Designing Leotards With an Eye Towards Comfort
At one time or another, most dancers have worn an uncomfortable, ill-fitting leotard. Donning awkwardly fitting dancewear can be so distressing that it can feel like it has real impacts on one’s dancing. If you’re not feeling confident, how can you expect to move confidently? That’s why Alina Khoo has created AK Dancewear with the motivation to produce flattering and comfortable dancewear that helps dancers feel their best in the studio.
Alina Khoo on AK Dancewear’s Mission
By Madison Huizinga, DWC Blog Editor
Photo by Marlen Alimanov Photography
At one time or another, most dancers have worn an uncomfortable, ill-fitting leotard. Donning awkwardly fitting dancewear can be so distressing that it can feel like it has real impacts on one’s dancing. If you’re not feeling confident, how can you expect to move confidently? That’s why Alina Khoo has created AK Dancewear with the motivation to produce flattering and comfortable dancewear that helps dancers feel their best in the studio.
Alina grew up in Penang, a Malaysian state located on the northwest coast of Peninsular Malaysia. She began taking ballet classes around age nine to help correct a posture problem she was facing. Alina trained under the Royal Academy of Dance syllabus as a child, continuing until her posture was eventually corrected. She stopped dancing when she went to college. “It was very difficult,” Alina says of quitting dance, as her family desired her to focus her attention on pursuing a conventionally “stable” or “secure” career. She ended up traveling to the United States to pursue an engineering degree and eventually secured a technical information job.
“All along, I enjoyed being in the audience,” Alina says, sharing that she loved viewing as many dance performances as she could. At one point, she began especially missing dancing herself. Alina chose to take some dance classes at a local college and was encouraged by her instructor to pursue it further. So, she decided to earn a teaching certification and get involved with the dance scene little by little, beginning with teaching freelance and as a substitute for friends. After having her second child, Alina decided to leave her corporate job, directing more of her attention towards raising her children and dancing. She’s been dancing and teaching with a local company ever since, getting involved with its shows throughout the season.
“It’s always good to find that inner connection,” Alina says of rediscovering dance. She shares that the moment she returned to dancing, the technical knowledge felt like it came back quickly. “Just walking into a studio, I find that connection, and that security is like a sanctuary for me.”
Alina has always felt like she doesn’t have a “typical” ballerina body, as most of the dancewear products she purchases off the shelf don’t fit comfortably for her. “I do a lot of mending,” she says of the dancewear she purchases. Fortunately, sewing is second nature to Alina, as her grandmother sewed everything growing up. Alina began buying clothing items, including leotards she liked and altering them to fit her body. Eventually, people in her life began asking her where she was purchasing her clothes.
She began selling her custom creations, mainly to friends and parents from her dance studio and later on Etsy. After attending a dance workshop in New York City and receiving inquiries about her leotards from even more dancers, Alina got even more into creating dancewear. She and her husband decided to look more into the process of creating a brand.
click below to shop the look:
AK Dancewear launched in 2018 with a mission to never compromise on product quality. “We strive to make non-revealing, high quality and comfortable to wear garments,” the brand’s website reads. “Whatever I do, I will never compromise how comfortable the leotard [is],” Alina says. “Dancewear is for people,” she says, implying that dancers should feel secure in their leotards, and not like they are being “worn” by the garment. This is a philosophy Alina carries throughout her brand.
In addition to focusing on comfort, Alina is greatly inspired by nature when it comes to selecting colors and design concepts for her various leotard lines. For example, the “Caribbean” line of leotards contains various shades of blue and green tones, inspired by the vivid colors of the Caribbean skyline. The “Rose Garden” line of leotards, skirts, scrunchies, and face masks was inspired by the Tyler Rose Garden, in Tyler, Texas, the largest public collection of roses in the United States. Alina recalls taking her parents to the garden and them being enamored by the masses of blooming flowers. “It just inspired me a lot…I always remember [that] trip,” Alina shares. “The new things that I’m going to come out with were inspired by an experience, somewhere that I go, [or] something that I feel a connection to.” She points out that design is largely subjective, so she feels drawn to create what connects to her as an individual.
Alina identifies parallels between choreographing dances and designing leotards. Both artistic endeavors involve the need to learn foundational skills, like basic dance techniques and sewing. After you get a hang of the core semantics, you’re free to create whatever you want.
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Alina is uninterested in putting the majority of her energy into producing copious amounts of new products, rather she seeks to lean into what works for the dancer and expand from there. If she notices a leotard cut that most dancers like, she’s interested in seeing how she can improve upon it and create new iterations.
In 2022, AK Dancewear plans on releasing new collections and introducing a new fabric that provides a lot of support to dancers, in addition to its signature AKxtra™ design technique. Within the existing leotard collections at AK Dancewear, Alina loves creating variety in terms of color, design, and theme, so customers can also look forward to that in the coming year as well. Alina is also looking more into producing dancewear for men, as she has two sons who dance and struggle to find attire that works for them. “It’s heartbreaking that we don’t have enough for them,” she shares. She looks forward to being able to help bridge the gap in men’s dancewear in the future and look more into producing unisex dancewear that provides support to all dancers.
In the larger dance world, Alina is pushing for dancers to receive greater compensation for their work. “We should definitely value dancers more as artists,” she says. Alina points out that she makes an effort to involve local dancers in her business, specifically with photoshoots, as a way to move towards this change on the local level. “As a community, we should move forward with that - first, by paying our dancer friends,” she says. “This is an expertise that you’re tapping into, and you should pay [for the] expertise.”
Caring for Ourselves as Dancers of Color
As a chunky Asian baby in a leotard, I had no idea yet how precious or valuable I was when I started in ballet. Instead, I only saw that I was clearly not cut from the same cloth as elegant princesses and swans whose dancing I admired. The chance to don yellowface in the Chinese variation during "The Nutcracker," or to be a kowtowing, shuffling child in "The King and I" in the school play felt like places I was welcome to exist—to shine—as a child who dreamed of being onstage.
By Gabrielle Nomura Gainor
Gabrielle Kazuko Nomura Gainor (she/her) is an artist, writer, and Asian American community activist. In addition to working in communications/public engagement at Seattle Opera, she's received grants from Seattle's Office of Arts & Culture and the Washington State Arts Commission. In 2021, Gabrielle has been proud to serve as a mentor and Teaching Artist with TeenTix.
Counterclockwise from top left: Gabrielle Nomura Gainor, surrounded by Dominique See, Alyssa Fung, Siena Dumas, and Hailey Burt in Farewell Shikata ga nai; Joseph Lambert photo. Christopher Montoya en pointe. Vivian Little smiles. Robert Moore jumps; Tracey Wong photo.
