Uplifting a Community Through Inclusivity and Collaboration
People feel comfortable within their comfort zones. Here in the Seattle dance scene, it’s natural to flock to micro-communities of people who have similar interests as you. Nonetheless, such divisions can foster a competitive atmosphere in a world where dancers increasingly need the support of each other. Marlo Martin, artistic director of eXit SPACE, is interested in disrupting this dominant script, uplifting dancers, and fostering cross-community collaboration through her work at eXit SPACE.
A Conversation With eXit SPACE’s Marlo Martin
By Madison Huizinga, DWC Blog Editor
Photo by Jospeh Lambert - Jazzy Photo
People feel comfortable within their comfort zones. Here in the Seattle dance scene, it’s natural to flock to micro-communities of people who have similar interests as you. Nonetheless, such divisions can foster a competitive atmosphere in a world where dancers increasingly need the support of each other. Marlo Martin, artistic director of eXit SPACE, is interested in disrupting this dominant script, uplifting dancers, and fostering cross-community collaboration through her work at eXit SPACE.
Marlo’s dance journey began around age five in a ballet/tap class at Diane’s School of Dance in her hometown of Fruitport, Michigan. She fell in love with dance, continuing training throughout elementary school and high school. Following high school, she attended a community college for two years before transferring to a university, which allowed her some wiggle room to figure out what career path she wanted to pursue. “I never thought about dance in college because I just didn’t think I had the talent to do it,” she admits. Coming from a smaller, recreational-focused studio, she thought that a dance major wasn’t aimed at a person like her. While it took some convincing, Marlo’s best friend Kim persuaded her to audition for some college dance programs with her.
“I auditioned for Western Michigan University,” Marlo shares, which had an incredibly robust dance and theater department. Unfortunately, after high school, Marlo got extremely sick and was hospitalized for a long period. After she recovered and became healthier, she attended Western Michigan University. “That’s really what changed everything for me,” Marlo says of her college experience influencing her career path. “It was such a strong program.”
She went through the process of applying for a BFA at Western Michigan, undergoing a rigorous series of interviews in addition to her studies. Marlo wasn’t accepted into the BFA program at first, being told that her technical skills were not advanced enough. So, she begrudgingly added more ballet classes to her repertoire to help supplement her technique. Marlo ended up getting accepted into the BFA program the following semester. “The program was amazing,” she says. “They set me up for success in a really fundamental way.” Within her department, emphasis was placed on cultivating community and raising peers up, rather than viewing them as competition, philosophies that Marlo carries into her work today. She’s honored to be receiving a Distinguished Alumni recognition at Western Michigan University this year.
“Marlo Martin, artistic director of eXit SPACE, is interested in disrupting this dominant script, uplifting dancers, and fostering cross-community collaboration through her work at eXit SPACE.”
Following college, Marlo quickly got engaged, married, and moved across the country to Seattle for her ex-husband’s job. She assumed that she would be able to find work in Seattle, as it’s a large city. However, as Marlo points out, “Seattle 18 years ago was not Seattle today.” “I got here and I freaked out a little bit,” she shares, as there were fewer dance opportunities than New York and Chicago, cities she had danced in before. She especially noticed a lack of jazz classes, a genre she had specialized in growing up. “Dance in Seattle and what defined it was limiting,” Marlo says.
Photo by Jospeh Lambert - Jazzy Photo
She managed to take some classes here and there, mainly at Spectrum Dance Theater and Velocity Dance Center. She also taught all over the Seattle area, eventually meeting Veronica Lee, a Cornish graduate, and talented choreographer. The two grew close, spending time together in and out of the studio. Eventually, Veronica proposed that she and Marlo open up a studio together. Six weeks later, after deliberating and reading the book Six Week Start-Up by Rhonda Abrams, eXit SPACE was born.
The dance school began with one room in Green Lake 17 years ago, with a dozen kids and 40 adults across its various programs. “I remember every time we’d sell a class card, I would celebrate,” Marlo recalls. “Over the years, we collected more teachers and our community started to grow.” She shares that eXit SPACE possessed “authentic momentum.”
“In a nutshell, eXit SPACE is a place or a space to discover or rediscover the art of dance for anybody of any background, at any moment,” Marlo says of eXit SPACE’s mission. “Everybody who enters the space is committed to being supportive…it’s a non-competitive environment, in the fact that we believe there can be inspiration found in one another.” The dance school’s faculty and student base are dedicated to lifting each other up, without holding others down. Marlo envisions a culture in which dance is open to anybody to try at any stage of their life, rather than a more exclusive institution.
In terms of programming, eXit SPACE has a young dancer program, featuring classes in modern, jazz, ballet, tap, and hip hop. “I love educating young dancers and helping them become artists or just [foster] an appreciation for their own body, whatever their pathway is,” Marlo says of the program. The dance school also features an adult dance program, including classes held in-studio and through Zoom for dancers with all levels of experience. eXit SPACE’s pre-professional program, otherwise known as thePROGRAM, is a specialized program for students between 8 and 18 years old committed to seriously focusing on their dance training and future.
Marlo enjoys being involved with multiple facets of dance, including teaching, choreographing, running festivals, producing work, and more. “I would get frustrated if I only did one facet of dance, so I really enjoy being able to change roles often,” she voices. NOD Theater, a performance space in Capitol Hill, is where eXit SPACE will be holding a full season of performances, workshops, festivals, and events. Marlo plans on producing eXit SPACE’s annual TakePause festivals in January and May 2022, as an open call for dancers of all levels and ages to perform. She’s also holding the annual Boost Dance Festival and BoostMeUp Youth Dance Festival in March 2022, as well as various artist-in-residence programs and student showcases. NOD Theater is also available for rent.
Photo by Jospeh Lambert - Jazzy Photo
“Whatever energy you give out will come back to you,” Marlo says. “If you create this intentional community, [the] people who align with [its] beliefs will come…and that’s what happened over and over.” Since its conception, eXit SPACE has expanded to three studios and created theNEST, which functions as a “home base of classes.”
Moving forward, Marlo hopes for dance creators to make more effort to collaborate across communities, to diversify their perspectives and offerings. “I would love to see more communities work together more often. I would love to see more businesses and directors work together more often,” Marlo says. “This culture hasn’t changed from my perspective in the 18 years I’ve lived here.” She longs for dancers from various micro-communities to put more effort towards integrating and sharing ideas, to diversify their offerings. “If you only involve yourself with the choreographers, teachers, and students in your own community, even if it’s a diverse pool, you’ve decided to limit that experience…I just think there’s so much to be gained by community outreach to one another,” she shares.
