From Studio Dancer To College Major

In the studio you spend hours and hours brushing up your technique, and maybe dreaming of the perfect college dance program. But as much as your studio teachers have prepared you for taking the next step in life, the transition between studio and college dance major can be tricky and very different from dancing at home. Even if you whiz through auditions, and grab a scholarship, you will soon come to find it takes more than great technique to succeed  the challenges of freshman encounters.

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Meeting New Expectations 

Becoming a dance major is the equivalent to becoming a professional dancer, it needs to be taken as seriously as a job. Colleges want to prepare you for the demands of the real dance world, but in a safe environment where it is not too late to learn from your mistakes, and we all end up making them at some point.

Though your home studio may have been lax in regards to absences or tardiness, colleges are cut throat, black and white. If you are late for class, you might as well just turn around and go home, because that door will be locked when you try to waltz in after grabbing a ‘quick’ coffee. And a full absence without a make up class will deduct your grade majorly. Dance is such a hands on course, if you miss there is no other way for you to learn. In the college atmosphere you are expected to act like a professional! Be sure to show up early for classes, and be dressed in appropriate dance wear. Also keep all personal drama outside of the classroom, find out what extra training your body needs and do it outside from your class training hours, and always attend every rehearsal.

You need to be super responsible in college, you are living without your parents for the first time and it will be up to you to keep yourself on track and motivated. There are tons of distractions in college (boys, girls, parties, etc), you will need to learn how to stay focused and get yourself up to get to classes.

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Finding The Courage To Stumble

The college experience is also about taking those creative risks in your movement. Go audition for the school’s company, try new styles, take outside classes, present your own work in front of an audience. You will learn how to deal with success, disappointment, and everything in between, just like you would if you were in the professional world. Attending college will get you out of your comfort zone, and into a new internal space for you to grow.

Often dancers will come into class with an urge to prove their abilities or value in some way, and it comes across as over confident and straight up arrogant. If you get caught up in that aura, you end up shutting off your receptors to learning new information. Be sure to remain humble in this experience, and make new friends around you. Everyone is feeling first time jitters as you are.

It is important to be willing to re-evaluate your technique from the core outwards. Even if that means going back to the barre and learning a plie’. Sometimes this can feel like you are taking a step back, but you really need to develop that strong foundation. Knowing you are being graded might make you nervous, but it will also make you re-think the basics. As long as you are showing that you are working hard, eager to learn, and giving everything you’ve got, your grades will be just fine.

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Finding New Space To Grow

Back in your home studio, you were probably the best dancer. Now you are entering a room with all of the best dancers from their hometowns, how would that make you feel? Knowing you are all on the same level, now what is going to make you different? This change can be a big adjustment for some. But all it takes to make the transition seamless is a little humility and willingness to grow.

Now instead of feeling a need to compete with dancers in your class, now it is about finding the artistry in movement, and finding your individuality. As a dancer you now need to shift your view of dance and open your mind to exploration.

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Surviving Day To Day

You are used to dancing many hours a day, but the physical demands of college dancing is often way more intense, and three times as long. Focus on massaging your body once a month with a therapist, take longer showers, and sleep as often as possible to restore your body. It is going to take some time to adjust to the heavy workload you have just entered into for the next four to six years!

college dance

Expanding Your Definition Of Dance 

Almost any college faculty member will tell you the two most important qualities for succeeding in a college dance program, is the ability to have an open mind, and eagerness to work and learn. The ability to shift the way you view dance, is a must! You will dive into new styles and genres you have never danced before, and you will study dance academics such as business of dance, psychologies, dance history, anatomy, and many many more. During this time of your life you may find yourself not only becoming a better dancer, but you will develop ideas about dance, and why people dance. Through college you are constantly exposed to new things, act like a sponge and soak in as much of it as you can. When you graduate, you will be at the peak of your training, ready to conquer the industry!

 

The Dirt w/ Tamra Chace

Simple, up close, and some quirky questions with Chace Dance Company’s artistic director Tamra Chace.

Tamra Chace

What did you want to be when you were a teen?

