only have the artistic sense needed to create the designs, but they also possess the essential practical knowledge regarding electricity, lighting instruments, use of color, light plots, and the technical aspects of the theatre. Although some choreographers can design lights for their own dances, most have neither the time nor the knowledge of design, as well as the equipment, to properly light a concert.

Part of the knowledge that a lighting designer must have involves the different pieces of lighting equipment. A designer has many types of lighting instruments that he or she uses to create the desired effects on the stage (see Figure 11.2, which shows universal lighting symbols). Many lighting designers also utilize special software that have instrument and manufacturer specific symbols. For example, a Fresnel is a type of spotlight that features a lens with an edged or stepped pattern. This lens is a thick piece of glass patterned on the inside to resemble a series of steps. This design gives the light “a wide spread of illumination—which creates an even field with soft edges. . . .”² An ellipsoidal reflector spotlight (known as an ERS or by the trade name Leko), is used when the designer wishes to project a sharper, more focused beam of light. This instrument uses an “ellipsoidal reflector,” a bowl-shaped apparatus that sits behind and around the bulb (or “lamp”) “to gather light from one focal point and focus it on the second focal point.”³ Additionally, the ellipsoidal spotlight has metal shutters that can be manipulated to precisely control the spill of the light and the relative sharpness or softness of the beam’s edge. There is also an ellipsoidal reflector floodlight (also known as an ERF or “scoop”), which can be used for “. . . throwing a broad wash of light over a wide area.”⁴ Often times, this instrument is used for lighting scenery. A PAR can or PAR head (parabolic aluminized reflector) provides an “. . . oval-shaped beam of light . . . [which] is uniquely harsh [intense], [while] the beam edge is fairly soft.”⁵ Designers use these four commonly known lighting instruments in different ways in order to produce certain “looks” on stage. The designer can use them separately or in conjunction with one another.

Lighting designers also use striplights to create a wash of light on a backdrop, cyclorama, or scrim (set pieces or pieces of material that hang in the upstage part of the stage). Follow spots are lighting instruments that are not found directly on the stage, but are projected onto the stage by an operator who is usually a far distance away (such as at the back of the theatre or in the lighting booth). The operator can move the beam of light all around the stage area. The follow spot can produce either a sharp or diffused light and the beam of light can be made very small or large. This instrument is usually used to highlight a person or object on stage. Another lighting instrument designers use is a beam projector, which throws a sharp beam of light and is often used to create special effects, such as sunlight coming in through a window.

 

There are also automated lighting instruments (also known as movable lighting instruments or intelligent lighting instruments), which can project many different patterns and produce many different effects. These instruments are fully computerized and have special features such as color changers. Technological advancements in theatrical lighting, such as these movable instruments, give lighting designers a whole new range of possibilities. Automated lighting requires specific lighting controls. The light board controlling these instruments must be compatible with these sophisticated lights. Where a standard lighting instrument takes one control channel to operate, automated lights may take up to thirty channels per instrument.

. . . lighting instruments must be strategically placed on the stage.

Of course, all these lighting instruments must be strategically placed on the stage. In dance, many designers will use the primary light source from the sides of the stage because this use of light makes the dancers look more three-dimensional (see Figures 11.3 and 11.4). The designer drafts all these lighting instruments onto a light plot (a scale ground plan, see Figure 11.8 on pages 178–179), which shows where the instruments will hang in the theatre). The lights are then hung and focused to specific areas on the stage. The lighting designer often uses different colored gels in front of the lighting instruments to produce certain effects. For example, if a dance depicted a person who is in a panicked state, the designer may choose to have an intense red glow over the stage. On the other hand, if the dance was about a mother’s love for her child, the designer might illuminate the stage with a warm, pink, rosy color. Although both of these examples would use colors in the red spectrum, using different hues and intensities would evoke different emotions.

Designers may also incorporate the use of a gobo, which is a small, flat piece of metal with a cutout pattern in it. Gobos can produce many effects, such as a starry night, a cityscape, or a forest filled with trees, to name a few. High-quality glass gobos, called lithos, can accommodate precise, fine-detailed images, such as photographs or line drawings, and can also be in color or black and white. These lithos pass light very effectively and, depending on the pattern, can create everything from a beautiful, soft-shaded effect to multicolored projections.