May was both Mental Health Awareness Month and Asian Pacific Islander Heritage Month. But as we move into summer, remember that our wellbeing as dancers of color is something to prioritize all year round.
As a chunky Asian baby in a leotard, I had no idea yet how precious or valuable I was when I started in ballet. Instead, I only saw that I was clearly not cut from the same cloth as elegant princesses and swans whose dancing I admired. The chance to don yellowface in the Chinese variation during "The Nutcracker," or to be a kowtowing, shuffling child in "The King and I" in the school play felt like places I was welcome to exist—to shine—as a child who dreamed of being onstage.
Many years later, I see that I deserved so much more than to beg for scraps in the form of sidekicks and ethnic stereotypes. Black, Indigenous, and all People of Color deserve so much more. We need not silence the parts of us that are “too much” for white norms, be it too ethnic, too dark, too curvy, too loud. White people do not own dance—not even ballet. As former Dance Theater of Harlem ballerina Theresa Ruth Howard taught me, these precious art forms belong to all of us, as well.
Now, at the end of Mental Health Awareness Month and Asian Pacific Islander Heritage Month, remember that prioritizing our mental health—our wholeness, joy, and humanity are year-round activities. Every month is for our “history” or our “heritage.” With that in mind, I bring you five personal reflections on what it means to care for ourselves mentally and emotionally as People of Color in dance. Hear from Christopher Montoya (formerly of Ballet Trockadero, Dance Fremont Managing Director), Dr. Sue Ann Huang (co-director of The Tint Dance Festival), Alicia Allen (former dancer with Janet Jackson, Mary J. Blige, and Shakira to name a few), Robert Moore (formerly of Spectrum Dance Theater), and Vivian Little (retired ballerina and Dance Fremont founder).
Photo courtesy of Christopher Montoya
Find an environment where you can thrive
For Christopher Montoya (he/they), not having the right body type was a stressor that only compounded on top of being brown, gay, and working-class. Eventually, Montoya discovered their truth as being gender-non-conforming, and would often feel pressure to pass as straight in order to be hired for dance jobs. Finding an encouraging ballet teacher who embraced Montoya’s authentic self, and then discovering a community in Ballet Trockadero were defining moments.
“Going into Trockadero is really where I found myself,” Montoya said. “The dancers were Australian, Venezuelan, Spanish, Mexican, Black, Asian. We all felt like misfits because we didn’t fit into this binary mold of ballet. Trying to pass as a straight man always felt so fake and defeating. But here, I got to be me.”
From Montoya’s experience, taking time to situate oneself in a supportive dance environment is crucial. (For some, this could mean choosing a Black-led dance school or a class taught by a teacher of color). If the environment is unsupportive, it could be time to leave or look elsewhere.
Sue Ann Huang and Arlene Martin. Joseph Lambert photo
Divest from that which does not serve you
Dr. Sue Ann Huang (she/her) not only co-founded an event centering BIPOC, Tint Dance Festival, her dissertation focused on choreographers of color in the Pacific Northwest. Most recently, she’s been thinking deeply about what liberation is possible through concert dance, which still possesses an intimate, even symbiotic relationship, with white supremacy.
While white supremacy once referred to overt hate as seen through groups such as the KKK, white supremacy today refers to an ideology that acts in both overt and subtle or unspoken ways. In western society, for example, white culture, white norms, and white people are valued more highly, and above other cultures. A cursory glance at the majority of ballet and modern dance companies show this favoring of whiteness, as seen through artistic leaders, company rosters, and choreographers whose work is presented.
In Huang’s view, dancers of color must strive to create space between what’s true and what’s cultural default. Today she does this by resisting the pressure to see certain “it” choreographers or companies, and instead asks herself what will bring joy.
“What kind of dance do I visually want to see? What kind of movement do I want to do? I am mostly only seeing shows produced by People of Color I care about, and that’s OK.”
Alicia Allen, photo courtesy of the artist
Hold them accountable
As a Black woman in a predominantly white dance department, Alicia Allen (she/her) felt invisible. From the professor who asked if she was in the right place, to the bathrooms littered with posters of white dancers, and how-to instructions for the perfect ballet bun, the message was subtle, but loud:
“My Blackness and street styles did not ‘make’ the walls.”
It wasn’t until Allen connected with other students who had experienced similar events that she gained the courage to fight. During her senior year, the majority of her efforts were focused on holding her dance department accountable. She served on committees, planned town-hall events, and lobbied to get a racist class canceled. And she’d do it again in a heartbeat.
“Don’t be afraid to speak your truth and share your experiences. You should always hold your teachers and professors accountable for your education. Hold them accountable for respecting dance cultures and communities.”
When Allen teaches hip-hop today, she never skips over the fact that this dance style was birthed from the joy and pain of Black people. Instead, she encourages her students to face their own discomfort as they reckon with history—a necessary part of respecting where the art comes from.
Roberty Moore jumps; Tracey Wong photo
Reorient your organization toward justice
In the past, Robert Moore (he/they) has seen dance organizations think that anti-Blackness, the increase in Asian American attacks, or what it means to live on occupied Coast Salish land, are not relevant to ballet or modern dance. But Moore does not stop being Black when he comes into the studio.
“What puts a nice little grin on my face is seeing organizations step up for the first time, seeing them stumbling over themselves, and actually learn something from pulling some weight, rather than just being passive,” he said.
Moore has found rest this past year by being in community with other Black artists: getting to discuss life—including topics that have nothing to do with race—has brought them joy.
Remember, Moore said, People of Color do not owe anyone a conversation or explanation about race, ever: “Honor the quiet revolution of a dancer of color just going to class, rehearsing, and taking moments to exist freely.”
Re-think ballet and dance education
Vivian Little (she/her) never connected race to body type when she was dancing with Pacific Northwest Ballet and San Francisco Ballet in the 1980s. Years later, she was teaching at a university and her colleagues of color recounted the discrimination that they had faced. Only then was she able to connect the dots between racism and the “defectiveness” of certain bodies. Through this lens, the concerns of her colleagues made sense: a Filipina whose short legs prevented her from earning short-tutu roles, a Columbian danseur with who never had the right “look” for a prince. Being of Irish and Japanese ancestry, Little thought about how she herself was often cast as the sensual or Latina role because of her “exotic look.”
Today, Little pushes back on the uniformity and preferred Eurocentric ballet aesthetics. One way to do this has been learning more about the human body and movement mechanics related to ballet technique. Little sees the potential in every student, whether their first position is a delicious little slice, or a whole half, of pie; whether their leg reaches up toward the heavens in arabesque, or points down toward the earth; whether they look like generations of European ballerinas, or they are helping to illuminate the multifaceted, multicultural beauty alive in ballet.