Behind the Scenes with Elizabeth Bonar
Putting together a dance production can be a stressful experience for a choreographer and director. When putting the final touches on choreography, managing dancers, and carrying out other tasks, lighting design and stage management can slip to the back of choreographers’ and directors’ brains. Nonetheless, lighting design, stage, and house management are important parts of a production to consider, as they can greatly benefit the experience of a production for audience members and dancers alike when considered in detail. Elizabeth Bonar wears many hats as a local dancer, choreographer, teacher, lighting designer, and stage manager. Tune into Tea & Tendus at DWC Renton on March 13 at 5:30 PM to hear more about Elizabeth’s expertise and ask questions about all things “behind the scenes.”
A Conversation with Local Lighting Director and Stage Manager
By Madison Huizinga, DWC Blog Editor
Photo by Evan Bonar
Putting together a dance production can be a stressful experience for a choreographer and director. When putting the final touches on choreography, managing dancers, and carrying out other tasks, lighting design and stage management can slip to the back of choreographers’ and directors’ brains. Nonetheless, lighting design, stage, and house management are important parts of a production to consider, as they can greatly benefit the experience of a production for audience members and dancers alike when considered in detail. Elizabeth Bonar wears many hats as a local dancer, choreographer, teacher, lighting designer, and stage manager. Tune into Tea & Tendus at DWC Renton on March 13 at 5:30 PM to hear more about Elizabeth’s expertise and ask questions about all things “behind the scenes.”
Elizabeth started dancing at age four. Her parents put her in classes because she couldn’t stop dancing around the house, an experience many dancers are familiar with. She stuck with it throughout high school and college, ending up getting her Bachelor of Science degree in dance at the University of Idaho in 2017.
Growing up, Elizabeth was also frequently exposed to the stage management side of performing, as her mother worked as a stage manager at many of her shows. In high school, Elizabeth’s leadership class was putting on a talent show and needed someone to run the light board. She decided to volunteer. Over the next few years of high school, Elizabeth helped work behind the scenes of other productions here and there. In college, Elizabeth got much more involved with working the light board, taking it upon herself to pull out the manuel and educate herself more on the technicalities of it. She even dedicated her senior year project to lighting design in dance. Following graduation, Elizabeth’s professors asked her to come back to campus and stage manage their pre-professional faculty-choreographed show in the fall, which she has been doing ever since.
“I love helping the dance productions shine the best that they can,” Elizabeth says of lighting design and stage management. She believes that her background as a dancer and choreographer gives her some helpful insight when helping design the lighting of a show and help manage a production. She’s able to better put herself in the shoes of a dancer and choreographer than a manager who may not have experience with performing and choreographing.
The biggest challenge that Elizabeth has seen in her line of work is a lack of communication between dancers and stage managers. For example, a stage manager may not understand what it means when a choreographer points out the way the lighting changes when dancers do “pirouettes.” It can be easy for team members to lose sight of the fact that they’re all working towards the same goal, despite any communication barriers. She also points out that many choreographers and directors put off considering production elements like lighting design until the last minute, without considering how they can help or harm their show. Being able to communicate with stage managers early on about such elements can save choreographers and directors a lot of last-minute stress.
Elizabeth says that it’s helpful for directors and choreographers to find lighting designers and stage managers that they work well with. It’s important for both parties to be open to the suggestions that the other may have because they can offer a unique perspective that may not have been considered before. She also points out that when the choreographer trusts the stage manager to do their part without micro-management, it frees up much more time and energy for them to focus on their choreography and other tasks. Everyone benefits from mutual trust.
Overall, Elizabeth believes that the dance and stage management worlds will benefit from learning more about what the other side does. Dancers working tech on shows, no matter how small, and having an appreciation for what technical workers do and how hard they work is important. “Until you’ve done it, you don’t really understand what [the other side] is doing,” Elizabeth points out. Getting more stage managers with dance backgrounds involved will also benefit the industry, as they already have an understanding of what that other side does.
Elizabeth is stage managing the University of Idaho’s spring production of DancersDrummersDreamers, which runs March 24-26, 2022. She’s thrilled to be working on this production, as it’s the first time it will be on stage in two years. She’s also doing lighting design and technical direction for Ballet Workshop’s production of The Sleeping Beauty, which runs April 23-24, 2022 at the Port Angeles Performing Arts Center. She will also be doing lighting designs for some of Ballet Workshop’s video pieces for the Juan de Fuca Festival of the Arts.
Photo by Melanie Meenan
Elizabeth will also be a special guest at the March Tea & Tendus event at Dancewear Center Renton on March 13th at 5:30 PM. Elizabeth will guide attendees through the basics of lighting, stage, and house management, as well as the best ways for tech crew and choreographers, and directors to collaborate. You can register for the free event here, we hope to see you all there!
Bringing People Together at All-4-1 Dancepalooza
It’s no secret that the dance world today is riddled with competition. Whether it’s the stages of dance competitions or within the crowded studio of an audition, dancers are often encouraged to pull out their best skills to win over the hearts and minds of judges, casting directors, and audiences across the globe. Within a competitive world, it’s easy to lose sight of the supportive communities that dance can foster. Daniel Wilkins of DASSdance strives to promote an inclusive and celebratory environment at All-4-1 Dancepalooza, a dance festival showcasing over a hundred young artists in the greater Seattle dance community March 12-13, 2022.
A Conversation With Festival Producer Daniel Wilkins
By Madison Huizinga, DWC Blog Editor
It’s no secret that the dance world today is riddled with competition. Whether it’s the stages of dance competitions or within the crowded studio of an audition, dancers are often encouraged to pull out their best skills to win over the hearts and minds of judges, casting directors, and audiences across the globe. Within a competitive world, it’s easy to lose sight of the supportive communities that dance can foster. Daniel Wilkins of DASSdance strives to promote an inclusive and celebratory environment at All-4-1 Dancepalooza, a dance festival showcasing over a hundred young artists in the greater Seattle dance community March 12-13, 2022.
Daniel describes his upbringing as “atypical,” as his parents held roles as dance teachers, choreographers, and directors at various dance schools and companies. While Daniel found success with baseball as a child, his father encouraged him to give dance a try. In high school, Daniel dove into the arts, taking up acting and modeling. With the support of his family, he began training in dance as well, ending up earning a scholarship at the San Francisco Ballet and later attending the School of American Ballet after several tries of auditioning. At the School of American Ballet, Daniel was fortunate enough to train under the likes of iconic instructors like Richard Rapp and Stanley Williams.
“I would love to see more mechanisms in place that give opportunities to young artists and young companies”
After graduating, Daniel danced with Pittsburgh Ballet Theatre under his first company contract. Upon his returns to New York and Seattle, Daniel drew inspiration from the emerging grunge music scenes at the time, asking himself how tradition-dense dance genres like ballet could be made more current. After leaving Pittsburgh Ballet Theatre, Daniel returned to New York and worked with companies like Daniel Byrd - The Group, Complexions Contemporary Ballet, and Suzanne Farrell Ballet, before moving on to choreographing himself. He later founded DASSdance in New York and Seattle “after seeing a need for daring and innovative movement in the dance community.”
