Get To Know Ambassador Robbi Moore
DWC Ambassador Robbi Moore has always loved the dance community. Their extensive resume of works spans traveling all around the world with various companies and sharing stories to people in any way they can. We got the chance to speak with one of our DWC Ambassadors about what dance means to them and what inspired them to become an Ambassador! Read on to learn more about Robbi’s dancing journey and what they are looking forward to most about becoming an Ambassador!
By Nicole Barrett, DWC Blog Editor
Pronunciation: Rob-bee More| Pronouns: they/them
DWC Ambassador Robbi Moore has always loved the dance community. Their extensive resume of works spans traveling all around the world with various companies and sharing stories to people in any way they can. We got the chance to speak with one of our DWC Ambassadors about what dance means to them and what inspired them to become an Ambassador! Read on to learn more about Robbi’s dancing journey and what they are looking forward to most about becoming an Ambassador!
Robbi started dancing when they were five years old and was inspired to start dance by their older brother who was an actor. Robbi just wanted to be onstage, so their mom signed them up for ballet classes at New England Ballet because they were looking for dancers for their Nutcracker. When Robbi was seven, they moved onto Dee Dee’s Dance Center where they remained until they graduated high school. After graduation, Robbi participated in some summer intensives where they say they made lots of connections that they would later dance with in New York City. Before auditioning for the Alvin Ailey Fordham BFA Program, Robbi attended New Haven Ballet to further expand their ballet training.
After graduating the BFA program in 2015, Robbie danced in New York City with the STEPS Repertory Ensemble and during their senior year of college, they were involved with the Amanda Selwyn Dance Theater. They also danced with a bollywood company called AATMA Performing Arts and traveled with some of their shows. Robbi auditioned for Spectrum Dance Theater back in New York City and then moved to Seattle in 2016. Since then, Robbi has created an extensive resume with artists in Seattle from Khambatta Dance Company to Tacoma Urban Performing Arts.
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One thing that Robbi is looking forward to most about being an Ambassador is the Instagram takeovers. Robbi also is looking forward to the blog posts that they will be writing. They share that they really admire the people that are really good at writing about dance and hope that they can dive into that to become a responsible reporter.
We are so happy to have Robbi as one of our DWC Ambassadors! Be sure to check out the full interview on our YouTube channel to hear more about Robbi’s dancing journey!
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
The New Kid, Again
I arrived in Seattle, WA on September 2, 2016. I was supposed to get here on the 1st, but that is a story for another day. There were a lot of firsts that year. It was my first, and so far only, major full time dance company. My first time ever being on the West Coast at all. My first time living in a state where access to immediate family was physically inaccessible without a plane ticket. I was truly on my own.
Part 1
By Robbi Moore, DWC Ambassador
Pronunciation: Rob-bee More| Pronouns: they/them
I arrived in Seattle, WA on September 2, 2016. I was supposed to get here on the 1st, but that is a story for another day. There were a lot of firsts that year. It was my first, and so far only, major full time dance company. My first time ever being on the West Coast at all. My first time living in a state where access to immediate family was physically inaccessible without a plane ticket. I was truly on my own.
During my two years with Spectrum Dance Theater, most of the other dancers were like me in the sense that they had moved to Seattle for that specific job. Only a couple of people were from Washington. It was not until I left the company in 2018 and started freelancing that I began to interact with a wider range of local choreographers and dancers, many of whom were born and raised in Washington, and others like me who had moved from other places. There were artists who were more seasoned who were not from Seattle, but had been here so long that they had earned the right to say they were from here. In 2018, with most of my experiences in the first two years of living in Seattle being with one company, I felt like “The New Kid” all over again while navigating the freelance scene and the newfound interests of people who were meeting me for the first time.
I had auditioned for 3 other companies on the West Coast in Seattle, San Francisco, and L.A. respectively, as well as West Side Story at the 5th Avenue Theatre, after leaving Spectrum Dance Theater, and did not make it into any of them. I decided to stay in Seattle, with only one teaching position still at Spectrum Dance Theater and a plan to audition as a dancer for the Tint Festival. I had a day job working at the front desk at a fitness center, and I did not think there would be much else to my life outside of that going forward.
Luckily, I would be wrong.
The two pieces that I got into for the Tint Festival would turn into three after being invited to join PRICEarts as a guest artist. Whidbey Island Dance Theatre would reach out to me to play two demanding roles in their Nutcracker. It would be the first of a total of five times. Tacoma Urban Performing Arts Center would reach out to me to play The Nutcracker in their first ever production of The Urban Nutcracker. This would be the first of four times. Cyrus Khambatta would reach out to me via email asking me to come to a rehearsal for an audition and the rest was history. I ended up dancing with Khambatta Dance Company for nearly four years, traveling to Germany, India, France, and Rhode Island, as well as working with International Artists.
In early 2019, Alex Ung, director of The Guild Dance Company would reach out to me to perform in “Immigration Stories'', a show I would do a second time that Fall, and choreograph on fellow dancers in the company, as well as a couple of essential pandemic dance videos. Four years later, I can call Alex a friend, and I am a supporter of The Guild. I auditioned for Karin Steven’s “Sea Change Within Us,” which would lead to four other dances with her company. I attended the Coriolis audition for their full-length version of “Danses des Cygnes” out of curiosity for the work, not thinking I would get into the piece. Not only would I be cast in the work, but I would go on to do a couple more performances with the company and as of recently, become a curator for one of their shows featuring Seattle based artists, Wielding Forms.
