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Dance/Opportunity – Contemporary Intensive, International Independent Study Program and The School at Steps Summer Intensive Seek Talent with International Audition Tour 



Steps Conservatory, Summer Study NYC: A Contemporary Intensive, International Independent Study Program and The School at Steps Summer Intensive Seek Talent with International Audition Tour 

 Steps on Broadway, NYC’s legendary professional dance center committed to training and maintaining the integrity of the art form, increases their international reach with a first-time national and international audition tour. Led by newly appointed Student Programs Audition Director, Davis Robertson, under the direction of Mindy Upin Jackson, Director of Professional Training Programs, and Kate Thomas, Director of The School at Steps, a 12-city tour is underway through early Spring and offers the dedicated dancer various opportunities for study during the summer months and beyond.  Through intensive training, performance, and evaluations, these intimate curriculum-based programs, Summer Study NYC: A Contemporary Intensive, Steps Conservatory, and the International Independent Study Program, create polished, versatile dancers brimming with the confidence and enthusiasm to enter the highly competitive world of concert and commercial dance. The audition tour will also be recruiting students for The School at Steps’ Senior Summer Intensive, for aspiring professional dancers ages 15-18.

“While we are a home for local dancers to maintain their training, our carefully curated programs utilize the expansive network we have built at Steps, and open our doors to dancers from all over the world throughout the year,” explains Diane Grumet, Co-Artistic Director of Steps on Broadway. “These summer programs give dancers an important next step in their training—broadening their home studio or university training with leading choreographers and artists in the dance capital of the world that is New York City.”

Summer Study NYC: A Contemporary Intensive (ages 18 and older) is specifically designed for the dancer preparing for a professional career. This program offers intermediate and advanced dancers, one or two 4-week sessions with classes taught by world-renowned contemporary masters as well as by our illustrious faculty. This intensive is designed to strengthen technique and artistry and provide an introduction to NYC’s professional dance community. Students take 17 classes per week including technique, Steps with Contemporary Masters, Creative Tools, and Performance Skills, and build relationships with at least nine Artistic Directors and Contemporary choreographers in each session. Students from past summers have been hired by Heidi Latsky Dance, Janis Brenner & Dancers, have freelanced with Francesca Harper, and been awarded apprenticeships with Rioult Dance NY. Upon fulfilling program requirements, students receive a Certificate of Completion at their final performance.

Steps Conservatory (ages 17-24) is a two-year curriculum-based intensive program specifically designed to strengthen technique and artistry, thus preparing the dancer for a professional career in either the concert or commercial dance world. Dancers in the Conservatory take 15-18 weekly classes from our daily schedule as well as private Performance Enrichment workshops, such as vocal training, health and wellness, repertory, composition, dance history, career development, and much more. Over the two years, students build a professional network, thereby positioning themselves for future employment. The program provides an introduction to NYC’s professional dance community, not only through study but also through multiple performance opportunities throughout the four semesters. Upon fulfilling program requirements, students receive a Certificate of Completion.

International Independent Study Program (ages 18-35) is designed so that each participant has the flexibility to create their own class schedule and experience New York City’s dance community in motion. This M-1 visa program is designed for dancers and dance educators at the intermediate to professional level, who want to explore the diversity of techniques and styles Steps has to offer. To date, the program has hosted dancers from Canada, Mexico, Brazil, Uruguay, Colombia, Argentina, United Kingdom, Spain, Morocco, Hungary, Austria, Netherlands, Sweden, Germany, France, Italy, Australia, Ukraine, Israel, Lebanon, Uzbekistan, India, South Africa, Japan, and Taiwan. Students may join the program for three, six or twelve months.

The School at Steps Summer Intensives offer a rigorous multidisciplinary curriculum for the aspiring professional dancer. A minimum of four to five years of significant ballet training is required. Students are placed by audition in either the Junior (ages 9-12) or Senior Intensive (ages 12-18) based on age and ability, each with their own set of core classes and minimum class requirements. Daily classes in ballet and pointe are supplemented with pas de deux, variations, contemporary partnering, repertory, coaching, theater dance, jazz, hip hop, and Horton-based modern. Each session culminates in a studio performance.