Photo curtesy of dassdance.org
Daniel says he was inspired to create the All-4-1 Dancepalooza after moving to Seattle and witnessing a lack of diversity in the local dance scene. “I wanted to do something that brought communities together somehow,” Daniel shares, desiring to break apart silos of dancers and foster a greater sense of inclusivity and community. He also points out the significance of bringing dancers in conversation with one another to create nuanced styles and progress techniques. When dancers of different backgrounds are exposed to one another, opportunities for cross-cultural understanding and creativity can emerge.
Daniel says that one of the pivoting factors for All-4-1 Dancepalooza was meeting Tyrone Crosby of N the Kutt Dance Studio in the greater Seattle area. The two came in conversation with one another and thought of different dance companies and studios to invite to the festival. All-4-1 Dancepalooza was able to draw in dance makers from all across Washington State year after year.
All-4-1 Dancepalooza offers dance classes and performance opportunities aimed towards young dancers ages nine years old and older. Attendees are exposed to experienced master class teachers in an array of genres, including ballet, hip hop, contemporary, jazz, and acro partnering. In addition, professional dance companies are invited to perform, including the DASSdance professional company.
“I really enjoy seeing the kids enjoying themselves and having all these great master teachers excite them with their amazing abilities,” Daniel says of All-4-1 Dancepalooza. He thinks it’s important for dancers to be able to feel confident in the classes they take but also challenged.
Photo curtesy of dassdance.org
In Daniel’s eyes, what sets All-4-1 Dancepalooza apart as a festival is its initial mission to open dancers’ arms and eyes and have conversations with different performers across the region. Daniel feels strongly about All-4-1 Dancepalooza being a non-competitive environment, and rather a place for people to come together, showcase their work, and meet new friends. While participating in other sports growing up, Daniel felt a strong competitive drive, but not as much when dancing. “It’s an art form, that’s what it is first and foremost,” Daniel says of dance. “I don’t want that to be lost.”
Daniel doesn’t subscribe to the idea that a dancer must fit a certain mold to be talented, as trying to force dancers into a pre-determined form can be incredibly limiting, especially for young aspiring artists. “I would love to see more mechanisms in place that give opportunities to young artists and young companies,” he says.
All in all, Daniel appreciates the diversity of artists that are showcased at the festival, particularly amid the youth companies, which are the core of the festival. Ballet companies, hip hop companies, contemporary companies, tap groups, and more can be expected to grace the stages of Broadway Performance Hall on March 12 and 13, 2022. “We have a great group of amazing dancers, master teachers, and choreographers. It’s going to be an exciting lineup,” Daniel shares.
Laying the Groundwork for Legacy
I’m sure I’m not alone when I say that since 2020 hit, my construct of time has been distorted into a brand new reality… one where each day, week, month, and year seems to blend together. Every year, I look forward to carving out time to reflect on the past year and write my review of our accomplishments; however, this year I’ve been dragging my feet, mostly because 2021 has felt more like the third book in a long series than a stand-alone novel.
2021 in Review
By Samantha Weissbach, DWC Owner & General Manager
I’m sure I’m not alone when I say that since 2020 hit, my construct of time has been distorted into a brand new reality… one where each day, week, month, and year seems to blend together. Every year, I look forward to carving out time to reflect on the past year and write my review of our accomplishments; however, this year I’ve been dragging my feet, mostly because 2021 has felt more like the third book in a long series than a stand-alone novel.
To fully understand why 2021 was such a pivotal year in the DWC story, we have to go back in time for additional context. When my mom and I took over ownership of DWC in late 2018, my sole desire was to keep a longstanding resource for the community alive. Despite my passion, I knew we would be taking on a huge learning curve, not only in taking over a retail business (when the bulk of my business operations experience is in services) but also in maintaining and building on the level of fitting expertise previously provided at DWC.
As with most things in the dance world, there is no universal standard set in place for fitting pointe shoes, and when I took over DWC, a comprehensive curriculum for learning how to fit simply did not exist. Pointe shoes can bear up to 10-14 times your body weight, and incorrectly fitting or dead shoes can open dancers up to a litany of mild to severe injuries. Establishing an agreed-upon standard and methodology for fitting pointe shoes would not only provide a more concrete career path to becoming a pointe shoe fitter, but would more importantly give ballet dancers a champion in their efforts to dance longer, stronger, and safer. In our first 2 years of ownership, the staff and I sought out every possible resource we could find for fitting pointe shoes, but it simply wasn’t enough.
“Thank you for choosing to spend so much of your finite life energy with DWC - I truly could not and would not want to do this without each and every one of you by my side.”
We all know that 2020 was a year that will go down in every history book. It was a monumental event for humanity, and no business was left unaffected (whether it be positively or negatively). In the first couple of months of the shutdown, like most of us - I was left alone with myself and my thoughts. Even before the pandemic hit, my efforts to seek out higher-level education & mentorship were fruitless. It turns out it’s especially hard to find anyone willing (understandably so) to part with their trade secrets in a business as niche as pointe shoe fitting.
I was feeling dejected and hopeless and by May of 2020, like most businesses, I was seriously considering closing our doors for good. Our sales were in the toilet (we now have a good chuckle when we look at our April 2020 sales - a whopping $103.29 for the entire month), we were locked into our Fall ordering* of over $100k in product (a conservative order) that was likely not going to sell, and the SBA loans we did receive simply weren’t going to cover even our most base level operating costs.
*In most retail, inventory orders are done in bulk, on a seasonal basis, oftentimes months in advance. It isn’t unusual to purchase for September in February, April in November, etc.
For those who know me, you know that while I hold a deep reverence for people and their beliefs, I personally do not subscribe to a specific religion. I do, however, believe in energy. I believe matter cannot be created nor destroyed and I believe that humans, as a species, are incredibly limited in what we are capable of perceiving. Call it an ill-advised business strategy, but in 2020 I was looking for a clear sign from The Universe on whether or not I should keep going.
Enter ThePointeShop (TPS) and their release of The Progressive Pointe Method curriculum. I vividly remember the day Josephine announced she was opening applications for the fitter certification course and retail partnerships. My heart started racing, and I immediately started sweating profusely (I’m a sweater. Cute, I know.) I could feel it in my bones that this was the sign I had been waiting for, and this was the opportunity for the mentorship and training I so desperately had been seeking out. I told my mom the day we applied that if we weren’t accepted into the program and as retail partners, that would be my sign that it was time for DWC to close its doors.