“Ballet teachers must teach to the person, not to an ideal,” Little said. “It takes much more thought, care and intentionality to be inclusive because of the waters of white supremacy we've been swimming in and the air of racism we've breathed for centuries.”
Photo courtesy of Vivian Little
Resources
Additionally, please check out the work of the following Seattle-based artists: Alicia Mulikin, Dani Tirell, Noelle Price, Randy Ford, Imana Gunawan, Cheryl Delostrinos, Amanda Morgan, Sarah-Gabrielle Ryan, Donald Byrd/Spectrum Dance Theater, among many, many others.
Fostering Creative Collaboration Across Genres
The COVID-19 pandemic has posed more challenges than benefits for most peoples’ lives. However, in unique and unexpected ways, this time of isolation and solace has allowed people to re-connect with creative parts of themselves and explore ventures they’ve always wanted to. For MiYoung Margolis, MiYoung Margolis Dance Collective or MMDC was born out of the rubbles of the COVID-19 pandemic as a way to foster creativity and collaboration across genres.
MiYoung Margolis on the Origins of MMDC
By Madison Huizinga, DWC Blog Editor
Photo courtesy of www.miyoungmargolis.com
The COVID-19 pandemic has posed more challenges than benefits for most peoples’ lives. However, in unique and unexpected ways, this time of isolation and solace has allowed people to re-connect with creative parts of themselves and explore ventures they’ve always wanted to. For MiYoung Margolis, MiYoung Margolis Dance Collective or MMDC was born out of the rubbles of the COVID-19 pandemic as a way to foster creativity and collaboration across genres.
MiYoung shares that for her entire life, dance has been a core part of who she is. She has experience mostly training in ballet and Martha Graham’s modern technique. She also trained in traditional Korean dance styles when studying for her undergraduate degree from Korea National Sport University in Seoul, South Korea. As a student, MiYoung got the opportunity to travel abroad and perform internationally. Dance also had a big influence on her outside of the classroom, as she sought out other styles like salsa. Education is another one of MiYoung’s passions, as she has a master’s degree in the subject.
In 2005, MiYoung relocated to Seattle where she worked with local cultural organizations, organizing festivals and events. She threw herself into her work and greatly enjoyed it, confessing that she became a bit of a “workoholic.” “It was an awesome experience,” she says. MiYoung also taught ballet and salsa in the community. Her husband, Jeffrey Margolis, introduced her to tango, which the two danced at their wedding.
After 12 years of living, working, and teaching in Seattle, MiYoung realized that she missed dancing on stage in group pieces. “I missed that type of group dance [where you] breathe together, practice together, and torture each other,” MiYoung laughs.
Recently, MiYoung and her husband have opened up a Seattle art gallery known as B612 that also holds a dance studio space, as well as a Korean language and culture learning center. The gallery also contains a photo studio and an event space that is available to rent. MiYoung says she feels “extremely fortunate” to be able to open up this space with her husband and have it as a space for her company to rehearse. The rehearsal space itself was a jumping off point for MiYoung to begin MMDC.
MMDC was born out of a desire to create during the pandemic. MiYoung says that in addition to the challenges 2020 presented, the difficult year also allowed her the chance to re-awaken a creative side of herself that had been dormant. In addition, MiYoung’s gallery granted her the space to “gather and organize a team of strong, willing dancers who were open-minded enough to take a chance on her choreography and unique style.” She feels grateful to have a “large collection of extremely talented dancers, each with their own unique capabilities” within MMDC. In her choreography, MiYoung seeks to express her creative vision, but also collaborate with performers based on their strengths.
Within the company, there are about 12 dancers and counting. The dancers within the collective come from different backgrounds and regions of the country and globe, making it a dynamic group that is constantly learning from one another.
Rather than channeling all of her energy into one dance piece, MiYoung desires to create various dance projects containing different stories. So far, the dance collective has created nine dance works. “My dance style is not usual, because I try to [include] a fusion [of styles],” MiYoung shares. She also expresses her infatuation with choreographing specific storylines, similar to operas. MiYoung greatly connects to song lyrics throughout her choreography and particularly enjoys choreographing love stories.
During the pandemic, MMDC has filmed its dance works outside in light of social distancing protocol. MiYoung commends her dancers for persevering during the filming sessions, sharing that many had to endure cold winter conditions and “pouring down rain.” MiYoung laughs that the less favorable Seattle weather simply added to the drama of the dances.
MiYoung shares that MMDC has turned its attention back towards choreographing for the stage. Last summer, the company had a chance to perform on an outdoor stage at the Asia Pacific Cultural Center in Tacoma, WA. “It was a celebration of the Korean harvest festival, so it was well-connected to my background,” MiYoung shares.
In 2022, MMDC has a full schedule of live performances scheduled, in secure venues that will check for COVID vaccinations and/or negative COVID tests. On January 9, 2022, MMDC kicked off its first performance of the year at the Federal Way Performing Arts and Events Center that is a celebration of Korean American culture. The performance documented a timeline of Korean music trends through the decades in collaboration with other dance artists, from showcasing disco styles in the 70s to honoring the popular Korean girl group Wonder Girls in the 2000s.
On February 19th, MMDC celebrated the Lunar New Year through dance with a community celebration. In May, MMDC is planning to dance in the Seattle Center Armory alongside various Asian American and Pacific Islander organizations. In June, MiYoung plans to showcase a piece at the Seattle International Dance Festival. She was planning to show her work at the SIDF in 2020; however, it was postponed due to the COVID-19 pandemic. Needless to say, MiYoung is eager to share her dance creations with the public after a long wait. Througout the summer, MMDC will likely participate in other festivals, so keep an eye out for those announcements.
In November 2022, MMDC will put on its own company show at Broadway Performance Hall in Capitol Hill, Seattle. In addition to showcasing MMDC’s work, MiYoung is also interested in involving child dancers in the showcase. “I love to give some of our young dancers in Seattle some opportunities,” she says. She is currently looking for studios that are interested in participating.
Moving forward, MiYoung looks forward to bringing in different instructors to teach different dance genres to MMDC. In the local dance community, she hopes to see more collaboration across dance genres and among dance artists. She believes that there are more similarities than people often recognize throughout different dance genres. “I just don’t want [us] to be against each other,” MiYoung says. Dancers learning to step out of their comfort zones and learn more about each other have the potential to create waves of creative impact.
Check out MMDC in action at the 2021 Duo Dance Festival in Seoul here.
Living Your Best Life at Dance Conservatory Seattle
Whether its codified technique, body expectations, or gendered stereotypes, the dance industry has disseminated rigid values for many years. Such expectations can limit and harm talented dancers who don’t fit such cookie-cutter molds. Joshua Grant and Christopher E. Montoya are striving to knock down these barriers and foster a supportive and all-inclusive dance environment at Dance Conservatory Seattle. Under the tutelage of local talent, DCS is teaching Seattle dancers how to “live [their] best li[ves].”