MEXICO: Escuela Cubana de Ballet de Veracruz, March 13
CHINA: The Hong Kong Academy for the Performing Arts, March 18
NEW YORK: Steps on Broadway, March 18, and May 13
NEW YORK: The School at Steps, February 25, March 4, March 18, April 8, and May 6
BOSTON: Boston Conservatory at Berklee, April 2
CHICAGO: Lou Conte Dance Studios/Hubbard Street Dance Center, April 22
JACKSONVILLE, FL: Florida Ballet, April 22
FLORIDA: Lauderhill Performing Arts Center, April 23

Dancers in Sydney, Australia, Florence, Genova, Milan, Urbino and Ravenna Italy have already auditioned.

For the full audition tour and information, visit

All classes will take place at Steps on Broadway, located at 2121 Broadway between 74th and 75thStreets and is accessible by the 1,2,3, C, and B trains to 72nd Street.


Founded by Carol Paumgarten in 1979, Steps on Broadway is an internationally recognized training center providing excellence in programming that supports the art and the artist. Steps is home to more than 250 world-renowned teachers who offer over 300 dance and exercise classes a week. Throughout the year, Steps incorporates guest artists, special master classes, performances and special events. For over three decades Steps has been a training ground for generations of aspiring and professional dancers. Steps also offers professional training programs which include the two-year Steps Conservatory, Summer Study NYC, International Independent Study Program, and Steps’ Steele Pilates Teacher Mat Certification.

Directed by Kate Thomas, The School at Steps cultivates young dancers, ages 18 mos. – 18 yrs., from their first step in a dance studio through their pre-professional training. Students discover their individual artistic voices in a creative environment with the guidance of an internationally recognized faculty. The personal attention the school provides encourages students to mature as dancers, grow as individuals, and enrich their passion for the art form. School at Steps graduates go on to dance with professional companies, study at top college dance programs, and perform on Broadway.


March 1, 2017 Posted by | LIFESTYLES, opportunity, Uncategorized, We Recommend | , , , , , , , , , , , , , , , | Leave a comment

Sunday, February 22, 2015 Dance/NYC Symposium 2015 –Power, Privilege, & Perception: Voices on Race and Dance, Arts Education,

Major Event. Incredibly Important.

Sunday, February 22, 2015

Dance/NYC Symposium 2015



Sunday, February 22
10:00 am- 6:00 pm

New venue: Gibney Dance Center
280 Broadway (enter at 53A Chambers)
New York, NY 10007

Individual Registration Options:
Early Bird Rate (until January 10) –  $100
Dance/USA Rate – $100
Artist Rate – $50
Click here for Tickets or to buy a program ad

Sponsorship options are also available; email Rachel Berman for more information.

Dance/NYC’s 2015 Symposium will invite participants to consider opportunities for “rising together” and dive deep into questions of cultural equity, resilience, technology, and private sector practices. How can we, by working together and across sectors, advance the art form and more than 1,200+ dance makers and companies in the metropolitan area? And how can dance and New York City work as one?

2015 Sessions
(in formation)

Meet NYC Arts Advocates: Dancing Toward Cultural Equity

(10:15- 11:30 am)

This session explores the state of arts advocacy in New York City one year into a new Mayoral Administration and City Council and opportunities to advance cultural equity. Colleague advocates share select efforts, issue statements, and lessons learned for dance. How can we—all of us—advance collaboration and common messaging to move the creative sector and all New Yorkers forward? How can we rise together?

Featured Speakers:
Kerry McCarthy, Program Officer, New York Community Trust (Moderator)
Sharon Jensen, Executive Director, Alliance for Inclusion in the Arts
Andrea Louie, Executive Director, Asian American Arts Alliance; NYC Arts Coalition
Eric G. Pryor, Executive Director, Center for Arts Education
Laurie A. Cumbo, New York City Council
Dr. Marta Moreno Vega, President/ Founder, Caribbean Cultural Center African Diaspora Institute

Dance Education for Every NYC Child


What will it take to make dance education possible for every child in New York? And, what would universal dance education mean for all New Yorkers? This panel, moderated by dance educator and advocate Jody Gottfried Arnhold, brings together the voices of educators, advocates, funders, and artists to imagine this New York. Panelists will also discuss plans and opportunities to leverage $23 million in new funding included in New York City’s adopted FY 2015 budget to expand arts instruction in the public schools. The investment follows an April 2014 report by the Office of the new Comptroller, Scott Stringer, State of the Arts: A Plan to Boost Arts Education in the New York City Schools, and is a step toward realizing Mayor de Blasio’s four-year goal of ensuring that every child in every school receives arts education.