Fast forward to today, January 20th, 2022 as I write to you from the plane taking me to San Diego to take my final test to become a TPS certified pointe shoe fitter. By now it’s no secret that we’ve not closed our doors, and that I’ve had the great honor of spending the last year in training with Josephine herself. I will forever be grateful to Josephine and her entire team for caring so deeply about progressing the dance industry that they made the unpopular decision to train fitters outside of their organization with the larger goal of elevating the craft of pointe shoe fitting on an international level. This seemingly small action had a ripple effect and gave us the sign we needed to press forward in a time when I had lost hope.
As I look back on 2021, I know it’s going to be a year that marks a huge milestone in the history of our business. We grew our small team of 4 into a team of 14, became members of DanseMedica and retail partners with ThePointeShop, traveled to Juneau, AK to fit pointe shoes, and of course - opened our 2nd location in Renton, WA. Our blog (headed by our amazing editor Madison Huizinga) has published a total of 76 posts, highlighting local artists and dance specialists, and subjects such as dancer mental health, injury risk prevention, and epilepsy awareness. We’ve also begun hosting regular networking events and educational seminars out of the event space in our Renton location, and of course, we provided multiple internal and external training opportunities for our staff.
None of this would have been possible without mentorship from ThePointeShop, the continued support of our customers (y'all are ‘the real MVPs’), my husband (aka the DWC dad: he fixes and builds everything - including the beautiful pointe shoe tree at our Renton location) and especially: the extraordinary members of my team at DWC. You all inspire me, keep me in line when I’ve gone off the deep end (it’s a more frequent occurrence than you might think - just ask Riley), and infuse the DWC mission and culture with such authentic passion and care. Thank you for choosing to spend so much of your finite life energy with DWC - I truly could not and would not want to do this without each and every one of you by my side.
While we have far from recovered from the financial loss of 2020, I am confident that we have laid the groundwork for a legacy of building community in the Seattle dance scene that will hopefully carry on long after I’m gone. There is still a great amount of uncertainty and unease in the air; however, I am certain of this: when a community rallies together, so much is possible. Here’s to all of us, 2022, and the joy and love still to come!
Sources:
Breaking the Mold to Cement a Place for Oneself
Operating in an industry with rigidly defined expectations and boundaries can take a toll on a person, particularly during an impressionable period in one’s life like childhood. Local dancer and choreographer Robbi Moore opens up on defying the status quo in the dance industry and providing transparency to performers.
Robbi Moore on Defying the Status Quo
By Madison Huizinga, DWC Blog Editor
Photo by Michael Stadler
Operating in an industry with rigidly defined expectations and boundaries can take a toll on a person, particularly during an impressionable period in one’s life, like childhood. Local dancer and choreographer Robbi Moore opens up on defying the status quo in the dance industry and providing transparency to performers.
Growing up in Hamden, Connecticut, Robbi recalls watching their older brother act onstage and feeling inspired to begin dance classes themself. After learning of Robbi’s desire to perform on stage, their mom enrolled them in classes at New England Ballet, where Robbi trained for two years and performed in The Nutcracker as a mouse. Robbi took classes in Ballet, Jazz, and Tap before moving to Dee Dee’s Dance Center in New Haven, Connecticut. The main reason for Robbi switching studios was because the New England Ballet was predominantly white. “My mom wanted me to be around people that looked like me so I could [experience] the other side of the dance world,” Robbi says, as Dee Dee’s is a predominantly Black dance studio.
At Dee Dee’s, Robbi continued taking classes in Ballet, Jazz, and Tap and was also introduced to West African Dance, Gymnastics, and Hip Hop. By the time they hit 11 or 12, Robbi was certain they wanted to be a professional dancer. Desiring to increase their Ballet training, Robbi returned to New England Ballet and later New Haven Ballet in addition to training at Dee Dee’s to up the caliber.
Around 12, Robbi began attending summer intensives, mainly at Earl Mosley’s Institute of the Arts. Robbi witnessed many people they trained with go on to perform with prestigious companies like Alvin Ailey American Dance Theater. Robbi attended EMIA’s summer intensive nearly every year, getting the opportunity to meet dancers training and choreographing in New York. A big perk of the intensive was Robbi getting the chance to perform on a weekly basis. “It was a very important experience for me to have,” they share.
Robbi graduated from the Ailey/Fordham BFA Program in 2015 and spent a year freelancing in New York, dancing with Amanda Selwyn Dance Theatre, The Steps Repertory Ensemble, and AATMA Performing Arts. A year after graduating, Robbi auditioned for Spectrum Dance Theater and moved to Seattle, WA to join the company as a paid apprentice.
Robbi shares that they learned so much from their fellow company members at Spectrum Dance Theater, as the dancers largely worked in collaboration with one another and Artistic Director Donald Byrd. Robbi became a full company member at Spectrum the following year and later left the company a year after that. They began freelancing in the Seattle area, working with Khambatta Dance Company, Coriolis Dance, Karin Stevens Dance, Whidbey Island Dance Theatre, Tacoma Urban Performing Arts Center, Kinesis Project Dance Theatre, and other part-time companies.
“Know who you are even if others do not understand you. Do not put anyone on a pedestal and always put your well-being first.”
Robbi dabbled in various artistic mediums growing up, including piano, flute, choir, and theatre, but nothing stuck with them in the way dance did. Robbi has found satisfaction in the gratification that comes from physically experiencing the practice of dance. “I just liked moving my body more than sitting down,” Robbi says, sharing that musicality and rhythm have come naturally to them after participating in a choir as a child. Whereas singing in front of an audience can feel a bit scary to Robbi, dancing is a happy medium that’s vulnerable and visual, while still being an internal and self-fulfilling endeavor.
Photo by Michael B. Maine
Robbi shares that growing up they experienced a lot of physical and social limitations in the sphere of dance. “It really ties into how people view your body and how your body gets viewed within the parameters of a certain genre of dance,” they say, as there are specific types of bodies and individuals that have been expected to be on display and excel within various genres. Being confronted with this type of challenge as a child, in particular, can greatly contribute to the formation of one’s identity.
“I went to a predominantly Black studio and that’s where I definitely learned about being Black,” Robbi says of identity and expectations. “That was very important, I’m very grateful for that, but it also came with a lot of baggage,” they say, sharing the challenge of having to conform to what a “masculine, Black man was supposed to dance like.”
Exploring self-image and gender identity within the sphere of dance has been a challenge for Robbi. “Gender norms are very binary, especially in dance. And it comes out in physicality as well,” they say, pointing to the expectations that are set for children of all genders regarding how to present themselves on stage. “If you’re a child and you’re discovering your identity and you are confronted with that, it can be very alienating,” Robbi says. Being alienated by an art form that you love can cause a lot of internal turmoil. “This thing that you love is being weaponized against you,” they voice.