A Conversation About Inclusivity with Co-Artistic Director Joshua Grant
By Madison Huizinga, DWC Blog Editor
Photo by Marcia Davis and Angela Sterling
Whether its codified technique, body expectations, or gendered stereotypes, the dance industry has disseminated rigid values for many years. Such expectations can limit and harm talented dancers who don’t fit such cookie-cutter molds. Joshua Grant and Christopher E. Montoya are striving to knock down these barriers and foster a supportive and all-inclusive dance environment at Dance Conservatory Seattle. Under the tutelage of local talent, DCS is teaching Seattle dancers how to “live [their] best li[ves].”
Growing up in a military family, Josh spent much of his childhood moving to different states. His dance journey first began at age three in Alabama and he later trained in South Carolina and California. Eventually, Josh’s family landed in the panhandle of Florida where he received the bulk of his dance training at Northwest Florida Ballet. He also trained at The HARID Conservatory in Boca Raton, Florida before graduating high school and moving to Seattle to train at the Pacific Northwest Ballet School. After one year in the Professional Division, Josh was offered a job with PNB, dancing professionally with the company for about four years. He later decided to spend some time traveling, relocating to Toronto to dance with the National Ballet of Canada for a while.
Desiring to explore a different form of dance, Josh joined Les Ballets Trockadero de Monte Carlo, an all-male comic ballet company that tours globally performing parodies of classical ballets. Josh toured the world with the company, traveling to Japan, Russia, Greece, France, Australia, and more, performing in male and female roles and dancing en pointe. He later returned to PNB where he dances today as a soloist.
Chris’ dance journey took a much different form than Josh’s. Chris studied at the University of Arizona before entering the professional world, dancing with companies like David Taylor Dance Theatre, Scorpius Dance Theatre, and Center Dance Ensemble, before joining Les Ballets Trockadero de Monte Carlo where he and Josh met. Josh points out how amazing it was that he and Chris were both able to find a home at Trockadero given they’re quite different dancers, both physically and emotionally.
When Josh and Chris relocated to Seattle together, Chris completed his undergraduate degree at Cornish College of the Arts and got his MFA at the University of Washington. He worked as the ballet division head and later the school director of Spectrum Dance Theater and has taught open classes and worked as the managing director for Dance Fremont. Aside from teaching, Chris has also danced with local companies like Seattle Dance Project, Men in Dance, and Jeroba Dance.
At the start of the pandemic, when the dance scene across Seattle shut down, Josh describes feeling quickly depressed and bored. Like most all people across the city, Josh recalls spending many days walking around his house wondering what to do. After some time, Sierra Keith reached out to Chris, sharing that she was considering renting a studio space and wanted to know if he was interested in teaching private lessons to some adults she knew. While Chris was busy with other work at the time, he and Sierra passed the message along to Josh who agreed to teach, holding a class of about ten people that eventually became a class of one to two as the pandemic worsened.
Eventually, the classes cultivated some buzz, as local dancers began to compete to get one of the few spots available. Having dreamt about opening their own dance school for a long time, Josh and Chris thought that this might be the opportunity to bring their dream to fruition.
Josh and Chris have both experienced struggles in the dance world throughout their careers, particularly with ballet. “We understand nobody fits into that perfect mold,” Josh points out. “And so we try to approach education and dance from that lens…perfection is unattainable.”
Chris specifically grappled with the challenges of fulfilling a rigid traditionally “masculine” role in the ballet world, as well standing out as a 5’2” Hispanic man in a predominantly white, Eurocentric realm. He also struggled with eating disorders as a way to combat weight loss to fit the mold he thought he needed to.
Growing up, Josh not only faced challenges as a gay person living in the South, but recalls training under toxic teachers who would often make hurtful remarks, and even throw things at him when he would make a mistake. “I was told I wouldn’t have a career. I was told I was a terrible dancer,” Josh remembers. “I was told that I was ‘too flowery.’ I was told that I needed to be more masculine.” For a while, he carried strict teaching traditions into the classes he taught, before Chris later pointed out that it wasn’t exactly helpful. Josh looks back on his training and wishes that his teachers could have helped him become the dancer and person he was supposed to be, instead of trying to make him become something he wasn’t.
Drawing from Chris’ graduate school research and he and Josh’s experience dancing with Trockadero, the two had also become interested in why the pointe shoe was genderized in ballet. Why is it that every time a pointe shoe is put on a man, it’s for slapstick or comedy? Such thoughts are what helped spur the creation of Dance Conservatory Seattle.
Dance Conservatory Seattle strives to knock down societal barriers by working to “encourage and empower” students “to explore their individual bodies and find their unique expressive voices.” A large emphasis is placed on welcoming dancers of all backgrounds and identities to present and perform how they desire to, particularly when it comes to defying gender stereotypes. Local performers like non-binary PNB Apprentice Ashton Edwards has credited DCS, and Josh specifically, for helping them grow more and more into themself as a performer.
Photo by Marcia Davis and Angela Sterling
Josh says that DCS aims to teach people based on who they are and not who anyone else thinks they should be. While dance nearly always has a fairly rigid means of measuring technique, DCS approaches technical skills with a more open-minded outlook. Josh shares that there’s a way to provide dancers with corrections and feedback in a way that isn’t aggressive and hurtful, but that allows a person to grow. “I think that’s where we’re going to get the best dancers of the next generation,” Josh shares of this approach to teaching.
At the moment, Dance Conservatory Seattle is chiefly concerned with getting more attendees in its classes, particularly its intermediate and advanced classes for middle and high school-aged students. DCS is also holding summer camps for ages 5 through 18. Eventually, Josh hopes for Dance Conservatory Seattle to have its own unique production of The Nutcracker, featuring a balanced representation of Seattle artists and featuring roles that defy traditional gender stereotypes. “Everything that DCS represents would be in our Nutcracker,” Josh shares. DCS’ 2700 square foot studio space is also available to rent and can transform into a performance space, where its future productions will likely be held.
Moving forward, Dance Conservatory Seattle strives to continue encouraging local dancers to live their best lives by acting fearlessly and being the kind of representation dancers across the region need. “Dance is an art form and the best way to get the truest and most successful art out of somebody is to allow them to be themself,” Josh says.
Insights From Luis Guimaraes and Filipa Cunha
In a market where consumers can be overwhelmed with options: details matter. Paying attention to who is making the products, who the products are designed for, and who is presenting them are key elements to center on for a dancewear brand to carry out an impactful vision. Ballet Rosa Co-Founder Luis Guimaraes and Marketing Communications Specialist Filipa Cunha go through their efforts with a fine-tooth comb, striving to provide customers with quality, artistic dancewear made with care.