Featured Speakers:
Jody Gottfried Arnhold, (Moderator) Dance Educator and Advocate, Dance Education Laboratory 92Y, Founder
Lannette D. Alvarez, Heather Watts Scholar, Arnhold Graduate Dance Education Program, Hunter College
Ana Nery Fragoso, Director of Dance, NYC Department of Education
Russell Granet, Executive Director, Lincoln Center Education
Kathleen Isaac, Director, Arnhold Graduate Dance Education Program, Hunter College
Kitty Lunn, Artistic Director, Infinity Dance Theater
Ella Rosewood, Lincoln Center Scholar; Dance/NYC Junior Committee
Pedro Ruiz, Artistic Director/ Choreographer, The Windows Project

NYC Dance Facilities and Geographic Equity

(11:45 am-1:00 pm)

In 2010, Exploring the Metropolis published a rehearsal space report for The Andrew W. Mellon Foundation, We Make Do: More Time is Better But Budget is King, which has made the case for investment in rehearsal space subsidies and creative interventions to leverage underutilized space in service to the art form, including the new CUNY Dance Initiative launched in 2014. Also in 2014, Exploring the Metropolis published Queens Performing Artists and Workspaces, which offers general recommendations for the borough and recommendations for pilot activity in Jamaica, including cultural leadership development, community engagement and arts funding, and artist housing and live/work space. This session puts the new findings in conversation with others focused on space solutions and considers need and opportunity in non-Manhattan geographies.

Featured Speakers:
David Johnston, Executive Director, Exploring the Metropolis (moderator)
Michael Hickey, Man About Town
Prentice Onayemi, Consultant, Exploring the Metropolis
Charles Rice-Gonzalez, Executive Director, Bronx Academy of Arts and Dance (BAAD!)
Paz Tanjuaquio, Vice-President and Co-Founding Director, Topaz Arts
Melissa West, Independent Dance Artist

Power, Privilege, & Perception: Voices on Race and Dance

Dance/NYC works in alliance with Dance/USA, the national service organization for professional dance, and shares its core values of equity and inclusion. These sessions, curated by Dance/USA Executive Director Amy Fitterer and former Dance/NYC Director Michelle Ramos-Burkhart, bring together leading national voices focused on issues of race and dance. What is already and what can be done to realize a more diverse, inclusive, and equitable sector? What can dance in the metropolitan New York City area learn from and contribute to national dialogue? These sessions are meant to build upon one another, though it is not mandatory to attend all.

My Lens, My Dance
(2:30-3:30 pm)

This interactive workshop, facilitated by Michele Ramos-Burkhart (former director of Dance/NYC), will provide a safe space in which participants can discuss and better understand personal biases, perceptions and lenses through which they view the world and dance.

National Voices
(3:30-4:30 pm)

A panel of national voices will build on and responding to issues raised in My Lens, My Dance. Moderated by Tammy Bormann, Chair of the board of Urban Bush Women.

Featured Speakers:

Michelle Ramos-Burkhart, Verdict Works, LLC
Denise Saunders Thompson, Chairperson/ Executive Director, International Association of Blacks in Dance
Carlton Turner, Executive Director, Alternate ROOTS

Making Change: Artist Voices
(4:30-5:30 pm)

What is already being done to realize a more diverse, inclusive, and equitable sector? Hear from a panel of Dance/USA members and Dance/NYC committee leaders and partners already doing work in the field. How can you institute change within your organization and how can we work together to advance a more equitable art form. Moderated by Carlton Turner, Regional Development Director Executive Director, Alternate ROOTS.