Robbi says that dancing is not about becoming exactly like the people they look up to. “They look like them, and I look like me,” they say. “What makes people happy when they talk about their careers is that they can look back and say that they did what they wanted to do,” Robbi says, even if it means breaking the status quo without getting rewarded for it at the time. It’s satisfying to look back on one’s career and think nobody else could have done what I did or have the path that I had.
Robbi is excited to see more and more dancers openly identifying as genderqueer, non-binary, and trans, as a decade ago, that certainly wasn’t the case. “Ten years ago, you understood what your identity was, [but] had to understand the game you had to play in order to make it,” they say. “There’s change coming. There’s somebody that looks like you somewhere.” Robbi also believes that gender roles in dance should be more fluid for everyone and that needing to identify with any of the labels mentioned above should not be a requirement.
In the coming year, Robbi is preparing to perform with Khambatta Dance Company at the Seattle International Dance Festival Mini-Fest on March 4-5 and 11-12, 2022. The company is performing a piece choreographed by Artistic Director Cyrus Khambatta, another piece by Boston Dance Theater, and a piece by Mumbai-based choreographer Sumeet Nagdev. Robbi is also working with Kinesis Project, planning to have a gala in May 2022.
In addition, Robbi is teaching many dance classes and choreographing for Kaleidoscope Dance Company for their June recital and Noir Black Noir at the Tacoma Urban Performing Arts Center, an event featuring all Black composers and choreographers. Robbi has also signed up to take part in takePAUSE 2022, an adult performance opportunity at eXit SPACE. Robbi also got the opportunity to choreograph and film a piece called “Dryad” with Devin Muñoz for Men in Dance. In general, Robbi has enjoyed being able to stretch themself as a choreographer, particularly when it comes to choreographing for students.
Photo by Marcia Davis
Robbi believes that it’s important right now for dance organizations to have a clear intention behind what they’re offering to employees, dancers, and students and what their larger goals are. They share that it’s important for directors to be held accountable, particularly when it comes to providing dancers with contracts and allotting enough time for them to look them over and amend them if necessary. Considering that dancers are eager to get back to moving amid the pandemic, Robbi sees now as an opportunity for the Seattle dance scene to make expectations and processes more transparent and better for the community. During a time when many dancers are risking their health to do what they love and make a living, being able to give them peace of mind, in whatever capacity possible, is extremely significant.
For those interested, Robbi is teaching a Horton-based contemporary dance class on Saturdays at 10 AM at the Tacoma Urban Performing Arts Center, and a ballet class immediately after at 11:30 AM. “I would love to see you!” Robbi says.
In closing, Robbi’s biggest piece of advice for dancers is: “know who you are even if others do not understand you. Do not put anyone on a pedestal and always put your well-being first.”
Mental Health and the Importance of Cultural Competency
From as early as I can remember I wanted to move. I felt a connection to music and energy through the floor that I couldn’t explain. When I look back on the things that shaped me, dance has been a constant. Through dance I found a voice and a method of expression that I couldn’t recreate
By Maddie Walker
Madison Walker started her dance journey at a young age. Growing up in New Orleans as a young mixed woman, she always felt a deep emotional connection to dance that allowed her to express who she was. At 12 years old she was selected to be a part of a small ballet conservatory, JPB Le Petit Ballet (now Northwest School of Dance), where she learned to utilize the backbone of classical technique. For many years Madison studied the Vaganova technique of ballet under Jennifer Picart Branner. Madison studied abroad in the beautiful country of Norway where she danced with Extend, a small dance company.
Since high school, Madison has danced and taught throughout the Pacific Northwest, currently acting as the Assistant Artistic Director of Academy of Dance Port Orchard. In addition to teaching and choreographing, Madison spent the 2019-20 season dancing with PRICEarts N.E.W. as a company member.
Her passions include traveling the world and working as a Certified Peer Counselor by day. Mental health is an educational passion and personal passion for Madison and has led her to serve on a board of directors for United Peers of Washington where she has been able to find avenues to blend her work in art and mental health.
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“Be Nice” Crew by Sunday Outfitters | K-Warmer by Apolla Performance | Metallic Warm Up Booties by Bloch
From as early as I can remember I wanted to move. I felt a connection to music and energy through the floor that I couldn’t explain. When I look back on the things that shaped me, dance has been a constant. Through dance I found a voice and a method of expression that I couldn’t recreate through speaking. Growing up in New Orleans, I had an early appreciation for art and flare as a means of communication. The culture of New Orleans is vibrant― from cajun food to Mardi Gras. When I was young, I rode in parades on giant floats made of papier-mâché and watched as dancers did their choreography to live marching bands down the street; inspiring me with every step.
At the age of 4, my father and biological mother separated. For 6 years I was under the primary care of my biological mother who unfortunately, was living with an active addiction. In the time I lived with my biological mother, I experienced trauma, neglect, and abuse. I found my escape in being able to dance, being able to create with my body, and feeling a physical release through creative movement. At the age of 10 my father married my step-mom who I refer to as my Mom. My mom has been an integral part of me learning to love myself and how to be loved.
At the age of 10, my mom, dad, sister, and I moved to Gig Harbor, Washington after our family had been displaced due to Hurricane Katrina. When I moved to Washington I struggled in a different way. The environment I had lived in before was far different from the suburb neighborhoods that I moved to. I felt isolated because of my culture, my skin tone, and the kinks in my hair, but also because I felt broken amongst what seemed like perfect families. Growing up as a mixed woman I often felt out of place, and still struggle at times to feel I belong in certain spaces. Coupled with my trauma, I often found I didn’t identify with many of my peers.
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The reality of being a woman and person of color or a member of a marginalized community is that mental health is often not seen from our perspective. Part of my drive to work in mental health is to be the representation I did not have in my community. I often felt like I did not have the space to talk about certain topics and that my feelings were offensive to others. Even while writing this, I find myself looking for “polite” ways to say I dealt with racial trauma and felt awkward talking to anyone for fear of offending white people.
Being a woman of color who provides mental health services to peers of color means I can identify and relate to their unique version of recovery. Through my work as a Peer Counselor and board member of United Peers of Washington, I am able to advocate passionately for the importance of cultural competency and tolerance. I personally struggled internally for a long time because I came from a background where people go through hard things; this was not “trauma”, this was life. Accepting that bad things don’t have to happen to you is a journey all on its own.
Accepting that it is okay to feel and to be hurt is another hurdle, a hurdle that for many people of color can mean being perceived as weak when society expects us to be strong. For a long time, I thought that acknowledging and talking about my trauma was shameful; but in time I learned that confronting your barriers and growing takes far more strength.