Before the lighting designer begins to design the light plot, one or more meetings usually take place with the choreographer. The designer may also come to rehearsal(s) and watch the dance or dances that he or she will create designs for, or “light.” Several items are usually discussed and taken into consideration when the designs are made, including: costume color; set design (if any); whether or not the dance will incorporate film or video; whether any special effects will be required; and, most important, the choreographer’s concept of the dance. Although some choreographers and lighting designers work independently from each other, many designers desire the aforementioned information in order to make the most effective lighting design

One of today’s most popular and sought-after lighting designers is Jennifer Tipton (b. 1938). She has designed lights for dance, theatre, and opera, and has worked with such choreographers as Paul Taylor, Twyla Tharp, and Jerome Robbins. She has won many awards for her designs, including two Tony Awards, two Drama Desks awards, and an Obie. What makes her such an outstanding designer is her ability to use light to “. . . [move] a piece along onstage. She knows how to punctuate movement in light, [and] create a narrative line for the action.”⁶ With her lighting designs, she is able to get the audience to see what she wants them to see. Although there are several different ways to light dance, Tipton relies on her intuition, stating, “There are many ideas. They’re all light ideas. There’s white light. There’s colored light. There’s light along the walls. There’s light from the front. There’s light from the side. There’s light that lights the head. I’m playing with all of those things and I’m responding with my gut.”⁷

One of the most important issues concerning costumes has to do with mobility. The dancer(s) must be able to move comfortably in the costume.

The Costume Designer

Although many times dancers perform in typical dancewear, such as leotards and tights, costumes designed specifically for a dance can enhance the theatrical feel of that dance and also provide information to the audience regarding character, time period, and mood. The process that occurs between the choreographer and the costume designer is similar to the one that occurs between the choreographer and the lighting designer (i.e., meetings, discussions, viewing the dances). In addition, the choreographer usually has the opportunity to view sketches of the costumes before construction gets underway.

One of the most important issues concerning costumes has to do with mobility. The dancer(s) must be able to move comfortably in the costume. It also cannot detract from any of the movements found within the choreography. Therefore, it is very important that the dancers get a chance to rehearse in the costumes, so that adjustments can be made if necessary.

Many types and styles of costumes can be designed for dance concerts. Most designers (sometimes with input from the choreographer) decide whether the costumes will be realistic, abstract, pedestrian, historical or “period,” dancewear-like, etc. (see Figure 11.9). Decisions must also be made on the appropriate color or colors that will be used and if it is important that the color be significant to the theme of the dance. The material used must also be considered, since costumes have to “flow” and “move” in the right ways.

Once the designs are sketched out, it is often up to the costume construction crew to “build” the costumes. The designer may be a part of this crew, however, some designers do not even know how to sew. In this case they serve as overseers of the construction, take part in the costume fittings and make suggestions for alterations.

Although the general public does not know most costume designers, several famous designers from the fashion world have designed for major choreographers. For example, Ralph Lauren, Oscar de la Renta, Norma Kamali, and Isaac Mizrahi have all designed costumes for dances choreographed by Twyla Tharp. Martha Graham also worked with fashion designers; Halston having been one of her favorites.

 

The costume designer may also be responsible for determining how the dancers’ hair will be worn and what makeup they will wear. In some companies hair and makeup artists assist the dancers, but in most companies the dancers are responsible for doing their own makeup and hairstyles.

The Set and Scenic Designer

Today, as in the past, artists from different genres collaborate on many projects that blend different art forms together in unique and interesting ways. For example, choreographers and visual artists have been collaborating on set designs since the court dances of the sixteenth century. As we have seen, classical ballet always employs the use of elaborate scenery. Similarly, choreographers in other dance genres have worked with set and scene designers and have produced outstanding works of art.

A long-term collaboration that has a place in modern dance history is the one between modern dance legend Martha Graham and the Japanese-American sculptor Isamu Noguchi (1904–1988). Graham and Noguchi collaborated on projects for more than fifty-three years. The “. . . process [they employed] was fairly uncomplicated. It would begin with Graham talking with the sculptor about the idea or theme for a piece. Noguchi would then make a tiny mock-up of the set. . . . The choreographer would seldom suggest any changes in the design; if something didn’t quite work, she would make adjustments in her own work.”⁸ Obviously, these two artists had a wonderful working relationship, producing some of the most outstanding dances, set pieces, and designs known in the modern dance world. Some of Graham’s dances that include set design and set pieces created by Noguchi are Appalachian Spring, Night Journey, and Errand Into the Maze.