C: Firstly was a ballet dancer… and I’ve always wanted to start a contemporary company since I can remember! If I had to choose something outside of dance, would be something in marine biology or archeology.

If you could dance with one performer, past or present, who would it be? 

C: Ohad Naharin. I would love to do some pure gaga straight from the source.

Most played song on your iPod:

C: This changes all the time, but loving Carey Underwood’s “Something in the Water.”

Favorite Movie: Old & New: 

C: I am a complete movie junkie and love most everything from the 40’s to now.

Biggest guilty pleasure: 

C: Reading girly magazines, and lots of chocolate!

Favorite Food: 

C: MEXICAN!

Things you can’t live without: 

C: My family and two cats.

What are your pet peeves? 

C: People chewing with their mouths open. Or others arriving late for scheduled appointments.

Who is your dance crush?

C: Kyle Robinson! wow..

What’s the strangest thing in your dance bag? 

C: Hand sanitizer and hand cream. Dry hands..

What is your dream as a dancer? 

C: To build the biggest platform for professional dancers in South Africa, To offer a place where professionals can be challenged as artists.  There is no where else to go as a professional here besides teaching and corporates… I want to create something different for those up and coming dancers.

What’s your most embarrassing on-stage moment? 

C: I was dancing and knocked over a massive mushroom during a ballet scene. Oops.

What has been your most proud moment so far?

C: I think my whole journey of moving to South Africa and staying here, I’m pretty proud to say I’ve done that. Not too many people can pick up and move to a country they have never been to and make it work. Pretty blessed with life, I can say that much.

Silent Auction for Private Lessons and Solos!

SILENT AUCTION! (Train with Company Dancers!)

Company dancers will be auctioning off one private lesson, and one set solo choreography! All you have to do (with your parents permission) is go to the link for which company dancer you would like to work with and place your bid for one, or BOTH options! What an amazing opportunity for upcoming dancers to work alongside our company members. Plus it’s for a good cause to help us raise fund to perform our production “Secrets of a Family Portrait” in March of 2015!

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**Bidding closes October 20th and winners will be contacted immediately via email!*

Let the bidding begin!!

Tamra Chace-
http://fs30.formsite.com/TamraLChace/form4/index.html

Audrey Helberg-http://fs30.formsite.com/TamraLChace/form6/index.html

Evan Van Soest-
http://fs30.formsite.com/TamraLChace/form5/index.html

Fayme Hattingh-
http://fs30.formsite.com/TamraLChace/form3/index.html

Allan Botha-
http://fs30.formsite.com/TamraLChace/form2/index.html

Mandy Moore

Mandy Moore Choreographer

MANDY MOORE- CONTEMPORARY

“Known for her high energy convention classes and choreography for So You Think You Can Dance.”

“Mandy Moore recommends that contemporary is best left to more advance dancers because it requires  solid foundation of ballet technique. Instructors should take a strong position, she says, in guiding their dancers’ development. “Too many teachers today have given up their power to say No, you are not ready to do this…

On leading convention classes: “I have a short amount of time to get them excited about a little bit of vocabulary. Everyone in the class may not execute the choreography perfectly, but everybody could come from the same place of hearing the music or tapping into emotion.”

-Katie Rolnick (DT, Dec 2009)

 

Donald McKayle

McKayle

DONALD MCKAYLE- MODERN DANCE 

“Mentored by Pearl Primus, Martha Graham, and Anna Sokolow, McKayle also choreographed for Broadway (Golden Boy, Raisin, Sophisticated Ladies).”

“Counting can be a crutch, a distraction that interferes with the feeling process. I speak the rhythm; ba da da de, ba da da de. If they are with me- speaking the rhythm they don’t have time to count and are more inclined to internalize the rhythms like a new language.

Weight is also vital to performance intention. You have to go to the ends of the spectrum; light and weighted. If your physical type is the opposite of either of these poles, you have to work technically to capture that opposite, maybe elusive quality.