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I would attend a workshop for The Gray, not knowing if I would be selected for any projects. I would later be asked to perform twice that year. I filled an emergency role in International Ballet Theatre’s excerpt of “Sleeping Beauty” as Puss in Boots. I would be recommended to perform with Kinesis Project Dance Theatre, a New York based company that had recently become bi-coastal, a format that helped the company do very well during the pandemic when we were on Zoom. I would perform with Kinesis several times throughout the next 2 years.
This still does not sum up everything I have done as a freelance artist. Working for all of these companies created a game of Tetris that freelancers know all too well. It is a good problem to have, but that does not mean it did not come with some sacrifices and heartache. In January of 2019, I quit my job at the fitness center after it was highly suggested that I find other work after having to miss so much work to do two Nutcrackers during the holiday season at the end of 2018. In March of 2019, I was offered a regular dance teaching job that I thought would last through June, but I was abruptly let go after just one month. I invested in applying to two other teaching jobs, not knowing if I would get either. Those two schools were Exit Space School of Dance and Rainier Dance Center. I still teach at Rainier, four years later, and while my teaching position at Exit Space was cut short by the pandemic, I have maintained a relationship with the studio as a substitute, open class student, supporter, and performer in festivals curated and hosted there. Pacific Northwest Ballet’s Discover Dance program had also reached out to me, offering me a position as a Teaching Artist Apprentice. Add in another studio that I had substituted at who desperately needed a teacher that year, and I found myself in the Fall of 2019 teaching at four different studios, in two pieces for the Men in Dance Festival, rehearsing for two Nutcrackers, teaching for Discover Dance, and preparing for my second tour with Khambatta Dance Company to India.
It was the busiest I had ever been. I must admit that I really did not know how to take care of my mental health at the time. I had a lot of anxiety about not letting people down, and it did not help that I still had to prove myself to a whole bunch of new people who did not know me as an artist or as a person. My appeal relied on me adapting to what everyone wanted from me while seeming cool, calm, and collected, which is the complete opposite of what I was actually feeling. I was grateful for all these opportunities, but it was hard to keep imposter syndrome from creeping in. I had moved to Seattle in 2016 for Spectrum Dance Theater, and in 2019 I found myself doing work that I never planned on doing and had no clue where these new relationships would take me. I was truly winging it and had no plan whatsoever.
I am grateful for everything I was offered, but at that time, I was experiencing a lot of personal grief. The first was leaving Spectrum Dance Theater, and thus leaving a community of people that I had gotten to know and had seen every day for two years. I had invested so much in that job and it was the reason why I moved out here in the first place. It ended sooner than I had initially intended, but looking back, I cannot imagine it going any other way. A fresh twenty-three-year-old making the decision to move across the country for a famous dance company with no backup plan seems like an accurately young-minded thing to do.
I was also grieving the recent loss of my Nana after her long, difficult battle with dementia, and with it, the security and connection to the part of my childhood that included her, a part of my life that none of my new colleagues had ever witnessed. Those that knew were definitely supportive and sympathetic, but because no one out here really knows my family, my personal struggles with the fact that the entire structure of my personal life had shifted drastically in the background of my dance career were not factored into how people saw me. I knew so many people, but I did not know anyone well enough to feel comfortable confiding such personal feelings in people who I had just met professionally. I put a lot of pressure on myself to act like I was fine when I really was not. I was in high demand as a dancer and there were a lot of eyes on me. It made sense. I was and still am one of the few black male dancers in the concert dance scene in Seattle. I know I am a commodity in this community and I vow to never lose sight of that awareness.
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
Getting To Know DWC Ambassador Kendall Hadley
Being a part of the dance community has been something that DWC Ambassador Kendall Hadley has loved with her ambassadorship. Earlier in her dance career she made this realization and knew that she wanted to apply to become an ambassador at DWC. We got a chance to speak with Kendall about what inspired her to become an ambassador and what dance means to her. Read on to learn more about Kendall’s dancing journey and what she’s looking forward to most about becoming a DWC Ambassador!
Pronunciation: Can-doll Had-lee | Pronouns: she/her
By Nicole Barrett, DWC Blog Editor
Being a part of the dance community has been something that DWC Ambassador Kendall Hadley has loved with her ambassadorship. Earlier in her dance career she made this realization and knew that she wanted to apply to become an ambassador at DWC. We got a chance to speak with Kendall about what inspired her to become an ambassador and what dance means to her. Read on to learn more about Kendall’s dancing journey and what she’s looking forward to most about becoming a DWC Ambassador!
Kendall started dancing when she was about five years old. She is currently a senior in high school and has been dancing at Fidalgo DanceWorks. Kendall also shares that she is hoping to dance in college as well.
When Kendall went into her first photoshoot as an ambassador, she was so excited to be around the community of dancers. She is also looking forward to expanding her knowledge of the dance community and talking about some of the hard topics that dancers go through. Kendall also shares that of course she is excited to open her PR boxes and see the results from the photoshoots with the other ambassadors.
We are so happy to have Kendall as one of our DWC Ambassadors! Watch the full interview below to hear more about Kendall’s dancing journey!
About the Author
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
A Conversation About Acceptance In Dance Studios
When asked what her favorite thing about dance is, Amanda shares that the constant need to be present is something that she appreciates the most. “As a child, dance was really that escape for me, where I knew that I could go to the studio and just forget about everything else,” she shares. The empowerment that she says she felt in her body while being in the studio was something that felt really good to her. She’s also noticed that as she has gotten older that it is very hard to stay present with everything in life going on, but once she walks into the studio, every worry washes away.