Composers and Musicians

As stated earlier, some dance companies have a musical director and orchestra associated with it, although this association is usually found only in large ballet companies. Most dance companies that want to collaborate with musicians and perform with live music do so on special occasions, which usually means when money is available. It should be noted that grants are sometimes available for collaborative projects. In recent years, however, the dollar amount given by many grant organizations has been cut dramatically.

Throughout the history of dance, several collaborations between musicians and choreographers proved to be outstanding successes. Several have already been mentioned, such as the collaborations between composer Igor Stravinsky and ballet choreographers Vaslav Nijinsky and George Balanchine, and the many collaborations between composer John Cage and post-modern dance choreographer Merce Cunningham. The marriage of movement and music is a natural and important one, and many choreographers would prefer to work with musicians live in concert (as opposed to recorded music). Most choreographers, however, end up working with previously recorded music because of financial constraints.

Dance and Technology

With the advent of the video camera, choreographers and dancers widely used these devices to record and document choreography and dance events. For many years, equipment such as video cameras, computers, and some editing software were the only technologies available to dancers. Today, however, the vast amount of technological advances has opened up entirely new ways of creating. From the most basic use of technology to the most sophisticated, the possibilities for dance artists who create using dance and technology are endless.

Many choreographers are now choosing to create dances that utilize some of today’s technological advancements.

Many choreographers are now choosing to create dances that utilize some of today’s technological advancements (see Figure 11.10). With the advent of technology came the desire, for some choreographers, to go beyond “traditional” dance making and to experiment with the highly sophisticated film, video, computer systems, and lighting equipment that is available. Therefore, the demand for filmmakers, videographers, lighting designers, and computer experts has increased. Like everything else, however, finances are a great concern, especially since most of the equipment needed to do a multi-media (or mixed-media) project is very expensive. Some choreographers, in an attempt to save money, have learned how to use much of the equipment themselves and then rely on renting or borrowing it in order to complete their projects.

Although all uses of technology requires an advanced level of technical knowledge on the part of the user, there are a variety of ways that dance and technology come together for public performance (as well as dance and scientific research). For example, in performance, technology can be used to project a previously created video onstage while dancers perform live at the same time (see Figure 11.11). Dancers can also use live-feed projection, which happens in real time as the dancers are performing (see Figure 11.10). There are computer programs, such as one called Isadora that, “. . . is the perfect tool for artists, designers, [and] performers who want to add video and interactive media to their performance projects. The software is an interactive media playback platform that combines a media server, a visual programming environment, and a powerful video and audio processing engine.”⁹ There seems to be no end to the possibilities that technology can offer to dance creators, including the ability to dance with a virtual dancer(s), or to create virtual environments with which the dancers can interact.

There is also another use of technology with which dance makers can engage, but does not utilize live dance performance. Dance for the camera, or screen dance, can depict every dance genre and can be based on a strong narrative or storyline, or be abstract. Dance films can feature actual dancers, a manipulated version of the dancers, or even animation. A dance made for the camera can be seconds to hours in length, and requires significant knowledge of filming and editing in order to create a cohesive product. Some dancers and choreographers are becoming educated on the use of technology, while others must hire technology specialists to help bring the choreographer’s vision to fruition.

While many people are used to attending dance concerts and seeing dancers live on stage, there are now dance for the camera events where only dance films are shown. These events, including conferences, workshops, and film festivals often times include dance films from around the globe, pointing to the international influence of technology on the dance field.

Although many see the use of technology as extending the possibilities of the body and the creativity of the dancer and choreographer, some feel that technology takes away from the live body moving in space. Whatever opinions people may have on this topic, it is clear that dance and technology will continue to be part of the landscape and culture of the dance world. As technology continues to progress, so will the artistic possibilities.