Ballet Rosa’s Eye Towards Sustainability and Inclusivity
By Madison Huizinga, DWC Blog Editor
Photo courtesy of balletrosa.com
In a market where consumers can be overwhelmed with options: details matter. Paying attention to who is making the products, who the products are designed for, and who is presenting them are key elements to center on for a dancewear brand to carry out an impactful vision. Ballet Rosa Co-Founder Luis Guimaraes and Marketing Communications Specialist Filipa Cunha go through their efforts with a fine-tooth comb, striving to provide customers with quality, artistic dancewear made with care.
The true backbone of Ballet Rosa is a team with an infatuation with dance. For example, Filipa danced from ages 6 to 18 before attending college to study Communication. “I always knew I wanted to do something later with dance,” she shares about her career aspirations. After earning her master’s degree in fashion and communication, Filipa got the chance to work with Ballet Rosa. Thrilled to combine her interests of dance, communication, and fashion, Filipa jumped on the opportunity.
Luis was born and raised in Portugal, where the company is based. His wife is a dancer, which is part of how he got exposed to dance, to begin with. “I started dancing socially,” he shares. Given his exposure to dance and background as a material technician, Luis saw an opportunity to tap into the dancewear market, beginning with producing private labels for some dancewear companies. While working for private labels, Luis started designing products in addition to utilizing his understanding of the materials.
After some time, in 2010, Luis and his partner chose to venture into making their own collection. “For that purpose, we decided to bring aboard certain personalities,” Luis shares, including Isabelle Ciaravola of the Paris Opera Ballet. “We take a lot of pride in having her with us,” Luis says.
Ballet Rosa’s first fashion collection was largely inspired by the artistry of the fashion world and the rigor of the dance world combined. The creators sought to produce products that satisfied dancers’ needs, thus they took care to take dancers’ views into consideration. Luis explains how the team created a close dialogue with dancers. “I found that I could translate that [dance] language into materials,” Luis proudly shares.
After the 2010 launch, Luis describes feeling slightly fearful, as the brand wasn’t gaining many customers at first. What later helped Ballet Rosa take off was attending trade shows and allowing customers to get to know the team. However, Luis explains that when Ballet Rosa had its first interviews for a TV channel around 2013, the team really thought “oh, we’re doing something here.” Up until then, Luis and the rest of the Ballet Rosa team were driven by a desire to create new things, it wasn’t as clear what kind of impact the company could have.
Filipa believes that part of what sets Ballet Rosa apart as a dancewear company is the feedback that it considers from dancers, as well as the authentic artistry the brand possesses. “Everything is very carefully made by our seamstresses and the production team at our factory,” she shares of Ballet Rosa’s handmade dancewear.
Filipa says that it comes across that the products are made with love, as the seamstresses on the team have a clear and communicated passion for what they do. From his prior experience in the textile industry, Luis has grown to dislike the model of an assembly line. He shares that at Ballet Rosa, the team “cuts each garment by hand.”
In addition, under the leadership of Luis, Filipa says that Ballet Rosa is always looking for ways to innovate and break barriers as a company with its products. “I think that’s what makes our brand and our products unique,” she shares.
“The team that we have is incredible,” Luis stresses. “The people are at the core of how unique the product[s] [are].” One of the first team-bonding activities the Ballet Rosa staff did as a group was to dance together to cultivate a deeper understanding of and connection to the products they were creating. “We worked with a group of choreographers,” Luis says, stressing how large-scale the event was. “I think this was a huge moment for the company,” Luis says proudly. “The people who were a part of that are still working with us.”
Luis explains that extensive research often goes into creating Ballet Rosa’s lines. He draws much of his inspiration from classic art pieces in museums, holding an appreciation for art made during the Renaissance period in particular. When collaborating with designers, Luis incorporates these, and other inspirations, into the leotard designs.
“I try to incorporate the modern features of fashion [with] those classic values [of art],” Luis shares, particularly because “romanticism is something which you find throughout dance.”
click below to shop the look!
Nature has also played a big role in the conception of Ballet Rosa, as the word “rosa” means “rose” in Portuguese. Luis appreciates incorporating that “national touch” into the brand, a recognizable reminder of where home is for him and the company.
Ballet Rosa’s latest 2022 collection was released in January. Luis says that the hallmarks of the collection are fluidity in design and durability in wear. The company is excited to share that it’s introducing a sustainable material to its line, made from recycled fibers. Luis shares that Ballet Rosa plans to add even more sustainable practices to its repertoire moving forward.
A change that Luis hopes to see and help make in the dance industry is more diversity and inclusivity showcased across dancewear brands. He shares that Ballet Rosa is proud to have dancers of many different backgrounds, nationalities, races, and ethnicities showcased across its dancewear catalogs. Luis also shares that it’s important that dancewear brands make an effort to cater to men, sharing that Ballet Rosa is proud to have a whole catalog dedicated exclusively to male dancers. “I put a lot of trust in this new generation that speaks out and communicates about things that are happening. Before we were more silent,” Filipa says of how forward young dancers are about pushing for change in the industry.
“Everybody belongs,” Luis stresses.
A Conversation About Mental Health and Non-Judgment in the Dance Sphere
While some folks have taken steps to destigmatize mental health discussions in the dance industry, there is still an overwhelming pressure to compete against your peers within the studio environment, which can lead to adverse mental health issues. DWC staff member and pointe shoe fitter Tija Dupont opens up about her dance journey, goals for the future, and destigmatizing mental health in the dance industry.
Getting to Know DWC Staff Member Tija Dupont
By Madison Huizinga, DWC Blog Editor
Photo by Rex Tiffany Gunderson
While some folks have taken steps to destigmatize mental health discussions in the dance industry, there is still an overwhelming pressure to compete against your peers within the studio environment, which can lead to adverse mental health issues. DWC staff member and pointe shoe fitter Tija Dupont opens up about her dance journey, goals for the future, and destigmatizing mental health in the dance industry.
Tija began dancing around age two in a ballet/tap/jazz combo class in her small hometown in Montana. She danced at the same performing arts academy until she was about ten years old. During that time, Tija took a break from dance for about a year and a half because she was dealing with “horrible anxiety.” Even during her break, she was still drawn to movement in her daily life, so it became clear to her parents that she would benefit from getting back into it. She auditioned for her studio’s company, which traveled a lot for performances and competitions. After being a part of the team for about three months, Tija’s parents told her they were moving to Seattle.