Local Studio Owner Amanda Records On Body Positivity
By Nicole Barrett, DWC Blog Editor
From starting dance in the fourth grade to dancing in Rome, Italy Amanda Records is no stranger to how the dance industry operates. Now, the Artistic Director of Spotlight Dance Center in Renton, Washington, she hopes to share her knowledge of the dance world with every student that walks through the studio doors. Read on to learn more about Amanda’s dance journey!
Amanda Records started dancing when she was in the fourth grade at British Dancing Academy in Kent, Washington. The woman that watched her after school took her daughter there and Amanda got to observe the ballet class that she was in. “I was like ‘This is amazing, I want to do this,’” she shares. She was able to get signed up and she danced there until she graduated high school. After graduating, Amanda then went to Hobart and William Smith Colleges in Geneva, New York, and got her BA in Dance and Movement Sciences. After taking a break from school for a year, she returned to school at the University of Oregon to get her MFA in Dance, where she held a Graduate Teaching Fellowship.
Before moving back to Washington and co-founding The Barefoot Collective, (tBFC) a cooperative in Tacoma, Amanda spent six weeks in Austria on scholarship attending ImPulsTanz. There she completed the Danceability teacher training program and performed with Joint Forces Dance Company. Adding to her extensive resume of performance work, she also studied abroad in Rome, Italy, and got to perform amongst the picturesque ruins.
When asked about what sparked her decision to join Spotlight, she shares that the previous studio owner approached her hoping she could take over her position. “This was actually the second studio owner that approached me about taking over their business, so I thought there’s something in the stars because this opportunity keeps being presented to me,” she says. She was just wrapping up her graduate degree when she got the offer and she shares that she was very thankful that these women presented these opportunities to her. Ultimately, she took the job and has been the Artistic Director of Spotlight since 2011.
Every dance studio has its own flair that makes it stand out from the rest, so when asked about what made Spotlight stand out amongst others, Amanda had many things to share. She spoke about Spotlight’s Assistant Teacher Training Program (ATTP), which allows dancers to participate in lessons and mentorship in their teaching journey. She also shares that Spotlight has performing companies that allow dancers of all ages to perform in various events around the community. For middle and high school students in the performing companies, she expresses that Spotlight tries to open opportunities for them to perform at more prestigious events like the Western Washington University Dance Festival, BOOSTmeUP and Olympia Dance Festival. Spotlight is one of only five studios in Washington that has an NHSDA (National Honors Society for Dance Arts) chapter and that is something that Amanda believes is very important in her dancers’ journey. This program recognizes dancers’ work in and out of the studio and comes with many benefits once in the program.
When asked what her favorite thing about dance is, Amanda shares that the constant need to be present is something that she appreciates the most. “As a child, dance was really that escape for me, where I knew that I could go to the studio and just forget about everything else,” she shares. The empowerment that she says she felt in her body while being in the studio was something that felt really good to her. She’s also noticed that as she has gotten older that it is very hard to stay present with everything in life going on, but once she walks into the studio, every worry washes away.
As dancers, we all are used to dancing in front of a mirror and getting the corrections needed in order to make our moves look better. This is something that Amanda says was a struggle for her growing up in the studio. The constant need to compare what she looked like and the perfectionism that comes with that caused some insecurities and worry in her. She would like dancers that are struggling with this issue as well to simply know their own worth.
Moving forward in the dance world, Amanda would like to see much more body inclusivity and for studios to deemphasize the mirror. She shares that teachers can include moments of class oriented away from the mirror, thereby encouraging dancers to not rely solely on the mirror for how something looks, but on how certain moves feel in their bodies. Spotlight engages in Love Your Body Week, a national campaign to encourage body positivity and celebrate all the wonderful things our bodies can do every year, and Amanda would love to see more studios participating in this impactful campaign.
Coming up for Spotlight is the fall dance season! Starting on September 8th, all classes will be held in Spotlight’s new location, making this the first full year in their beautiful new space! Amanda is so excited to welcome new students and families into classes this fall.
Be sure to check out their website here for more information on events and classes that will be at Spotlight this upcoming dance season!
About the Author
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
A Conversation About More Accessible Information for Dancers
When asked about what her favorite thing about dance is, Mallory shares that the ability to walk into the studio and leave everything at the door is something important to her. Growing up, she knew that she could always go to the studio and get lost in her movement and not have to think about anything else. “I could just be in a place that made me happy,” she shares.
Fulfilling the Legacy of Bremerton Dance Center with Mallory Morrison
By Nicole Barrett, DWC Blog Editor
Photo by Iklil Gregg Photography
The beginning of Mallory Morrison’s dancing journey doesn’t just start with her; she has a long family history of dancers stretching back to her grandmother. After starting dance at the age of 11, her grandmother opened up a studio in her basement that started with just 30 students. She then expanded to another location and that is where Bremerton Dance Center has been since 1969. Read on to learn more about Mallory’s dance journey and her ownership of Bremerton Dance Center!
Mallory’s first appearances on a dance stage were when she was just 18 months old. “I was told that when I went onstage, and then they just couldn’t get me off of the stage,” she shares. She then continued to dance at Bremerton Dance Center and shares that she participated in many dance intensives and has worked with numerous choreographers and guest teachers through her time at the studio. Later in her dance journey, she got asked to perform with the Peninsula Dance Theater, which is a non-profit pre-professional company, all the way until her senior year of high school.