It should be mentioned that recording (videotaping) a dance, even at the most simplistic level, is important to most choreographers. For choreographers, recording their dances is the only way to truly preserve a dance. Because dance is an ephemeral art and is only alive at the moment that it is being performed, having a dance videotaped keeps a record of it, either for future use or merely to have in a choreographer’s archives.

Summary

The task of producing a dance concert is an overwhelming and exhausting one, especially for smaller companies that have to do most of the work themselves. The process can be less complicated if the production efforts and the people involved are organized and stick to a clearly outlined plan. Of course, money is always a concern in dance production and keeping within a set budget is often difficult. Choreographers and artistic directors can sometimes supplement their budgets with grants from public and private sources, although the grant process can be a tedious and competitive one. Many dance companies, both large and small, have scaled down their production efforts (in terms of the amount of concerts done each year and the dollar amount allotted for each production), in order to save money and keep ticket prices reasonable. Some dance companies have even begun reaching dance audiences using the internet, posting their choreography to YouTube, Vimeo, and their web sites. One dance company, Online Dance Company, presents their work exclusively online. Many dance companies are recognizing that reaching audiences this way can be a powerful tool, and a way to bring new audiences to dance. As an example, American Ballet Theatre dancer Misty Copeland was the first African-American dancer in that company to be promoted to the level of principal dancer, and has appeared in advertisements for the athletic gear and apparel company Under Armor. Her first video with Under Armour received over nine million views (and counting). This number represents an amount much greater than the number of people who attend live dance performances during a given year. However, American Ballet Theatre has enjoyed an increase in attendance due to Copeland’s visibility and popularity, and people are attending ballet who may never had attended before.¹⁰ In this case, the wide reach of the internet, combined with an outstanding talent and excellent publicity, cannot be denied.

The task of producing a dance concert is an overwhelming and exhausting one . . .

Although the future looks challenging for many dance companies, the passion and love for dance that most artistic directors and company members share has been the sustaining force that keeps many companies alive. One day, more value may be placed on the arts and substantial funding may be available for these outstanding artists.

chapter twelve

Dance in Education and Careers in Dance

Dance in Education

Historically, dance has been a part of the K–12 education system and colleges and universities for many years, although the relationship between dance and many educational institutions has not always been positive. In past years (as well as today), dance, when offered in grades K–12, was taught through physical education departments. The majority of this teaching focused on folk and square dance, because these genres were usually the ones that physical education instructors could teach. Today, many dance educators present the argument that teaching and learning dance as an art form is conspicuously absent from the American student’s education. There are approximately 38 states where dance teachers can become certified to teach in the public schools, therefore more dance professionals are being hired by school districts. However, not all schools can afford to hire a dance specialist.

This discussion focuses mostly on dance education in grades K–12 of public institutions and dance at the university or college level. There are, however, many places where people of all ages and abilities can go to study dance. Some of the places that offer dance classes are private studio schools; professional studio schools; recreation centers; public and private elementary, junior high and high schools; and public and private colleges and universities. Although there are many places where a person could study dance, most require the participants to pay for their lessons. This requirement is one of the reasons why dance educators feel passionate about having dance in the public education system—so that every child, regardless of financial ability, can participate in this artistic activity. Dance educators feel that it is the right of every child to experience dance—not just the privileged few.

Dance educators feel that it is the right of every child to experience dance—not just the privileged few.

Most dance educators know the benefits that all children can gain from taking dance (as outlined in the “Creative Movement” section of Chapter Seven: Improvisation and Creative Movement). Through dance, children have the potential to become more aware and in-tune with their bodies; develop a positive sense of self-esteem (there are no “winners” or “losers” in dance); socialize with other children; learn to cooperate with other children; use critical thinking skills; use problem-solving skills; improve balance and coordination; increase strength and flexibility; and become aesthetically aware.

Due to severe budget cuts, a lack of knowledge regarding dance, and an overall apathy for the arts that seems to be common in some areas of public education, the future of dance in K–12 education looks grim for some school districts. However, for other school districts, dance is valued and a priority, which may have to do with the expectations of parents who insist on arts inclusion in school curricula. As parents become more informed and realize that their children have the right to study all the arts, we may see dance become a common offering in all public schools. It is encouraging to witness the inclusion of dance certification in many states, thus enabling dance instructors to teach in public schools. But not all states have such certification, and the fear that dance programs could be cut at any moment is quite alarming.