After moving to Seattle, Tija got more into ballet after seeing the Pacific Northwest Ballet’s production of Swan Lake. She tried out a handful of studios, searching for an environment that wasn’t hyper-competitive and that offered a welcoming community. Tija also attended a summer intensive at The Joffrey Ballet in Chicago, Illinois. “Going to Chicago is probably the best thing that’s ever happened to me,” Tija says of her experience dancing at Joffrey. She shares that her instructors and roommates were incredible, and the environment allowed her to learn and soar as a dancer. Today, she dances with Ensemble Ballet Theatre in the Maple Valley area.
Before she began working with Dancewear Center, Tija had been working at a larger retail corporation in the area. Feeling a bit discouraged in her position, her mom encouraged her to apply for Dancewear Center, as it’s an area where she could offer some expertise. Soon after interviewing with Owner & General Manager Samantha Weissbach, she landed the job!
Tija started as a retail associate and later a shift lead at DWC, but recently she’s become a pointe shoe fitter. Tija didn’t see herself learning anything about pointe shoes when she started her job but soon became fascinated with pointe shoes through the fitting training sessions at DWC. She shares that she loves fitting pointe shoes, especially because she learns something new every time she does a fitting. She looks forward to now having the freedom to run fittings solo.
Tija loves working at a local business that is so well-received by the local community. She also enjoys the uplifting store environment. “The second I walk into the store, I’m instantly greeted. I just feel such a good energy,” she says. Tija appreciates how positive and reassuring the whole DWC team is.
One of her favorite parts of the job is being able to provide people with the products they need to be successful in dance. She finds satisfaction from seeing customers’ faces light up when she’s able to give them something they’ve been looking for. Tija also loves being able to fill the role of a “personal shopper” for some customers who are unsure about what they want to purchase. Being able to point them in the right direction brings her so much joy.
Outside of work, Tija enjoys hiking, sharing that her family members are big “outdoors people” and love to do activities that connect them with the beauty of the Pacific Northwest. She also loves coffee religiously. “Personally, I call that a hobby,” she laughs, sharing that she always has a coffee on her. She also enjoys doing yoga and conditioning in her home studio, a make-shift dance studio she made in her garage. Tija enjoys traveling as well and looks forward to getting back into it with her family following the major COVID-19 lockdowns.
Photo by Ken Fox
Tija recently finished high school and is considering taking some classes at a local community college before hopefully transferring to the University of Idaho.
In the larger dance world, Tija hopes to see people in the dance industry talk more about mental health and foster a less competitive environment so dancers can feel less judged. “I think studios need to encourage a non-judgmental community,” she says. This paired with studio owners discussing mental health with their students will help the industry move towards being more welcoming to all.
Keep an eye out for Tija in DWC, particularly if you’re getting a pointe shoe fitting anytime soon!
A Conversation About Starting Dance at Any Age
There is an unspoken assumption in society that once you reach adulthood, your time has passed to try something new. However, DWC Pointe Shoe Fitter and DWC Blog Contributor Emma Neilson shares that it’s never too late to try dance. Read on to learn about her dance journey, goals for the future, and desire for more professional development support for young adult dancers.
Getting to Know Pointe Shoe Fitter Emma Neilson
By Madison Huizinga, DWC Blog Editor
Photo by Robb Webb Photography
There is an unspoken assumption in society that once you reach adulthood, your time has passed to try something new. However, DWC Pointe Shoe Fitter and DWC Blog Contributor Emma Neilson shares that it’s never too late to try dance. Read on to learn about her dance journey, goals for the future, and desire for more professional development support for young adult dancers.
Emma’s first experience with dance was Scottish Highland dancing around ages four to eight, as it was an activity that ran in her family. In her childhood, she also took up equestrian horseback riding for a while. But her whole life changed when she watched figure skating in the Winter Olympics for the first time. Emma declared to her mom that she would be an Olympic figure skater, and after two years of begging, her mom signed her up for public group lessons. Eventually, Emma began training with a private coach and becoming more advanced in her technique. She began taking ballet classes as well to improve her ice skating abilities. Her ballet technique also began improving with practice and around age 13 Emma’s teacher suggested her class begin dancing in demi-pointe shoes.
When Emma started high school, her parents encouraged her to choose one activity to focus on. After landing her axel jump, a long-time figure skating goal of hers, Emma decided to devote her extracurricular time fully to ballet. After continuing ballet through high school, Emma took a gap year following her graduation. She applied to some colleges but recalls her heart not being fully in the process. She remembers having a conversation with the artistic director of her dance studio at the time to help her weigh her options. Emma’s artistic director advised her to audition for some summer intensives and pointed her in the direction of International Ballet Academy in Bellevue, WA. After auditioning, Emma was accepted at IBA, where she’s been dancing ever since. She’s currently a part of IBA’s Professional Program.
Photo by Rex Tranter Photography
In addition to training at IBA and working at DWC, Emma is a Certified American Barre Technique Instructor, a Certified Flexistretcher Instructor, and a Pal Program Coordinator for the organization Dancer for Dancer. She’s also currently in the midst of audition season and is auditioning for dance companies to be a part of.
Emma is currently a retail associate and pointe shoe fitter at Dancewear Center’s Kirkland location. In addition to working as a retail associate and pointe shoe fitter, Emma has copious experience working inventory at DWC, ensuring that products are labeled correctly and organized. She is also excited to be a part of The Pointe Shop Progressive Pointe Method training program to help build upon her pointe shoe fitting knowledge. Emma began working at DWC in 2019, as she had begun training with IBA and was in search of a job to help supplement her time outside of the studio. She reached out to Owner and General Manager Samantha Weissbach through the contact form on DWC’s website. After being interviewed by Samantha and another staff member, she was offered a job!
Emma loves that Dancewear Center strives to be much more than just a business, but also foster a community by connecting with other artists and businesses across the region. She is also such a big fan of Samantha, sharing that she considers her a “forever mentor.” She says that it’s been amazing, as a young woman, to be brought under another woman’s wing to assist with professional development.
Pointe shoe fitting is one of Emma’s favorite things to do at Dancewear Center, sharing that she knows what it’s like to be in physical pain and struggle to find a functional pair of shoes. “I really enjoy being able to bond with basically anybody who walks through the door,” Emma says, speaking to the common bond she can share with customers through a love of dance.
Photo by Rex Tranter Photography
Outside of dancing and working, Emma enjoys spending her free time outside with her family. “I really love going on walks and hikes,” she says. She also enjoys baking, cooking, writing, reading, and going to the movies. “I also love a good self-care session,” Emma shares, sharing that she likes to take care of her body and mind by taking a bath and using a muscle gun on sore muscles.
In the future, Emma hopes to be able to dance with a company and have the opportunity to continue taking classes, performing, and growing as a dancer. She would also love the opportunity to work on some choreography and continue educating herself on pointe shoe fitting.