Featured Speakers:
Sydnie Mosley, Artist; Dance/NYC Junior Committee
Alice Sheppard, Artist; Academic; Activist
Richard Toda, Artistic Coordinator of Educational Outreach, American Ballet Theatre
Eduardo Vilaro, Artistic Director, Ballet Hispanico

Private Sector Practices

Release of State of NYC Dance and Corporate Giving Research
(1:30-2:30 pm)

Christopher Caltagirone of the Cultural Data Project (CDP) will present Dance/NYC’s recent report, State of NYC Dance and Corporate Giving, which uses data from the CDP to highlight findings on corporate giving in the dance community operating within the five New York City boroughs. How do we move beyond these findings, how can we facilitate and promote a more collaborative environment?

Dynamic Duos: Conversations with Dance Companies and their Corporate Partners
(2:45-4:00 pm)

Hear how corporations and dance companies build relationships and work together to share efforts.
(List in formation)

Corporate Sponsorship Today:  What Works?  What Doesn’t?
Alice Sachs Zimet, President, Arts + Business Partners, LLC
(4:15- 5:30pm)

Are you frustrated that you can’t get in the door? Is your written material so long that it overwhelms the sponsor (and you)? Do you want to move from philanthropy to sponsorship dollars? Today, visibility no longer delivers a sponsor. Smart companies and savvy non-profits use sponsorship to deliver measurable results. Alice Zimet, a pioneer in the field who spent 20 years at The Chase Manhattan Bank, will show you how to build meaningful bridges between a non-profit and a sponsor—how to write for a business audience, benefits most sponsors want, how the arts can meet a sponsor’s needs and other “insider tips” on corporate sponsorship.


Emergency Preparedness and Response

These sessions take as their starting point Dance/NYC’s study, Emergency Preparedness and Response: The Case of Superstorm Sandy and NYC Dance, and acts on its recommendations to connect the field to resources to catalyze resilience to future shocks. Dance/NYC’s study leverages lessons learned through the NYC Dance Response Fund, a program of Dance/NYC established by the Mertz Gilmore Foundation, which delivered $200,000 to 51 dance groups hard hit by the superstorm and was featured by The New York Times, “Modern Dance Groups to Receive Hurricane Sandy Relief.” #sandydance

Introduction to CultureAID
(10:00-10:30 am)

Steering Committee co-chair Maria Villafranca, New York Foundation for the Arts, will discuss CultureAID (Culture Active in Disasters), a collaborative network of stakeholders and service providers committed to strengthening New York City’s cultural community – including artists and organizations – before, during, and after disasters through an organized communications system, as well as coordinated activities and services to the field.

The Case of Superstorm Sandy and NYC Dance
(10:45-11:45 am)

Researcher Anne Coates presents findings from Dance/NYC’s Emergency Preparedness and Response: The Case of Superstorm Sandy and NYC Dance and invites open discussion among grantees and participants about how, by rising together, we can increase resilience in our sector and our sector’s capacity to contribute to the resilience of all New Yorkers.

Funders Respond
(12:00-1:15 pm)

This session situates lessons learned from the NYC Dance Response Fund in conversation with funders who responded to Superstorm Sandy with investments in New York’s wider arts and cultural communities. Funders respond to recommendations in Emergency Preparedness and Response: The Case of Superstorm Sandy and NYC Dance and discuss their part in ongoing preparedness, recovery, and resilience efforts. What do they recommend for New York’s dance communities? How can funders and those working on the ground in dance and culture work together in addressing future emergencies?

Featured speakers (List in formation):
Anne Coates, Researcher, Co-facilitator
Ted Berger, Board of Directors and Treasurer of the Joan Mitchell Foundation, Co-facilitator
Leah Krauss, Program Officer, NYC Dance, Mertz Gilmore Foundation
Rise Wilson, Director of Philanthropy, Robert Rauschenberg Foundation

Prepare for the Worst – Get ArtsReady!
(2:00-2:30 pm)

Whether your next crisis is another Superstorm, a suspicious package in your event space just hours before the show, or the sudden loss of a key individual – do you know what to do? Learn key readiness principles and how the ArtsReady online tool can help your organization build a customized plan so you can keep your doors open, no matter what!