Charter schools, which are publicly funded, are another place where students can study dance, as there are many performing arts charter schools throughout the country. Like public schools, some charter schools require that the students who attend live within the district, although there are charter schools who will bus students from outside the charter school’s home district.

Within private schools, there is often access to dance lessons that students receive as part of their tuition. Many times these schools are equipped with dance studios and theatres that are appropriate for dance performances. For those students who are focused on careers in dance and show promise and talent, there are performing arts boarding schools throughout the country, where students study dance and academics. These schools are highly competitive and usually accept students who demonstrate the ability to dance at a pre-professional and professional level. Students who study at these boarding schools, which are usually grades 9–12, often move far away from their homes in order to receive this kind of focused education, including international students who come to the United States to study dance and the other arts.

Dance in higher education has a much more stable and respected history than dance in K–12 education. Budget cuts, however, negatively affect many dance programs (as well as other programs) in colleges and universities. Often dance departments are asked to do more with less. Many dance departments have had to turn to grant writing and fund-raising in order to provide students with a quality education. On the other hand, some dance departments in this country that are the centerpieces of their institutions have healthy budgets and outstanding resources. What factors contribute to the health and well-being of a college or university dance department? Certainly the priorities determined by an institution’s administrators are a major factor in the success of any dance program. Excellent leadership by the department chairperson or dance director is also crucial to the success of the unit. But ultimately, having outstanding faculty is the most important aspect in the success or demise of a program, since they are the ones who have the most effect on the students.

Dance educator and writer Margaret H’Doubler is credited with being one of the first people to bring dance into higher education. She did so through the physical education department at the University of Wisconsin, beginning in the late 1920s. Martha Hill, another dance educator, established the first bachelor of arts degree in dance in 1932 at Bennington College in Bennington, Vermont. Although dance instruction has made great strides since that time (specifically because of information in dance science and kinesiology, dance injuries, and dance technology), the efforts of H’Doubler and Hill have not gone unnoticed.

In addition to these two women, many outstanding dance educators have had major influences on dance in education. Some have been influential because they were (or are) active in national organizations that establish policies related to dance in higher education, while others have contributed to the field by presenting scholarly and artistic work that is considered an important part of the dance world. There are also, however, the people “in the trenches”; the many outstanding dance educators who unselfishly give their time, effort, and energy to their departments and to their students. There have always been and always will be people who have a love, desire, and passion to teach and learn the art of dance. This fact will ensure an important place for dance in higher education.

There have always been and always will be people who have a love, desire, and passion to teach and learn the art of dance. This fact will ensure an important place for dance in higher education.

Careers in Dance

Throughout this text, we have examined the roles of the choreographer and dancer, although these are not the only career options for people who are involved in the world of dance. Becoming a dance educator is a popular profession in dance, although it takes much skill, patience, and dedication to be an effective one. Different age groups, levels of talent, etc., have to be considered with regard to teaching. For example, not everyone who teaches dance will be able to work well with young children. On the other hand, not all teachers are equipped to teach advanced dancers. Some teachers can effectively teach a number of different age groups, levels, and dance genres, although these people are rare. It is more common to find dance teachers who have specialty areas and excel in teaching in those areas of expertise.

Other dance and dance-related professions include: dance therapist, dance science or medicine specialist, dance kinesiologist, dance historian and writer, dance critic, dance notator, dance captain, rehearsal director, dance administrator, dance company manager, artistic director, dance videographer, dance technology specialist, massage or body therapists, fitness and wellness instructor, somatics practitioner, Pilates instructor, and liturgical dance specialist. There are also related fields such as costume designer, lighting designer, set designer, and stage manager.

Regardless of the area of focus or professional path a dancer wishes to follow, there is much to be said about the value of a dance education. When a person studies dance, they embark on a course of study that requires discipline, passion, commitment, the ability to work long, demanding hours, and the ability to receive critical feedback. Serious dance students are required to think critically and creatively as well as communicate effectively and present themselves in a professional manner at all times. The argument can be made that an education in dance is as valuable, viable, and reputable as any other course of study, academic or otherwise. Many agree that studying dance gives a person the life skills that are necessary and required for any profession. Therefore, it is effective training for many career paths that a person may choose.