My daily goal is to act as a support to all who feel lost or alone, but especially to communities of marginalized people. Normalizing the feelings of trauma and how we process things is a monumental first step. Allowing ourselves to find outlets and coping mechanisms is the next.
Through sharing my story, my work, and art, I hope to show others that they are not alone and that there is power in your individual and unique story. Today, I recognize and celebrate that my experiences are my superpower. My ability to identify with diverse communities is invaluable, and my past does not define me: I do. But most of all? I found my therapeutic outlet through the dance floor.
“Something about being able to dance has always allowed me to feel a sense of belonging; even if for just the moments I was moving.”
Something about being able to dance has always allowed me to feel a sense of belonging; even if for just the moments I was moving. My parents bent over backwards to allow me to dance when we moved to Washington. I remember driving an hour one way to go to class and sitting in traffic while doing my homework. What I don’t think my parents ever realized is that they saved my life by allowing me to have that outlet. I was able to find myself through creative expression and that is a gift I want to share with the world in every way I can―especially through my work as a peer counselor.
For those of you reading who may not know what a “peer” is in the context of mental health, it is anyone who shares lived experience and makes an effort to share their lived experience in a way that will inspire others to find their own path. Amazing humans all over the world work as peer counselors; but more importantly, there are grassroots organizations and groups in every region of Washington State consisting of peers who offer support to their communities.
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I am always working on ways to merge my peer work with my art and one way I hope to do that is by providing psychoeducation to communities through the art of peers in my community. Throughout my journey of recovery―from depression to living with anxiety―I have learned that recovery is not linear, and expression is imperative. Finding my community and bridging art and my work has been one of the greatest joys in my life and has inspired me to realize my fullest potential. I encourage you to find your community and to discover your inspiration.
For more information on United Peers of Washington and other Peer related resources, check out the UP of WA Facebook page: https://www.facebook.com/UPofWA
Providing Holistic and Evidence-Based Care
Preparing to dance safely long-term involves more than just what happens in the studio. Engaging in activities that promote holistic physical and mental wellness are important supplements to a dancer’s career. Dr. Paulina Tselikis and the rest of the team at The PATH Rehab & Performance know this well. Paulina and the rest of the specialists at The PATH are dedicated to serving clients who are committed to achieving their personal athletic goals, whether that’s coming back after an injury, preventing one from occurring, and more.
Dr. Paulina Tselikis on the Significance of PT For Dancers
By Madison Huizinga, DWC Blog Editor
Preparing to dance safely long-term involves more than just what happens in the studio. Engaging in activities that promote holistic physical and mental wellness are important supplements to a dancer’s career. Dr. Paulina Tselikis and the rest of the team at The PATH Rehab & Performance know this well. Paulina and the rest of the specialists at The PATH are dedicated to serving clients who are committed to achieving their personal athletic goals, whether that’s coming back after an injury, preventing one from occurring, and more.
Paulina describes herself as a “late bloomer” when it comes to dancing. She took ballet classes growing up but also dabbled in a variety of sports, including soccer, tennis, and swimming. Throughout middle school and a good portion of high school, Paulina dedicated her extracurricular time to competitive swimming. “Then, in high school, I injured my back and could no longer swim,” she recounts. Paulina visited doctors and physical therapists and described feeling “disheartened to go back to swimming.” “I just didn’t really have that much interest in going back into it,” she describes. During that time, Paulina began taking some dance classes at her high school, as they had a studio space and a pretty well-developed dance program.
“Dance was my way of relieving stress. It was my passion, that’s how I relieved anxiety,” Paulina explains. “I was able to step away from everything and just have fun.” One of her good friends encouraged her to audition for the dance team. Still feeling a little lost after stopping swimming, she decided to pursue the dance team, unsure about where it would lead her. Paulina ended up making the varsity division, which allowed her to further cultivate her passion for dance.
“Being able to help someone achieve their goals [and] get back to what to what they really love, it’s just so rewarding, I think for me, that’s the best part.”
As a career, Paulina knew that becoming a professional dancer wasn’t something she wanted to pursue. She was more interested in following a science- and healthcare-oriented path. Towards the end of high school and the beginning of college, she felt emboldened to pursue a career where she could help dancers and performing artists. So, in college, she studied athletic training and became a certified athletic trainer, later going into physical therapy. While in PT school, Paulina worked with the Pittsburgh Ballet Theatre, which solidified her desire to work with professional performing artists. In her personal life, Paulina has continued taking dance classes here and there and has gotten more involved with aerial arts.
Paulina explains that physical therapy involves “helping someone get back to what they want to do” and “giving them guidance.” Unfortunately, many people are told that they have to quit sports after facing an injury. “Being able to help someone achieve their goals [and] get back to what they really love, it’s just so rewarding,” Paulina says. “I think for me, that’s the best part.” She enjoys being able to create connections and foster relationships with the people she works with, as the PT process can be an incredibly emotional one.
“I think doing preventative work and [focusing on] holistic health and wellness is so important,” Paulina says. “The difference in the longevity of a sport is being able to stay on top of things.” This idea is what inspired Paulina and her partners to start The PATH Rehab & Performance. Paulina and the rest of the providers at The PATH are dedicated to offering a “holistic, evidence-based approach to treat the entire person rather than the diagnosis.” “We want people to come to understand that when they come to us they’re going to be treated as [a] person,” Paulina says, stressing that the team works hard to cultivate a “family” atmosphere.
Within Paulina’s practice, she serves an array of performers in the dance community. Dancers can receive maintenance care, where they undergo preventative injury screenings, as well as traditional rehabilitation PT. Whether individuals are new to dance or seasoned veterans, they’re welcome to receive care. Paulina wants to be a resource for people in the dance community, a beacon of education and service.
Paulina says she thinks that many people don’t fully understand what physical therapy entails, sharing that PT often involves more than just receiving hands-on treatment and possibly 1-2 corrective exercises. Modern PT has much to offer individuals on their road to recovery. Paulina says that many dancers may fear that physical therapists will tell them that they can no longer dance, but she stresses that that’s not her goal as a PT. Rather, her mission is to educate dancers and get them back to doing what they love.
Paulina understands dancers’ hesitations to undergo physical therapy, as historically, PTs weren’t educated on what dance training entails because dancers weren’t perceived as elite athletes. “I think that’s definitely changed and it’s continuing to change,” Paulina says of this misconception.
“I’m very passionate about strength training, and implementing that in a form of cross-training for dancers and performing artists,” Paulina says of a change she hopes to see in the dance world. Through her work, she hopes to change some of the stigma behind strength training and teach dancers that it’s a key way of preventing injuries. According to Paulina, holding workshops and seminars to train teachers on how to implement cross-training into their classes will be a useful way to achieve this goal. “I really hope that within my career, I can help start that change, at least in our local community. That would be great,” Paulina says.