On teaching choreography: I always start with questions. I ask them to write down the aesthetic as of this moment: what they feel about their art, their craft, and how they experience it. I ask them to keep a daily journal and note if they are amplifying what they wrote earlier or if they’ve found something new that is changing how they view their art. So I have engaged in constant internal inquiry. Then I ask them to use their craft to create their own movement signature. Working this way frees them from the preconceived tyranny of dance techniques the preoccupation with things like “How can I get my leg higher?”  -Rose Eichenbaum (DM, Aug 2008)

A Choreographer’s Dream Dancer

When creating a dance, work of art, routine, or production; choreographer’s have a very specific picture in their minds. Most imagine so distinctly to the final details of performance space, costumes, hair and makeup, dance style, and interpretations. But most importantly, the outcome of such events narrow down to one variable. It is up to them whether or not that vision comes to life, AKA: The Dancers…

So what is it that choreographers want? Who are the chosen ones painted in that priceless picture? I was lucky enough to interview a few local South African and International choreographers to help raise your awareness, on how to become every choreographers dream dancer!

choreographer

Nicola Brosnihan is the choreographer for the Vodacom Bulls Babes at Loftus, and has recently choreographed for the Men’s Health Fashion Show and Cover Boy Launch at Melrose Arch.

Tamra Chace is the Artistic Director of Chace Dance Company choreographing contemporary productions, has choreographed at The University of the Arts, and an astounding competition choreographer.

Leighanna Kennett is the assistant choreographer with Paul David (LA Based) with the most recent project of Sarah Silverman’s new video release.

As a professional dancer before going on an audition or honing in on a project always be sure to research the choreographer, how they work, and what they stand for. This will be your first step into passing that audition and booking future work. Each teacher and choreographer works in a completely different way. Some choreographer’s such as Kennett searches for what the song means to her before beginning her movement phrases. “Throughout being a choreographer I have learned when I let the music take my body where it feels naturally it always has the best results visually” says Kennett. Where as others such as Chace prefers to “planning and researching the theme or story of a piece to create movement that is interpreted from my notes and text.”

The most important part after the time consuming task of googling the choreographer you are either auditioning for or following, is of course the dreaded auditioning process! So what is it that these dance professionals look for in their audition process?

Kennett: I look for passion. You can always teach someone the steps, but if there isn’t a connection with the dance, it won’t come across on stage. I love expressive dancers!”

Brosnihan: “After I have had my meeting with the client and they have expressed what their event will be, I then cast my dancers accordingly.” 

Chace: “I want the X-Factor, the dancer who has something but no one knows how to describe it. I also look for someone who can mimic my style well, and pick up choreography quickly. Also I make sure to try and find out about the people I bring into my company, I am looking to hire a person… not always just the dancer. If they have an amazing talent but an arrogant personality, I’ll just say Thank you for your time.” 

Overall a choreographer’s dream dancer is the whole package, versatile and well rounded in numerous genres of both dance and personality. Brosnihan’s ideal dancer is “committed, professional, reliable, passionate, confident, humble, and respectful.” This just shows again how choreographers are looking to hire people, not necessarily the one with the highest leg line!  Kennett’s dream dancer is “someone whose worked on their craft, whose technique is already there allowing them to focus on their interpretation of the piece.” So someone who has a bit more experience as a dancer so the expressions can really shine through while they dance. As for Chace’s dream dancer, “someone you just can’t take your eyes off, someone who can own the stage in a solo but pull together and dance in group as well. Also super versatile, must be adaptable to all styles now a days.”

Before ending this article the choreographers were asked one last question; What advice would you like to give to the younger upcoming future professional dancers?

Chace: “Just be yourself, if you didn’t get the job or the part you wanted right away don’t get discouraged. The right work will come along for you. As cheesy as it is, one door closes and another one opens. Work hard in your classes and training and you will get what you put into the universe.” 

Kennett: “Never stay limited to your dance knowledge. Take as much as you can from every dancer and choreographer you interact with. Meet as many people as you can, take class, never give up on broadening your dance vocabulary. In every class take atleast one thing home to work on and it will be worth your time. Push past every obstacle, remain humble, and work hard!” 

Brosnihan: “Be professional in and out of a job contract or performance, how you behave outside will determine how you behave when hired.  You will get to experience, meet, greet, and travel the world. Do it with dignity, humility, and a smile!!”

-CDC