The Final Word

The purpose of this text is to introduce students to dance as an art form, as well as a popular form of entertainment. The information is an overview of specific subject areas. It must be stressed that there is a wealth of information, specific and general, on all the topics covered in this text. For those students wishing to delve more deeply into certain topics, the information is at your fingertips—at computer terminals and in the DVD collection of your school or local library, on the internet, and at local, regional, and national theatres.

Seeing as much dance as possible is also an important step in learning about dance. Viewing dances on DVDs and on the internet can be valuable, but viewing dance these ways does not provide the same experience as seeing a live performance. Of course, the best way to learn about dance is to actually do it. Making the decision to take a dance class may be difficult for some, but the vast majority of people who take a dance class find it to be a wonderful experience. Many dance artists, educators, and enthusiasts believe that if people would allow themselves the opportunity to experience dance (by participating and viewing), they would certainly find a love and appreciation for the art form.

Name of the book is -Learning About Dance: Dance as an Art form and Entertainment 8th Edition Ambrosio

Videos

Watch the following videos. As you watch, focus on the elements of production that were present in creating the concert (set design, costume design, lighting design, musical composition, etc). Consider how all these elements come together into creating one seamless piece.

 

https://www.youtube.com/watch?v=jF1OQkHybEQ

Fun Fact: note that this video is a reconstruction of a 100+ year old piece, but in its premiere in Paris it caused riots for its unconventional movements and music! Audiences were VERY dissatisfied. Nijinsky’s The Rite of Spring remains as one of the most influential pieces to date.

https://www.youtube.com/watch?v=-gApOfm4qd0

https://www.youtube.com/watch?v=oRUdvu3Qo-E

https://www.youtube.com/watch?v=jW6bVHgBZas&list=UU6p2qAwlV4nu0CIEIwrWFUw

https://www.youtube.com/watch?v=FoHlrQScWl0

https://www.youtube.com/watch?v=XjWhXeWchhM

Video Citations

classicclips10. “Tchaikovsky – Swan Lake – four little swans.” YouTube. Video. 4 Apr 2011. Web. Accessed 13 Dec 2014. <https://www.youtube.com/watch?v=-gApOfm4qd0>

dpptapdogs. “Tap Dogs | Beams.” YouTube. Video. 26 Jul 2009. Web. Accessed 13 Dec 2014. <https://www.youtube.com/watch?v=oRUdvu3Qo-E>

Fatova Mingus. “Joffrey Ballet 1987 Rite of Spring (1 of 3).” YouTube. Video. 30 Jan 2010. Web. Accessed 13 Dec 2014. <https://www.youtube.com/watch?v=jF1OQkHybEQ>

ImPulsTanz. “‘Polly Pocket’ Jillian Peña (US).” YouTube. Video. 2 Jun 2014. Web. Accessed 13 Dec 2014. <https://www.youtube.com/watch?v=jW6bVHgBZas&list=UU6p2qAwlV4nu0CIEIwrWFUw>

Romaeuropa. “OHAD NAHARIN and BATSHEVA DANCE COMPANY – SADEH 21 – Romaeuropa Festival 2012.” YouTube. Video. 4 Jun 2013. Web. Accessed 13 Dec 2014. <https://www.youtube.com/watch?v=XjWhXeWchhM>

3276aj. “Riverdance the final performance.” YouTube. Video. 15 Jun 2013. Web. Accessed 19 Nov 2016. <https://www.youtube.com/watch?v=FoHlrQScWl0>

 

For this assignment, follow these steps:

• Select one of the above videos as your focus. Re-watch this video, looking even more specifically at the elements of production and how these elements support each other in the overall aesthetic of the piece.
• In a few short paragraphs, discuss how lighting, costuming, set/scenery, music, and script (if applicable), have an affect on the overall dance. How do these elements support one another? Why do you think these specific elements were chosen? Use supportive details from the video to back up your ideas.
• If you had the chance to step in as the artistic director of this dance concert, what would you change? Perhaps different lighting, or different costumes, etc? Why? Explain yourself in detail.
• You must state which video you are writing about in your writing, and in your thread title.

As always, your grade will partially depend on how well you proofread, along with the amount of thoughtful details in your writing.