ATTENTION DANCE TEACHERS: Dr. Paulina will be a special guest speaker at our next Tea&Tendus Event, Sunday February 13th at 5:00PM, The Green Room, DWC Renton. Tea&Tendus is a free event register below:
Just Graduated High School… Now What?
First of all, congratulations! Graduating high school is no easy feat and I’m proud of you for coming this far. The doors of opportunity have swung wide open, and taking the leap might feel daunting, but you are not alone! I’m here to offer some guidance, describe what may lie behind each door, and let you know that you’ve already done so much that has prepared you for this moment.
So many doors, so many unknowns!
Kristina’s Guide to Dance Careers
By Kristina Koumaeva, DWC Ambassador
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First of all, congratulations! Graduating high school is no easy feat and I’m proud of you for coming this far. The doors of opportunity have swung wide open, and taking the leap might feel daunting, but you are not alone! I’m here to offer some guidance, describe what may lie behind each door, and let you know that you’ve already done so much that has prepared you for this moment.
So many doors, so many unknowns!
Introducing our imaginary dance-options-post-high-school tree. Did you know that you planted it the very first day you fell in love with dance? With each new class, your roots grew stronger; with each new skill learned, a branch of opportunity sprouted. The best part of this tree is that it is three-dimensional. Just as your roots intersect and overlap, so do the branches of dance opportunities. You may follow as few or as many as your heart desires, and recognize that this tree is evolving and growing with you.
For the sake of this blog post, I’ve identified five tree arms: Commercial Dance, Concert Dance, Continuing Education, Teaching/Choreography, and Freelancing. Keep in mind that this is not a comprehensive list nor are the options mutually exclusive, it’s actually more likely that throughout your dance career, you’ll climb many of these branches and new ones will sprout as your experience grows.
We’ll begin with commercial dance. This industry exists throughout the world, with capitals in Los Angeles, New York, Atlanta, and a handful of cities abroad. This realm consists of commercials, music videos, movies, and tv shows often booked by your agent(s). I’ve linked a few of my recent favorites! Camera work is crucial and auditions/castings will be a regular, weekly, if not daily part of your life.
Concert dance focuses on movement performed in front of audiences, whether with ballet/modern companies or performing musical theater shows on Broadway. The line between concert and commercial dance has blurred over the years, with street styles on the Broadway stages and musical theater in tv shows; dancers find themselves swinging between the two realms often. Concert dance can incorporate a range of styles and isn’t limited to a specific city. Dancers perform on stages worldwide--it’s up to you to choose your stage!
If you are someone who loves learning and creating relationships, teaching/choreography may be a part of your dance journey. Building curriculums, choreographing phrase work, and connecting with students are all challenging but rewarding parts of the process which can be at your local studios, or on a bigger scale such as at dance conventions/competitions, or even online. One of my favorite virtual escapes during the pandemic was online Dance Church. My biggest piece of advice if you’re pursuing teaching is to be humble, stay hungry, and have integrity.
The fourth branch on our tree is continuing education. This one may be obvious because most high schools encourage their students to apply to college. To be a dancer is to be a student forever, whether you decide to “officially” continue your education or not. Dancers can go to a university or conservatory and pursue a dance degree, they can complete training programs/internships facilitated by professionals/veterans or studios in the industry, or they can move to a different state or country and dive into the classes and culture that belong to that unique place.
Finally, we arrive at the freelancing branch--this one is as unique as it gets! A build-you-own-adventure type of path. In a way, it encompasses a lot of the other branches, but it’s unique in that you must build out your path and understand the financial responsibility of freelance work. Examples include creating marketing dance campaigns on social media, modeling for a dance brand (careful or you’ll end up on @modelsdoingballet -- one of my favorite Instagram accounts for a good giggle!), acting/dancing for an entertainment company at live events, etc. This is the “gig” life, always exciting but requires a great amount of patience.
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When it comes time to branch out and pursue the dance work you find most fulfilling or interesting, don’t be afraid to ask for help. I’ve found so much comfort in knowing that every dance journey is different yet we all face similar tough decisions. We all feel anxious at times, and the path isn’t always obvious. Even the most successful dancers will tell you that their paths weren’t clear cut. Look to your mentors for inspiration, find podcasts that can guide your thoughts or help with decision making, and read blogs (like this one!) to get the perspective of other professionals in our industry.
Dancers are unique individuals; YOU are a unique individual, and the bottom line is, if you truly love dance and want it to be your career or at least a part of your career, it CAN be--there is room for everyone! Give yourself grace and trust the process, then watch your tree blossom.
If you have any questions about my journey so far or want to chat about your dance tree, please get in touch on Instagram. Cheers!
“Flight Flock” and Intentionality Behind Movement
In our daily lives, movement is a constant occurrence. Whether it’s cars passing one another on the street or people strolling through a park, it seems as though folks are always in motion. What makes dance so special, particularly to Alexandra Sipe, is its process of systematizing this movement and utilizing it to move through time and space with others. Seattle-based artist and instructor Alexandra Sipe opens up about her fascination with this process, along with her dance journey and upcoming projects.
An Interview with Alexandra Sipe
By Madison Huizinga, DWC Blog Editor
Photo by Kojo Aqua
In our daily lives, movement is a constant occurrence. Whether it’s cars passing one another on the street or people strolling through a park, it seems as though folks are always in motion. What makes dance so special, particularly to Alexandra Sipe, is its process of systematizing this movement and utilizing it to move through time and space with others. Seattle-based artist and instructor Alexandra Sipe opens up about her fascination with this process, along with her dance journey and upcoming projects.
Dance was never an interest for Alexandra growing up, despite her mother having a master’s degree in Dance and teaching it at North Idaho College. When asked, Alexandra would repeatedly declare she would never be a dancer. But this all changed when she happened upon a 1970s recording of Maurice Bejart's rendition of “The Rite of Spring” toward the end of her high school career. She became intrigued and then obsessed with the animalistic movements and her inability to replicate them. Though she started her college years by declaring a major in English, she signed up for modern and jazz technique, eventually adding in ballet and dance composition. By the time she graduated, she had more dance, performance, and choreography credits than English credits and has some regrets about not adding dance as a double major.
Alexandra points out the many benefits she found in starting dance as an adult, including having a greater awareness of her body and being able to take classes from seasoned professors. Alexandra shares that the beginner students she teaches today always comment on what a graceful mover she is, expecting her to have been dancing her entire life. But she always stresses to them that her finesse did not come easily or all at once. “I had to claw my way up,” she shares, describing her experiences taking classes as an adult with teenagers.