After graduating high school, Mallory decided to steer away from a dance path and went to college for business. She studied at Central Washington University and received her Bachelor’s Degree in Business Administration while still continuing some dance training at school. When she returned from college, she continued on with dance but shares that she stayed more on the business and teaching side of things at the studio. Now, she has fully taken over Bremerton Dance Center and Peninsula Dance Theater and shares that she is teaching classes every day and strives to better the studio as a whole.
Photo by Iklil Gregg Photography
When asked about what her favorite thing about dance is, Mallory shares that the ability to walk into the studio and leave everything at the door is something important to her. Growing up, she knew that she could always go to the studio and get lost in her movement and not have to think about anything else. “I could just be in a place that made me happy,” she shares.
Mallory shares that one of her biggest struggles in the dance world was finding and having access to dance programs outside of her studio. She shares that she struggled with having the right information about different dance programs that she just didn’t know about. Mallory shares that the differences in technology from when she was having these struggles to the present day are very different, but still thinks they can be prevalent. She shares that information overload is something that dancers can struggle with, and the constant need to sift through this information can be draining. For her own students and others struggling with this issue, she shares the need to pick certain schools and programs that speak to them the most and that they enjoy. “It’s about not overwhelming yourself with all that information out there, because it is a lot,” she shares.
Although there are lots of changes being made in the dance world to further equality, Mallory believes that schools should normalize the need for more integrated schools. Her main goal in her own studio is to make sure that she has the same mindset that everybody in the dance world should be accepted. She shares that she wants to make sure that she is holding lessons for dancers that are appropriate for everybody and to continue the efforts of making sure that all bodies can dance. She emphasizes on the matter that she wants to make a space where everybody can dance and feel comfortable.
Bremerton Dance Center started its fall season with classes on August 29th after doing numerous camps during the summer for their dancers. The performing companies have been hard at work rehearsing for their performances coming up in the fall and spring and like many other studios, they are working on rehearsals for the Nutcracker! Along with that, Mallory is getting ready with her junior company to do school tours around the area. The company puts a storybook ballet to a certain book each year and travels to schools around the area and performs them in front of the students and allows them to ask questions and meet the dancers.
Be sure to check out their websitehere for more information on classes and performances!
About the Author
Sources:
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
Getting To Know Denail Weyer, DWC's Newest Staff Member
Dancewear Center looks for staff that follows our mission that “every body is a dancing body.” New DWC staff member Denali Weyer fits that description perfectly! Her passion for the ballet world spans inside and outside of the studio and we are so excited to have her on the team. Read on to learn more about Denali’s dancing journey and what sparked her decision to be a part of the team!
By Nicole Barrett, DWC Blog Editor
Dancewear Center looks for staff that follows our mission that “every body is a dancing body.” New DWC staff member Denali Weyer fits that description perfectly! Her passion for the ballet world spans inside and outside of the studio and we are so excited to have her on the team. Read on to learn more about Denali’s dancing journey and what sparked her decision to be a part of the team!
Denali grew up in a small studio in Enumclaw, Washington, and knew that her one true love in dance was ballet. Right before high school, she attended two summer programs at Evergreen City Ballet and eventually transferred there from her small studio. She shares that she liked the push that she got at a more professional-based studio which is why she transferred there. Denali ended up finishing her four years of high school at Evergreen City Ballet and after graduating auditioned for Ballet Arizona. She then did two years in Ballet Arizona’s pre-professional program and unfortunately got injured which resulted in her having to come back home. After returning, Denali went back to Evergreen City Ballet for a couple of months and then transferred to Oregon Ballet Theater and went through some of their pre-professional training there. She ended up stopping dancing after that due to injuries, but still incorporates massage and anatomy in her dance teaching now.
When asked what sparked her decision to be a part of the DWC team, Denali shares that she likes being a part of the ballet world. She thought that she would be the perfect fit for the team and she shares that the more time that she spends working with dancers of any age the more she enjoys it. Denali shares that as a ballet teacher it allows her to communicate with families better and have a greater understanding of what they need.
We are so excited to have Denali on the DWC team! Be sure to check out her interview on our YouTube channel to hear more about Denali’s dancing journey!
About the Author
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
Dancer To Dancer: Audition Advice
Sometimes the audition process can be daunting. We’ve all felt the butterflies in our stomach, or the pre-audition jitters. Believe us when we say we’ve been there! DWC staff, ambassadors and friends offer their prep routines and advice on getting ready.
Sometimes the audition process can be daunting. We’ve all felt the butterflies in our stomach, or the pre-audition jitters. Believe us when we say we’ve been there! DWC staff, ambassadors and friends offer their prep routines and advice on getting ready.
Robbi
Approach each audition with curiosity. Sometimes we put opportunities on a pedestal without knowing all that a process entails. Just try to be excited for the audition itself the same way you would be excited for a performance you were dancing in or going to see. The pressure is on for everyone, including the person running the audition, and you will see some of the most exhilarating performances of your career in an ordinary studio.