A change that Emma wishes to see made in the dance industry is studios and academies become more welcoming to beginner dancers of all ages. “Not everybody starts at age three,” she points out. She would also like more professional development opportunities to become available to young adult dancers, pointing out that many dancers do not have their life trajectory figured out at age 18. She shares that she has many conversations with friends who aren’t dancers who express their desire to dance, but fear their time has passed. “You can do it!” Emma says to those who want to try dance at any age.
Be sure to say hi to Emma if you see her at DWC Kirkland!
A Local Dancer on Utilizing a Home Studio Space
During the COVID-19 lockdown of 2020, many dancers lost the space and opportunity to do what they loved. Confined in their homes, dancers no longer had the capacity to move their bodies in the way they once could. It’s safe to say that for most of us, it felt like a return to “normal” would never come. This was one of the fears of dancer Erin Nichole Boyt, as she had just started getting acclimated to the Portland dance scene after relocating from Seattle. Now with the help of her new home studio space, Erin has been excited about reconnecting with dance in a more seamless way. Donate to Erin’s fundraising campaign for her live/work studio, known as Pottershop Studio, so it can be well-supplied and ready for dancers.
Erin Nichole Boyt on Blending Dance & Home
By Madison Huizinga, DWC Blog Editor
Photo by Mary Turcott
During the COVID-19 lockdown of 2020, many dancers lost the space and opportunity to do what they loved. Confined in their homes, dancers no longer had the capacity to move their bodies in the way they once could. It’s safe to say that for most of us, it felt like a return to “normal” would never come. This was one of the fears of dancer Erin Nichole Boyt, as she had just started getting acclimated to the Portland dance scene after relocating from Seattle. Now with the help of her new home studio space, Erin has been excited about reconnecting with dance in a more seamless way. Donate to Erin’s fundraising campaign for her live/work studio, known as Pottershop Studio, so it can be well-supplied and ready for dancers.
Erin began dancing around five years old at the only dance studio in her small town. She fell in love with movement early on in her life, explaining that she is a “kinesthetic learner” and takes in information best when it involves movement and tactile experiences. Erin explains that she deeply resonated with modern, tap, and African styles of dance, forms of movement that felt rhythmic and grounded. While she studied dance in college, Erin explains that she struggled within her school’s dance department, as it valued students with a strong ballet background which is something Erin lacked. She pivoted her focus to theatre, cultivating her love for dance in another arena.
After graduating college, Erin moved to Seattle and started her dance company “with no previous experience choreographing.” She explains that her practice started small, and eventually lead to her choreographing more and producing bigger shows, working with the Seattle International Dance Festival for nearly a decade. “I built my company around the idea of collaboration,” Erin explains. She moved to Portland, Oregon in 2018 and had just started rehearsing her first show in the city when the pandemic hit.
“I nosedived emotionally and mentally into this pretty deep depression,” Erin says of her mental health amid the COVID-19 pandemic. “There were days where I truly believed that I would never dance again and this [was] just my life now.” These emotions of sadness, grief, and longing are ones many dancers can relate to in the past couple of years.
Photo by Tom Healy
Nonetheless, as Erin mentions, dance has a way of sticking with people in ways they may not expect. “There’s something in a creative drive that just doesn’t ever really die,” she emphasizes.
Erin had dreamed about having a live-work space in the future, but wasn’t looking for one when she stumbled upon her current dwelling. Prior to moving into the live-work studio space, Erin had been renting a studio once a week, but the thought of having studio space available to her all hours of the day was simply too good to be true. In addition to choreographing and teaching out of the space, she’s planning on working with clients on strength training, injury prevention, and exercises to aid with different forms of movement dysfunction.
Erin has enjoyed being able to decorate and furnish her studio space in a way that inspires her creatively. Down the line, getting back into choreographing and producing shows is a goal of hers and her new space will enable her to do that with greater ease.
Erin says that one of the things she loves most about dance is the fact that she never gets bored of it, there is seemingly always something new to learn through movement. She is fascinated by the ways sensory inputs from the environment influence the way people move and the shared understanding of movement that all humans possess. “It’s something that just connects all of us universally,” she says. Now that dance is more integrated into her life by way of her live-work studio space, Erin is able to feel even more deeply connected to this practice that means so much to her.
Photo by Brett Love
A change that Erin hopes to see occur in the dance industry is a greater interrogation of the so-called “ideal” body a dancer should have. She shares that many dance genres value a specific, restrictive aesthetic that can be harmful for dancers. Being told that there is a certain way to look can create a disconnection between dancers and their bodies. Dancers’ bodies should be used to help realize their artistic visions, not be scrutinized. Rather than focusing on how dancers’ bodies should look, Erin hopes for dance to be viewed more as an expression and mode to communicate with one another. “I think we just really need to broaden our view of what dance is,” Erin shares.
“If you have a body you’re a dancer!” Erin declares. Click here to donate to Pottershop Studio!
Getting to Know DWC Assistant Store Manager Naquoia Bautista
From training in Alaska to Hawaii to Washington, Naquoia Bautista has rich experience dancing in various genres across an array of settings. Today, she is an assistant store manager at Dancewear Center and a pointe shoe fitter in training. Read on to learn more about Naquoia’s dance journey and goals at the store.
By Madison Huizinga, DWC Blog Editor
Photo by Mary Turcott
From training in Alaska to Hawaii to Washington, Naquoia Bautista has rich experience dancing in various genres across an array of settings. Today, she is an assistant store manager at Dancewear Center and a pointe shoe fitter in training. Read on to learn more about Naquoia’s dance journey and goals at the store.
Naquoia was largely inspired to dance by her aunt, who she saw explore dance for the first time in her middle school and high school years. Their family home was replete with different videotapes and versions of The Nutcracker. “I just loved the production of it, the story. I thought it was beautiful, I thought the dancers were incredible and it was just so aesthetically wondrous,” Naquoia says of being exposed to The Nutcracker. “I was just enthralled. I’d watch it all the time.” She recalls dancing around her kitchen and pretending that her doll was the Nutcracker Prince.
Naquoia enrolled in a creative movement class at age five in her hometown of Sitka, Alaska. “From there, the rest is kind of history,” she says. Naquoia says that ballet was her first love, as it was the genre she spent most of her time training in growing up. She and her family moved to Hawaii for a year, where she was first introduced to tap. When she moved to Washington, she trained at the Metropolitan Ballet of Tacoma for a while, before returning to Sitka and graduating high school. Naquoia later attended Western Washington University in Bellingham, Washington where she earned her BFA in dance.
