After interviewing two dance teachers in the field that I am interested in, I found out a lot of interesting things about these two unique individuals. The first person I interviewed is a dear friend of mine and has been my favorite teacher/mentor of all time. Christian Donnelly has worked with many famous dancers including: Principle dancers of the NYC Ballet Company, Gregory Hines, Mark Bramble, Frank Hatchett, Andrew Lippa, and Grant Gustin. Chris prefers to teach dancers that are thirteen years
Words: 600 - Pages: 3
Margaret N. H’Doubler. The discussion is based on the principle of dance and how crucial it is to be taught in general education programs. Responsibility of common knowledge is critical to have an understanding of the relation to bodily movements and the laws that follow. Critically being able to know the psychology of the emotions and how they express your movement is necessary as being a sector of the human race. Teaching dance has been a relevant portion of the educational process for several
Words: 378 - Pages: 2
I immediately fell in love with yoga. After my first class I knew that this was something that was going to stick with and improve at. And I did. I have now been practicing yoga for a year and a half and I’m am so proud to call Kula my home. Before starting yoga, I was a competitive dancer. I enjoyed it at the time but I was scared of getting hurt. 90% of the girls of danced with had weekly chiropractor visits and they were only 14 years old. Dancing at a competitive level is like a ticking
Words: 496 - Pages: 2
knowledge of the skill. I dance every day of the week and I still learn something new every week. Whether is some new technique or a new movement, my knowledge of dance keeps expanding. I first started acquiring some knowledge in dancing at my elementary school in Peru. When holidays would come, I would volunteer to dance dances native to my country in holiday shows. My mother did not have the money to put me on a dance studio but I still learned a lot through the dances at my elementary school.
Words: 987 - Pages: 4
saw the next prima ballerina. Before they left for class, the little girl ran upstairs to grab her pink ballet shoes and gracefully slipped them on. She swiftly ran down the stairs and then jumped to her mother’s car. As the little girl entered the dance studio, the smell
Words: 330 - Pages: 2
turn under our equipment, catch in our splits, and even do a flip before we grab our equipment. Often times there are parts of our shows spent just dancing, without equipment, doing any number of contemporary, ballet, or lyrical skills to broaden our dance vocabulary score. Our bodies have to move fluidly with the music and convey the theme of our show. As our instructor likes to say, “We need to look as fluid as syrup being poured onto
Words: 691 - Pages: 3
Exploration of Stretching in Dancers This essay discusses three concepts that are relevant to my dissertation inquiry, ‘The Effects of Dynamic Stretching versus Static Stretching in Relation to Hamstring Flexibility’. The dissertation will focus on dance students as they process the attributes required for the stretching tasks and it will require the dancers to participate in a four week stretching plan. During this essay the concepts to be discussed are the physiology of stretching the hamstrings
Words: 1373 - Pages: 6
Fall for Dance at City Center was a beautiful and thought proving event that included a diverse line up of dance companies and choreographers. The Friday, October 13th performance included three group pieces that particularly intrigued me: Solo Echo, choreographed by Crystal Pite and performed by Hubbard Street Dance Chicago; Concerto Grosso, choreographed by Helgi Tomasson and performed by San Francisco Ballet; and Matria Etnocentra, choreographed by George Cespedes and performed by Danza Contemporanea
Words: 1331 - Pages: 6
part of my life. I don’t know where I’d be without dance. All of ballet, in my mind, led up to one thing: pointe shoes. For years, I dreamed about the day I would jeté, pirouette, soutenu on pointe. It takes years of training – with time, dedication, blood, sweat, and tears – it all came down to this. The only thing in my way was a class to prove my qualifications. At only eleven years old, this one class could make or break my continuation of dance. Don’t be nervous, you got this. As I walked into
Words: 506 - Pages: 3
Nervousness and excitement clutched me as I walked through the chipped white door of my small dance studio and moved onto the worn wooden floors. As I walked across the floor to the barre, I watched my reflection in the mirrors that stretched the length of an entire wall. I recalled that for weeks after my then best friend received her pointe shoes, I asked my instructor every lesson if I was ready as well. The answer was always, “Your ankles aren’t strong enough yet.” In the looking glass, I could
Words: 609 - Pages: 3