Photo by Marcia Davis
In 2016, she moved to Seattle and began working at a dance studio as an administrator and costume coordinator. She also began dancing with Dancewear Center staff members Samantha Weissbach, Ethan Rome, and Melissa Koh Krienke and working on various projects. Eventually, Alexandra realized that she couldn’t remain sitting at her full-time job; movement is what made her most happy.
Later on, Alexandra got her bungee workout certification, and shortly after, completed her 200 hour yoga teacher certification. She also became the lead bungee instructor, later adding aerial work to her plate as well. “I totally shifted to teaching full-time,” she says, grateful she was able to incorporate more movement into her daily life. Alexandra has also continued to take class and research with the Seattle-based movement project known as Dance Undercurrent, which specializes in floor work. She has performed with Jerboa and enjoyed the partnerwork and improv opportunities. In 2021, she was invited to perform her solo work "Three Vignettes, Unrelated" at Seattle International Dance Festival. When describing her specialty, Alexandra shares that she identifies as a “floor monster,” drawn to grounded movement that takes her down to the floor.
Alexandra describes dance as a way to “be the universe while experiencing the universe.” “The act of moving through time and space” with the addition of other people is “just thrilling” to her. Even though humans are in constant motion around one another in public places, like the supermarket, the nonverbal communication that occurs within a dance space is unlike any other. “You codify the language of [movement] and then you really learn how to speak that language with your body,” Alexandra says. “And then you can do whatever you want with it.”
Alexandra shares that as she’s gotten older, she’s realized that the best times for her as a dancer are within a classroom. While the glitz and glamour of costumes and live performances are exciting, the experience of people coming together to move in a classroom is especially enticing.
One of the biggest challenges Alexandra has experienced in the dance realm is feeling comfortable calling herself a dancer, perhaps a residual effect of achieving technical proficiency relatively late compared to her peers. For a while, particularly after she graduated college, she pondered what she had to do to give herself the label. “There’s this struggle as you’re trying to make a living while also finding a way to continue your craft,” Alexandra shares, reflecting on her post-graduation days. Finding a balance between saying “yes” to dance jobs, while also partaking in dance projects that are artistically fulfilling is another tough balance Alexandra struggled to find. “Finding work that nourishes [me] is the hardest thing right now,” she voices.
Recently, Alexandra has been rather mesmerized by the movement of non-dancers and beginner dancers. Specifically, she’s interested in observing her fitness and yoga students’ curiosity about movement and giving them the tools they need to “be fed by the movement they do.” Alexandra describes the process of watching her students become happier, more efficient movers as “extremely rewarding.” She's been curious about building short movement patterns for her students to explore.
Alexandra is also working on building a teacher training at Flight Room, involving the utilization of floorwork, mid-space, and the upper space in the aerial silks. As an independent dance artist, she's enjoying delving more into her improv practice.
Photo by Marcia Davis
In the summer of 2021, Alexandra created Flight Flock, an aerial dance company of amateur aerial artists. Flight Flock had its first season last summer, featuring a live show with family and friends. She shares that many of the performers had never been a part of a live show before so it was exciting to watch them experience it for the first time. The company is set to start its second season in January of 2022 with a final performance in June. Alexandra shares that she’s received a lot of interest from more advanced dancers to join and says they’re more than welcome, although having some experience with aerial silks is advised.
Moving forward, Alexandra hopes to see dancers become more clear on the philosophy behind their movement. Even if it just means moving to “feel good” or “look good,” getting clear on the intention behind one’s movements can make the experience of dancing and choreographing a much more fulfilling and less egocentric one. “I feel like the most successful choreographers I’ve witnessed are the ones who are less interested in making the dancer move like them and more interested in letting the dancer move like themselves [and] fine-tuning that,” Alexandra says.
Competition and Convention Prep
You may know the simultaneously exciting and stressful feeling of walking into a convention ballroom room bright and early on a Saturday morning. You immediately feel the rush of energy and nerves surrounding you. If you are anything like me, you can't wait to spend the weekend learning from amazing instructors and meeting new people. But what can you do to ensure that you make the most of your time? The right preparation can make a world of difference when it comes to long weekends of conventions or competitions.
Ava’s Tips for Long Days of Dancing
By Ava Budish, DWC Ambassador
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Seamless Rib Racerback Leotard by Capezio | Bullet Pointe Skirt by Bullet Pointe
You may know the simultaneously exciting and stressful feeling of walking into a convention ballroom room bright and early on a Saturday morning. You immediately feel the rush of energy and nerves surrounding you. If you are anything like me, you can't wait to spend the weekend learning from amazing instructors and meeting new people. But what can you do to ensure that you make the most of your time? The right preparation can make a world of difference when it comes to long weekends of conventions or competitions.
Physical Preparations:
Everyone’s body is different and has distinct needs but some general things that help me feel ready for a long weekend of dance include rest, stretching, and fueling my body. I like to be extra mindful to not push my body too hard in the days leading up to a convention weekend. I often still have classes throughout the week even up until the day or night before the convention, so making sure I’m not overworking myself is helpful and keeps me energized throughout the whole event!
Additionally, keeping my body warm and stretched can make a long weekend of classes easier and more enjoyable. Some light warm-ups before class like prances, relevés, or even a short yoga flow all warm me up without tiring me out. One of the things that I find most beneficial is to make sure I am fueling my body! Keeping myself fed with food that energizes me is the key to my happiness and success over long days of dance.
Mental Preparations:
Beyond just the physical aspects of preparing for a competition or convention, an important piece to consider is the mental side. Convention and competition weekends can be just as exhausting mentally as they are physically. I don’t dance my best if I am frustrated, insecure, overwhelmed, or even just flustered. Conventions are often in new surroundings filled with loads of new instructors, styles of dance, and choreography. All of these things can be overwhelming. The same goes for competitions. Many times, there are lots of nerves and anticipation. Sometimes you may be rushing to change costumes and then run right back on stage. To clear my brain, I meditate or follow guided breathing exercises. Sometimes just putting in headphones and listening to my favorite music while I warm-up or stretch can help calm my nerves too. Everyone has different rituals or ways to calm themselves, but going into the day with a clear head is the most important part. Both of these things help me to center my thoughts and feel more prepared to learn, create, and dance my best!
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A large aspect of competitions and conventions that can cause nerves is thinking that everyone around is judging me. It’s important to remind myself that everyone is more worried about themselves. Everyone in the room is in the same position as you and they are too preoccupied with their own dancing to judge you.
The final thing that makes me feel prepared going into a long weekend of dancing or even an audition is picking out an outfit that makes me feel confident! If my leggings keep falling down or my leo is uncomfortable it can be distracting. However, if I am wearing an outfit that makes me feel amazing I automatically walk in more confident and I can focus on my dancing!
I hope that you find these tips helpful when preparing for competitions and conventions this season!
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