Mollie Quinlan-Hayes, Deputy Director and Accessibility Coordinator, South Arts/ArtsReady

NY State Citizen Preparedness Corps Training Program
(2:45- 3:45 pm)

The NYS Division of Homeland Security and Emergency Services will offer a training course for attendees to have the tools and resources to prepare for any type of disaster, respond accordingly and recover as quickly as possible to pre-disaster conditions.


Moving through GOOGLE Glass
(10:00-11:00 am)

Former Mark Morris Dance Group dancer David Leventhal, who now directs the company’s Dance for PD® program, will discuss MMDG’s Moving through Glass project, which is building an interactive Google Glass-based dance App for people with Parkinson’s. MMDG’s Glassware amplifies the company’s 13-year, global initiative–a collaboration with Brooklyn Parkinson Group–to improve the lives of people with Parkinson’s disease by creating a portable platform that helps users benefit from dance- and music-based exercises and tools wherever they are. Leventhal will explore the opportunities this new technology offers, providing a stimulating, in-progress case study relevant to anyone interested in the frontiers of dance, technology and community engagement.

Technology with Sydney Skybetter –in the hot seat!
(12:00 – 6:00 pm)

Join choreographer Sydney Skybetter as he talks tech, one-on-one, with some of the smartest, crankiest, most brilliant and most cantankerous minds in the NYC dance industry. Skybetter will be joined by choreographers, artists and filmmakers to discuss everything from TV shows to YouTube, apps and commercials, and how the internet is reshaping our industry, bit by bit.

Featured Speakers (List in formation):
Kevin Clark: New Music USA,
Jamie Jewett: Associate Arts Professor, Dance and New Media Program, NYUTisch,
Selena Juneau-Vogel: Program Director,, Fractured Atlas,
Marc Kirschner: Founder, TenduTV/Cultureband,
Noemie LaFrance: Choreographer and Director,
Zach Morris: Co-Artistic Director, Third Rail Projects,
Richard Move: Artistic Director MoveOpolis!,
Susan Gluck Pappajohn: Founder, Arthenia; Dance/NYC Board,
David Parker: Founder, The Bang Group
Celia Rowlson-Hall: Filmmaker/ Choreographer,
Alexandria Wailes: Actor; Dancer; Teaching Artist,
Adam Weinert: Artist

Save Your Videotapes! : a Hands-on Workshop on Managing Digitization Projects 
(2:45- 3:45 pm)

Bring your tablets or laptops to this working session and learn best practices and practical steps to save your videotapes. A team from Dance Heritage Coalition (DHC) will share inventory tools and discuss key issues, including: how to curate your videos; the advantages of preparing thoroughly in advance of a digitization project; how to select a vendor or preservation partner; coming up with a feasible long-range storage plan for digital video; how to identify videos at risk of deterioration; and where to go for reliable advice on developing a digitization project. Presenters include a technical expert able to answer questions about video formats and the nitty-gritty of digital preservation; and DHC staff who can address project management, funding options, intellectual property/copyright concerns, and the benefits of creating greater access to your works.

Gregory Lisi, NYC Digitization Hub Manager; Moving Image Specialist, New York Public Library
Libby Smigel, Executive Director, Dance Heritage Coalition
Imogen Smith, Project Manager, Dance Heritage Coalition

Consultations and Workshops

The Legal and Financial Clinic  
(10:00 am- 1:00 pm-sign up is available in-person on the day of the event)

The clinic features 30-minute individual consultations with arts and entertainment attorneys who are volunteering through the Entertainment, Arts and Sports Law and Intellectual Property Sections of the New York State Bar Association. Attorneys are prepared to discuss legal issues concerning entertainment, intellectual property (i.e. copyright and trademarks), licensing, corporation/incorporation, and collaboration agreements.

Jina Paik, Associate Director of the Nonprofit Finance Fund’s Advisory Services, advises nonprofits and their funders in areas of financial planning and management. Ms. Paik will answer questions in 30-minute individual consultations about a range of topics, including better budgeting techniques, crafting your financial story, communicating with and through financial reports, balancing money with mission, and effective capitalization.