Naquoia learned about Dancewear Center Owner and General Manager Samantha Weissbach through a mutual friend. Naquoia had been interested in moving back to Seattle and had learned that the DWC Renton location would be opening and needing employees. Considering her experience with dance and desire to move to the Seattle area, a position at DWC seemed like a great fit for her. She began work in early January 2022, kicking things off with a training and pointe shoe fitting workshop.
Photo by James Clinton
In addition to her role as assistant store manager, Naquoia is also training to be a pointe shoe fitter, planning to be an observer before she tackles fittings hands-on. She shares that she already feels like she has so much information at her fingertips, having gone through the fitting training and continually learning from the other DWC employees.
So far, Naquoia has enjoyed being able to help provide people with the tools they need to be successful on their dance journey. She has particularly enjoyed being able to fit ballet slippers and tap shoes on children just beginning dance and problem-solving with them to find the best possible fit. Aside from working with customers, she’s enjoyed the small projects she gets to work on throughout the store, like assisting with decor, dressing the store mannequin, and more.
As of now, Naquoia’s primary goals at Dancewear Center are to buckle down and learn as much as she can. She looks forward to getting more accustomed to working with customers and familiarizing herself with inventory so she can assist people to the best of her abilities.
Outside of work, dancing takes up much of Naquoia’s time. She takes ballet and contemporary classes but is also planning on venturing into ballroom styles, including salsa. Having just moved back to Seattle, Naquoia is excited to get re-acquainted with the Seattle dance landscape. She’s also hoping to have some opportunities to choreograph for herself and her friends, perhaps even putting together a small production or dance film in the future.
Naquoia also adores hiking. In summer 2021, she and a friend went on an overnight backpacking trip in Oregon, hiking down the Timberline Trail around Mount Hood. She also enjoys swimming, sharing that she participated on a swim team growing up for a little bit. “It hasn’t been a consistent part of my life, but whenever I have the time to get back into swimming, I really like to hop in the pool,” Naquoia says. She also likes to read on occasion, watch movies, and snuggle her roommate’s cat, Spoons.
Photo by Juliette Machado
Moving forward in the dance world, Naquoia hopes to see an increase in inclusivity across the industry. In college, she enjoyed attending festivals with the American College Dance Association and being able to take classes in styles she doesn’t usually train in. For instance, she would often attend classes aimed at teaching dance techniques for men. Naquoia says that it was interesting to enter that type of space and be a minority, as dance is a largely women-dominated industry. She believes the dance industry will benefit from making more spaces welcoming and open to people who are interested in partaking.
We’re thrilled to welcome Naquoia as the latest member of the DWC family!
Decoding Cues & Restorative Conditioning
There are many unspoken assumptions in the dance world, one of which is that dancers don’t need to put in work outside of the studio. However, conditioning and engaging in other complementary activities can make a world of difference when it comes to dancing with resilience and avoiding injuries. Zoe Geiger, PT, DPT, CSCS chats about her dance experience, the importance of restorative conditioning, and her upcoming appearance at Tea & Tendus at DWC Renton on April 10, 2022.
Zoe Geiger, PT, DPT, CSCS On Her Experience with Dance and Physical Therapy
By Madison Huizinga, DWC Blog Editor
Photo by Alexandrian Photography
There are many unspoken assumptions in the dance world, one of which is that dancers don’t need to put in work outside of the studio. However, conditioning and engaging in other complementary activities can make a world of difference when it comes to dancing with resilience and avoiding injuries. Zoe Geiger, PT, DPT, CSCS chats about her dance experience, the importance of restorative conditioning, and her upcoming appearance at Tea & Tendus at DWC Renton on April 10, 2022.
Zoe began dancing around three years old in a classic ballet/tap class in the Seattle area. She also experimented with other sports including gymnastics, ice skating, and soccer. While playing soccer, she found herself gravitating to the position of sweeper because she could practice leaps and cartwheels while the ball was on the other side of the field. It became clear to Zoe that her heart was largely in dance, and she found her place at a local studio.
Zoe continued dancing throughout high school and college. After somewhat of a hiatus during graduate school, Zoe has been taking classes more frequently and feels like she’s “rediscovering [her] place in the dance community.”
“Dance has always given me a place to just escape the world around me and submerge myself in the joy of movement,” Zoe says of what she loves about dancing. Dance helps her feel grounded and connected with her body. “I don’t have to have a studio, I don’t have to have shoes. I can just dance around my living room and feel better,” Zoe smiles.
Photo by Best Sister Photography MJR
When Zoe started visiting a physical therapist for a knee injury in middle school, she says it changed her relationship with her body and with dance. She quickly became fascinated and interested in pursuing a career in PT. At first, she was unsure whether she wanted to treat dancers because dance had always brought her joy as an escape. But as she started working with Henry Lu at Velocity Physiotherapy, the joy from the studio was alive in the clinic. Today, she’s been working with dancers and others as a physical therapist for about a year and a half, alongside in the Seattle Public Schools.
Zoe recognizes that she’s been privileged to have a supportive dance community for most of her life. However, something she felt was missing was access and emphasis on strength training and other injury prevention strategies. Growing up, Zoe didn’t think exercise outside dance was necessary. But as she has learned more and started strength training on her own, she found herself feeling more grounded when dancing, seeing the benefits of putting in work outside the studio. She is happy to see more educators advocate for strength training outside the studio today and hopes to see more of it in the future.
Zoe encourages dancers to ask people in the dance community for recommendations for conditioning and injury prevention resources. Velocity Physiotherapy is also working on creating restorative conditioning programs designed for dancers. Zoe also shares that personal training or even finding another sport to play alongside dancing, such as swimming or soccer, can help supplement a dancer’s training.
Moving forward, Zoe hopes to see dance become more accessible. “I would love to see more classes that offer experiences for kids with disabilities,” Zoe voices. In addition, making dance classes available to families of all incomes and those living in rural and urban areas alike is an extremely important part of increasing dance accessibility. Zoe shares that part of the solution could be offering dance in public schools, where children could experience dance in a setting they already frequent without financial burden. Even amending the dress codes that dance classes require could open up the door for more children and adults to feel comfortable and excited about dance.
Zoe is enjoying rediscovering dance in her personal life and is drawing from her own experiences to provide better treatment for others. She’s looking forward to dancing en pointe again, in part to help her many clients who dance in pointe shoes. She’s looking forward to diving more into continuing education and professional development this summer to learn more about dance accessibility and public school education.
Photo by JMWorks
Zoe is also thrilled to be a guest at Dancewear Center’s next Tea & Tendus on April 10, where she will be discussing “decoding cues and restorative conditioning.” Specifically, Zoe will be talking about how to make the “cues” dance instructors provide more helpful for more dancers. It’s important to find new ways to share the same information, as the same cue isn’t helpful to all dancers.
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