Laurie
I really emphasize preparing well ahead and prioritizing. There’s so much emotional and physical energy involved so be reasonable and realistic with your choices and the extent of what’s involved in auditions. It’s better to have a few good auditions for what you’re really vested in and show up at your best or have well practiced exercises or numbers, rather than spread yourself too thin. It goes without saying to come dressed and feeling your best with everything in your dance bag you could possibly need in shoes, etc etc.! Even invest in a new Leo for instance that makes you feel fresh and really good in it. Stand in front whenever possible and show consistent affirmation and acknowledgment of what the audition director or judges are sharing with good non verbal cues and enthusiasm. Perform with conviction and maximum effort irregardless of whether you like a particular combination or not— Don’t just save it for your “good side!” You may never get that chance! Finally, be extremely diligent and thorough in everything required for paperwork, headshots or online submissions to assure everything is correct and you’re not missing anything, including any important deadlines!
photo by: @janaearlyphotography
Emma
I start my prep as soon as I wake up. I do my makeup and hair as perfectly as I can- I want to present my best self. What you wear matters too! Usually auditions call for a black leotard, and I always wear one that I feel the most confident in.
After I finish getting ready I eat a pretty substantial meal. You need to fuel your body for what you're going to be asking it to do. On the drive over I listen to either some soothing classical music or some pump up jams to get me going! Once I get there and finish checking in, I find a place that's quiet and secluded to do some stretching and warm ups. If the place lets you into the studio before the audition starts, I like to go in and find a good place at the barre- I usually go as far as I can to the front without actually being in the front. Some auditions place you by number so you may not have a choice. Once I'm in there, I do some breathing and meditation exercises to ground myself. I also find that talking to the other dancers helps too! Remember, everyone is probably just as nervous as you are, we're all just trying to hide it.
photo by Catlyn Griswell
Ethan
I do my best to stay well-nourished, rested, and calm in the week leading up to the audition. Morning of, I try to eat as big a breakfast as I can without becoming uncomfortable. I make sure to extra warmed-up, some auditions will not provide a warm-up, but most will provide open space for a little bit beforehand. When I warm-up I want to get all of my muscles activated, I want to have gotten my heart rate up, and to get a quick stretch in. Lastly, as I warm-up I listen to some of my favorite music to get amped up and try to get into the flow state. I always feel a little anxious and nervous before an audition but I can mitigate that by taking these steps.
Cherie
Going into an audition used to scare me more than anything. I think when I was younger especially I was constantly comparing myself to everyone else in the room, and I often saw myself as unworthy to be there. I let the nerves get to my head, so fast combinations would confuse me and difficult technique left me very flustered.
During my senior year of high school I was able to identify why I wanted to dance after taking some time off. I want to dance because I love being in a room full of dancers and feeling their energy. I love to dance because I enjoy the challenge. I love finding new movement pathways. So when I go into an audition, I just focus on the present. I don’t like to think about whether or not I’ll be cast or get into a certain program. I put a lot of energy into experiencing the moment, interacting with the other dancers, and getting lost in the movement. When I’m able to get myself in the right mindset, that is when I do my best work.
For some more ideas and products to help get ready see our “Competition & Convention Prep Piece!”
As you all enter into auditions, remember to take deep breaths, put your best foot forward, and dance with all your heart. You got this.
The Next Step: Choosing Dance After High School
I started the process of finding my next step last year as a high school junior. It can be a daunting thought to start looking at your future like that, I know it was for me! As someone who has been dancing since the age of three, once it came time to think about a career, I always came up blank. When we say “dance is my life” we mean it. While I have interests outside of dance, there was never anything that I spent enough time doing to really develop a love matching my love for dance. Eventually I got to the point where I thought; I have spent my entire life training and dancing and improving, I love it more than anything else in my life, so why not keep doing it? After coming to that conclusion, I was able to get on a focused path with where I would like my future to go.
Pronunciation: Aw-brie Zap-in | Pronouns: she/her
By Aubrey Zappen, DWC Ambassador
I started the process of finding my next step last year as a high school junior. It can be a daunting thought to start looking at your future like that, I know it was for me! As someone who has been dancing since the age of three, once it came time to think about a career, I always came up blank. When we say “dance is my life” we mean it. While I have interests outside of dance, there was never anything that I spent enough time doing to really develop a love matching my love for dance. Eventually I got to the point where I thought; I have spent my entire life training and dancing and improving, I love it more than anything else in my life, so why not keep doing it? After coming to that conclusion, I was able to get on a focused path with where I would like my future to go.
Oftentimes people do not view dance as a good way to spend your future. But as long as you make smart decisions, it is entirely within your reach. Even if a college dance program is not what you want, there are still so many options to choose from. It is important to remember that while the dance world may be small, it is also huge! There are so many different paths you can take, so don’t discount a career in dance. It is normal to question whether choosing dance is a reliable choice of a career, so I hope that this information will help you out!
Research College Programs
If you are like me and you know that college is a good option for you, start researching now. College deadlines sneak up on you fast!
The first things that are important when narrowing down your search are: location, school size, and degree programs. For me, I knew right away that I wanted to go to the East Coast. I did not care how far, I just wanted to go somewhere different. School size was also straightforward in my search because I am not a people person, therefore I wanted a small to medium sized school. Of course everyone is different so your experience will be different than mine, but it still applies. Whether you are looking to major in dance or just have it as an option, make sure that the schools you are looking at have it. Many schools don’t have dance as a major/minor or they only have a minor. With that being said, just because a school doesn’t have a dance degree program, that does not mean that they have no dance. There could be dance teams or clubs as well. Do some research and find your fit! It’s okay to not know what you want at first, it’s all a part of the process.