Cultural Data Project Training
(10:30-11:30 am)

How many times in the past month have you told a story to update a board member about your work, appeal to prospective patrons, or apply for a grant? In this hands-on workshop Joanna Reiner Wilkinson from the Cultural Data Project will share how to select the right data to support talking points and effectively communicate your organization’s story to stakeholders. Participants will employ a step by step process to develop a pitch targeted to a specific audiences and work in small groups to select data points from sample data from CDP’s free analytics tools.

Revitalization of Not-For-Profit Corporations: 5 areas where compliance helps grow your career
(11:45 am-12:45 pm)

Madeleine M. Nichols, attorney and Curator Emerita of the Jerome Robbins Dance Division at The New York Public Library for the Performing Arts, leads a workshop that offers a “pause” for dancers and choreographers to learn to re-see their careers as businesses; to identify current success habits; to select future key habits; and to find a career’s rhythm of due dates, benchmarks and “compliance” habits.

SmART Bars
(2:00 pm- 5:00 pm-sign up is available in-person on the day of the event)

SmART bars are 30-minute individual strategic consultations that follow the National Performing Arts Convention model. Teaming with arts consultants from the Arts and Cultural Consultants Network (ACCN), SmART bar tenders will respond to any range of questions—from board and fundraising issues to fresh business ideas—providing tailored recommendations and direction to further resources. SmART Bar tenders’ specialties include: Board Development, Fundraising, Human Resources, Marketing, Strategic Planning, Technology, and Disaster Planning: Preparedness and Recovery, Licensing and music resourcing among others.

Employees, Independent Contractors, Interns and Volunteers 
(1:30-2:30 pm)

Employment lawyer Kristine Sova will discuss the distinctions between employees, independent contractors, interns and volunteers, and the importance of classifying and compensating them appropriately to avoid Department of Labor scrutiny and costly lawsuits.  This workshop will clarify these laws for both administrators and artists alike.

Cultivating Leadership in Dance- Intern Program
(4:00-5:00 pm)

Pentacle’s Director of Cultivating Leadership in Dance, Clarissa Soto, will led a workshop outlining the program, which offers artists and organizations the opportunity to work with smart and experienced interns. Through a structured program, CLD matches interns with artists, and works with them to create a program experience that is rewarding and useful for both. This workshop will focus on the important role of interns in the workplace and the relationship between artist and intern. We will also provide tools on how to work most efficiently with interns, and how to help interns gain skills that will further their career.

Please note that sessions, speakers, and schedule are subject to change.

Gibney Dance Center is an accessible venue. Wheelchair ramps and elevators are available via the 280 Broadway entrance. If you require reasonable accommodation please contact Rachel Berman at at least two weeks prior to this event.

Leadership support is provided by The Andrew W. Mellon Foundation and The Howard Gilman Foundation. The Symposium is also supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, from the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature, and from the National Endowment for the Arts.





December 18, 2014 Posted by | ART, BUSINESS, CULTURE, ENTREPRENEURS, GUIDES, HOLIDAY GUIDES, LIFESTYLES, opportunity, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Joffrey Ballet School announces 20 Summer Programs for 2015

This year, the Joffrey Ballet School in New York City will be launching four new summer intensives.

In addition, the summer audition tour will be their largest yet with over 100 locations and more than $2 million dollars in scholarships awarded.

For their biggest summer season to date, Joffrey Ballet School is proud to announce the appointment of Desmond Richardson (Co-Artistic Director and Co-Founder of Complexions Contemporary Ballet) as Program Director over the Joffrey Southwest Dallas Intensive.




Audition Tour to Hit Over 100 Locations and will Offer Over $2 Million in Scholarships; Desmond Richardson Named Director for Dallas Summer Intensive

Joffrey Ballet School, a world-renowned dance center offering the most versatile and highest quality training, announces the addition of four brand new summer programs: Musical Theater, Tap Spectacular, Character Dance and the Joffrey World Dancer Tour to their summer intensive offerings. With its biggest audition tour ever, students at over 100 locations across the globe will have the opportunity to tryout. The year-round school in New York City produces the world’s largest summer training program with locations in Los Angeles, San Francisco, Dallas, Denver, Miami, Georgia, Florence Italy, and in Russia with the Bolshoi Ballet featuring industry-leading faculty. Program directors include Desmond Richardson, Davis Robertson, Josie Walsh, Michael Blake, Jo Matos, Matthew Prescott, Larisa Calero, and Alice Alyse.