Training Programs & Conservatories
If college isn’t your thing, but you feel like you need more training, a great option to look into are training programs and conservatories. These are often programs dedicated mainly to dance education only and can be shorter than a college program as well. There are several conservatory programs that are technically college programs, but the level of academic classes that you are required to take is dramatically lower than that of a regular college dance degree. By taking the route of a training program or conservatory, you can allow yourself to have more focused training, build connections with current professionals in the industry, and often have audition opportunities after graduating. Some programs may be one year, some may be three or four, either way your time will be spent solely focusing on getting your dance training where it needs to be in order to be successful.
Those are all amazing options and if they work for you, great! But, some people prefer to go straight into auditioning and working. If you choose to move to LA or New York or another city and pursue your dreams that way, go for it! You are much braver than I am! Making it as a dancer is not impossible, just remember to never give up. You never know what opportunities will present themselves to you.
No matter what you decide to do, be smart and safe! Individuality is incredibly important so embrace who you are. Whether you choose college, a conservatory, or just start working in the industry, it does not change the hard work that you will need to put in to be successful. It is not easy, but it is worth it!
Below are links for college and conservatory programs:
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
Seeing Color in the Dance Industry
It’s safe to say that most of us didn’t anticipate the first half of 2020 to go the way it has. Our lives have changed drastically in the past few months, some more than others. Not only has the COVID-19 pandemic modified nearly all aspects of our daily routines, but a national movement supporting black lives and opposing police brutality has ignited. The heartbreaking murder of George Floyd in Minneapolis has stirred global attention towards police brutality and racial inequity in America. There have been protests in solidarity with George Floyd in all 50 states and at least 40 additional countries on nearly every continent. Anger towards this grueling act of police brutality has transformed into a larger revolution against systemic racism that’s gone on for too long in the United States.
This piece was originally written in 2020 and has been reposted in February 2023.
By Madison Huizinga, DWC Blog Editor
It’s safe to say that most of us didn’t anticipate the first half of 2020 to go the way it has. Our lives have changed drastically in the past few months, some more than others. Not only has the COVID-19 pandemic modified nearly all aspects of our daily routines, but a national movement supporting black lives and opposing police brutality has ignited. The heartbreaking murder of George Floyd in Minneapolis has stirred global attention towards police brutality and racial inequity in America. There have been protests in solidarity with George Floyd in all 50 states and at least 40 additional countries on nearly every continent. Anger towards this grueling act of police brutality has transformed into a larger revolution against systemic racism that’s gone on for too long in the United States.
As we partake in protests, sign petitions, and watch riots unfold on television, many of us are contemplative of our position in this movement and greater society. And in light of social distancing, many of us are in close quarters with family members and roommates who may disagree with the demonstrations developing throughout the country. This can result in some uncomfortable conversations that some people may have never had before, especially among white people.
As a white person who grew up in a white family, race is an aspect of my identity I have never needed to consciously consider. I expect to see people who look like me on my favorite TV shows. I expect to purchase a foundation that matches my skin tone at the mall. I expect to learn how historical figures with my racial identity founded America in history class. I can walk around my community confidently knowing that nothing adverse will happen to me solely because of my race. I feel seen and heard wherever I go because I have learned that being white means being the default. And I have been taught to think that this is valid.
When it comes to discussions about race at my family dinner table and within the walls of my classrooms, I am often told that all people are the same regardless of their skin color. I am told that to push for justice, we must simply view all people equally to achieve equality within social systems and institutions. Throughout my education and upbringing, I have been taught to be “color blind,” which may sound beneficial in theory. But being blind to racial difference means ignoring white privilege and the disadvantages others have because of it. Choosing to be “color blind,” means choosing to ignore the flawed systems that white people benefit from at the expense of people of color’s rights. It means choosing to be blind to systemic oppression, and thus indifferent and complacent to the suffering of black people. It’s time that I, and white people everywhere, open their eyes.
Niyah Pratt, DWC Ambassador
Now is a more important time than ever to listen and learn about the systemic racism that’s embedded in the world we live in. It’s time that we identify how racism not only withholds power from people of color but actively contributes to white people’s success. This does not mean denying the existence of white privilege but utilizing privilege to amplify anti-racist sentiment. This does not just involve taking a stand during a moment of tragedy but constantly analyzing the systems we are a part of and understanding how prejudice is woven into their fabrics. For many of us, this means turning to the dance industry.
As a white woman, I see dancers who look like me strewn throughout the dance community. I constantly see my identity presented through the types of stories told on stage, as well as through the types of dancers telling those stories. In the United States, about 67% of dancers and choreographers are white, while only 16.6% are black. Like all art, dance is meant to express emotions, transport audiences to different worlds, and explore unique narratives. However, when the majority of these narratives are choreographed and performed by white people, it can be difficult for people of color to feel as represented on stage. When white people make up two-thirds of the American dance industry, we cannot expect dance to be a comprehensive art form that communicates widely shared anecdotes. We cannot expect people of color to feel as accepted in the dance community if they aren’t represented across every area of the industry.
Niyah Pratt is a black dancer who has trained in the greater Seattle area since she was six years old. She’s performed at numerous showcases, attended conventions across the west coast, and has even spent a summer dancing at Debbie Allen Dance Academy. Today she studies dance at the University of Nevada, Las Vegas. While dance currently plays a paramount role in Niyah’s life, she hasn’t always felt embraced by the dance community throughout her childhood. Niyah says that “it has always been hard being an African American pursuing dance,” largely because she rarely saw people within her classes and acclaimed companies that looked like her. Niyah recalls that she “didn’t fully know that there were companies other than Alvin Ailey that were started and ran by African Americans until [she] was sixteen.” It wasn’t until she attended a summer intensive at the Debbie Allen Dance Academy that she began learning about the history of African Americans in dance. Before that, her view of the dance world was skewed towards white dancers and their contributions.
Niyah notes that growing up she was “one of four African American dancers” at her studio, and often felt singled out as a result. She has attended ballet auditions in which she is the “only person of color in the whole building.” Niyah “never forgets walking into a room and every girl looking exactly the same except for [her].” She says that from her own experiences “having a darker complexion while dancing is mentally challenging.” Being surrounded by solely white dancers can instill imposter syndrome in many black dancers, otherwise known as a lack of belonging. Not feeling seen, accepted, and represented within the dance industry can easily deter many people of color from pursuing a career in dance, as they may feel that they aren’t talented or qualified enough to belong in the industry because of their race.
According to Niyah, being a black dancer is not only mentally challenging but “it’s physical as well” due to the lack of costuming options for black dancers. Niyah says that “anything skin-toned or with mesh” often makes black dancers “feel uncomfortable” because “they are made for someone ‘fair toned.’” Especially when it comes to shopping for tights, black dancers often struggle to find anything close to matching their skin tone. Niyah recounts a vivid memory of a faculty show in college, in which her ballet teacher requested to speak with her in the hallway and asked “why [she] didn’t have skin-colored tights or pointe shoes.” Niyah was extremely confused because she was wearing tights and shoes that were marketed and labeled as “skin tone,” even though they were much lighter than her complexion. Niyah’s teacher told her that “when you have darker skin, you are supposed to wear your tone of tights and shoes when you perform.” Niyah was surprised that no one had ever told her that. This a conversation that a white dancer would never need to have. As a white dancer myself, I can purchase “skin toned” tights and shoes at any store and expect them to resemble my skin tone. But for black dancers, this simply isn’t the case because “skin tone” is synonymous with “white” across the dance industry and society.
Despite the challenges Niyah has faced in the dance industry, she notes that there “has been significant progress” and she is “ecstatic seeing [the industry] evolve.” She has noticed that in recent years more dancers of color and dancers of different shapes and sizes have gained attention. While it’s certainly inspiring to see individual performers like Misty Copeland gain recognition for their talents, a large-level change is needed so that seeing black dancers in the spotlight becomes a standard and not an anomaly. What Niyah wishes to see across dance communities is “inclusion” and dance that “is taught for anyone and everyone.” This means telling stories through dance that are relevant to people of color. This means seeing black dancers in lead roles that are complex and powerful, rather than vilified, racialized, or minimized. This means creating nude leotards, tights, and pointe shoes that don’t just match a pale skin tone, but compliment dancers of all races. It’s about a complete metamorphosis of the dance industry on every level. In the words of Niyah Pratt, dance “is already so beautiful, diversity is the only thing keeping it from being stunning.”
The past few months have presented challenges that many of us may have never foreseen. But we have the opportunity to move forward with a more compassionate and critical outlook on the world. We have the chance to not let this movement be a moment in time, but a catalyst for change. It is never too late to break the silence to provide support for black lives today and forever. Here are some ways to get started:
Educate yourself:
Learn more about the history of racism in America, and more about how black identity is widely perceived in institutions. This is an essential way to understand the meaning behind the large injustices that take place throughout the United States.
Here are some books to read to learn more about the experiences of black people and how to have productive conversations about racial identity:
The New Jim Crowe: Mass Incarceration in the Age of Colorblindness by Michelle Alexander
We Were Eight Years in Power: An American Tragedy by Ta-Nehisi Coates
Here are some documentaries, films, and series that incapsulate the experiences of black people in the United States:
13th on Netflix and YouTube
When They See Us on Netflix
Moonlight
Dear White People on Netflix
The African Americans: Many Rivers to Cross
Consume and support art from black artists
There is a plethora of beautiful art produced and performed by black artists across the Internet. Here are some that are dance-related:
“SHOT” by Donald Byrd
DTH On Demand Presents: VESSELS by Dance Theatre of Harlem
“ink” by Camille A. Brown and dancers
Alvin Ailey American Dance Theater: Chroma, Grace, Takademe, Revelations (2015)
Sign petitions
On change.org, there are a variety of petitions relating to racial justice for people to sign. Learn about different causes that need support and share them with your friends and family.
Donate
A donation of any size is welcome to nearly every cause. If you are capable of donating, consider doing so. Here are some organizations to consider:
Preparing Mentally, Emotionally & Physically for Aging in Dance and Transitioning Stages
As a young company dancer at Olympic Ballet Theater in the 1980’s, one of my favorite pieces I performed was “Fall” as a part of the Ballet Seasons. Now in my 50’s, I’m in a very different season of my life as a dancer. I’ve always loved fall–the season that teaches us that change can be beautiful.
What I’ve Learned from 50+ Years of Dance!
Pronunciation: La-Ree Ba-Lees | Pronouns: she/her
By Laurie Balise, DWC Ambassador
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As a young company dancer at Olympic Ballet Theater in the 1980’s, one of my favorite pieces I performed was “Fall” as a part of the Ballet Seasons. Now in my 50’s, I’m in a very different season of my life as a dancer. I’ve always loved fall–the season that teaches us that change can be beautiful.
My life story thus far includes many different seasons, in both dance and otherwise, all of which I’ve tried to embrace. Each season has taught me something different that at now 53 has created wisdom. While there have been many successes and much happiness, I’ve also learned to deal with mistakes and disappointment, handling regrets, and practicing forgiveness. Often the greatest shifts and growth have come from re-addressing previous truths that came after life tragedies. My wisdom has taught me that everything in life, whether positive or negative, or significant or seemingly not, has value. Personal reflection is so important, and implementing new ideas or goals, yet still allowing yourself to dream. I likewise believe in teaching my dancers to be adaptable, disciplined, hard working, resilient and tenacious in all they do. Dance teaches us SO much more on our life path at times than just dance, and I’m grateful for all the lessons along the way.
Something I’ve also considered as I’ve aged is wanting to assure I’ve created a positive impact on the world. Whereas in my youth I was primarily a performer, transitioning to teaching gave me even greater purpose. Before teaching I incorporated the arts and dance into my academics in college with an internship at Pacific NW Ballet in their Public Relations Department and later was the Publicist for the Seattle Symphony. I have more avenues to explore, but I’ve also found peace and felt pride and satisfaction with what I’ve accomplished thus far. I think positive self validation is really important always, but especially as we get older-we don’t have to continually prove ourselves as dancers, or otherwise. What I hope to have passed along as a teacher and be remembered for is that I truly cared; that I challenged myself and others both creatively and in physical abilities and technique; that I showed my students how to have fun even when working hard; and that believing in themselves is always most important. I love connecting with others in our shared humanity which has been a big part of my purpose. I think it’s important to identify the why? as well and once we have, better align ourselves with our purpose. Progress and growth is always important, but sometimes it also includes rest or reinvention. There’s no particular ‘standard’ we have to meet to be dancers either- no right or wrong. Nor do we have to be doing certain things like performing or even teaching to still be viable in our art form and make a contribution. There are so many options for how we can incorporate dance into our lives that are meaningful and joyous. I love just dancing around the world or taking classes whenever I’m traveling. For many years I’ve also helped in volunteer positions judging the dance category in art competitions, assisting with high school dance team tryouts, producing and choreographing school musicals, and representing the arts at student career fairs.
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Jule meshie crop top | CD World grey/black sports bra | SoDanca Black Shorts
Sometimes rest or change is something we resist though until life throws us a prominent “stoplight!’ There are always indicators around us if we are present enough to pay attention, and sometimes an opportunity we hadn’t considered becomes a wonderful transition to a new chapter. The Universe sent me a message recently to listen to my gut, literally. It led me to health tests that revealed a gut disorder most likely brought on from years of cumulative stressors and past traumas. As dancers and artists, we of course are quite empathic and feel everything deeply. Additionally, we hold ourselves to high standards and push ourselves in all ways. And after so many years of being in front of people, no matter what level of confidence or mastery we have, we can still get anxiety and butterflies in our stomach. Practicing greater self care and managing stress including both physical and mental health has been a big priority for me especially in this latest season of my life. The gift in awareness was that I was able to bring its importance into my professional life as well by offering mindfulness and meditation classes for my dancers, as well as teaching yoga to both kids and adults.
In more recent years, I’ve really tried to start leaning more into my wisdom and intuition, giving myself more permission to say “no” when necessary to find greater balance in my life. I think this is such a great practice for dancers or anyone. Sometimes things are just too much at times, and when we ease off and take a few steps back we can actually proceed forward with greater care. We don’t always have to be “on'' and available to everyone either. We’re already so exposed as performers and teachers, and it’s okay to not have to always be front and center. Using this skill, I try to step back when I teach for instance so my dancers can let themselves be their own focus.
I may be getting older- everyone is! But I’ve found acceptance in that and all the undeniable things my body has gone through as a mother and otherwise. In this way I practice non-resistance to the things I can’t change. That said, I still don’t need to be limited by or defined by my body or age in my strengths or abilities throughout any of the seasons of my life either. In many ways I know my body has been stronger the older I’ve gotten. When we truly love ourselves, our body responds positively in a homeostasis in our mind, body, and soul. As a dancer and most importantly a human being, I am always viable in what I have to offer and in any capacity that I may find myself in. This is what keeps me going and growing, always, and staying positive and allows the freedom and ease of transformation to occur, in dance or otherwise.
If we think of ourselves as being in constant creation then we are in a revolutionary process of reinventing ourselves throughout life. Growth is a choice we can make over stagnation. The more we move in all ways,, the more we find opportunities to stimulate our brains and bodies in new exploratory ways. This can help us defy the aging process just by the natural occurrence of our choices and actions. You are confined only by the walls you build yourself; the opposite of courage is not cowardice, it’s conformity.
Just like there are several positions in dance that we flow through from first to fifth, we move through different points in our relationship with dance in each new season. Each is beautifully unique for what it offers us in experiences and memories and grows us in different ways. When holding a pose in dance, we still remain alive and breathing before transitioning into the next step, just like through the stages of our lives. So may we all Temps lié, Chassé or Pas de Bourrée into our next position in life and embrace whatever it may be! Ultimately as we know, life itself is truly a dance!
“You can have as much ballet or dance as you want in your life. You can have a lot or a little bit, or somewhere in-between,” said Miko Fogarty, the star of the 2012 dance documentary First Position who herself has found different directions in life beyond dance.
About the Author
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
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