“At the Joffrey Ballet School, we are determined to continue to provide intimate and focused training for all our students. Because of this focus in quality education, the Joffrey Ballet School and their summer programs continue to grow exponentially every year,” says Executive Director Christopher D’Addario. “In order to accommodate this growth, whilst still holding true to our foundation in quality education, we are launching four brand new summer intensives, as well as bringing you new, top-rate program directors.”

With three shows in three weeks, the Joffrey Musical Theater Intensive, directed by Matthew Prescott, will partner with three Broadway musicals including Wicked and Phantom of the Opera. The students will learn choreography inspired by the shows while working with actual cast members and get tickets to see the performances on Broadway! With its foundation grounded in strong technique, the Musical Theater Intensive in New York City is Joffrey’s first triple-threat program. Students will start each day with ballet and musical theater while also studying voice, acting, makeup and stage combat.

Also joining the Joffrey summer intensives in New York City will be Character Dance directed by Larisa Calero. Like all Joffrey programs, students will have foundation in ballet, pointe and partnering. They will also learn character pieces from classical ballets and study international dance styles such as Flamenco, Indian, Irish, Tango and others. This program is tailored to the needs of the dancers that want to be versatile and competitive, for the dancers that want to go above and beyond in their dance education and looking for longevity in their dance carrier.

Joining the Joffrey programs in Miami this year, will be the one-week Tap Spectacular, directed by Jo Matos. Joffrey’s first all-tap program, students will study tap history from the contemporary tap masters, as well as, classes in Soft-Shoe, Clogging, Buck and Wing, Classical Tap, Class Acts, Jazz Tap, Hoofing, Rhythm Tap, Broadway Tap and Funk Tap. A tap improvisation class will encourage students to experiment with their own movement and sound ideas. Small classes will provide the students individual, personal attention, directed corrections and the opportunity to pick the brains of the tap masters. The week will culminate with a student production titled, Great American Dance Movies.

The Joffrey World Dancer Tour is the first program of its kind. Starting at the Joffrey Ballet School in New York and touring across Europe, students will study at some of the world’s most prestigious ballet schools. This program is designed for only the most dedicated dancers looking to expand their horizons and will give the participants a truly international experience. Four years of pointe experience is required. Dates and details to be announced.

With the option to either participate in a live class with a Joffrey Ballet School instructor or send in a video audition, prospective students are judged on their technique at the barre with exercises such as plies, tendues and degages. Fee for auditioning is $40 for U.S. auditions.

Joffrey Ballet School will award $2 million dollars of scholarship funding this year. Merit based scholarships are available and distributed based on a students audition—criteria includes technique, artistry, potential, musicality and tenacity. The school also distributes a limited number of financial aid scholarships. Those seeking a merit or financial aid scholarship should contact the school directly for more information.

A list of Joffrey Ballet school audition tour locations can be found at

Summer Intensive Programs
New York City – Directed by Davis Roberston
NYC Pre-Professional – Directed by Davis Robertson
Joffrey San Francisco – Directed by Josie Walsh
Joffrey South Georgia – Directed by Alice Alyse
Joffrey Denver – Directed by Davis Robertson

Jazz and Contemporary
New York City – Directed by Michael Blake
NYC Joffrey Experience – Directed by Michael Blake – faculty from Joffrey national intensives including three Joffrey program directors
Joffrey Southwest Dallas – Directed by Desmond Richardson
Joffrey West Los Angeles – Directed by Josie Walsh
Joffrey South Georgia – Directed by Alice Alyse
Joffrey Miami – Directed by Jo Matos

Other Disciplines
NYC Musical Theater – Directed by Matthew Prescott
NYC Character Dance – Directed by Larisa Calero
Miami Tap Spectacular – Directed by Jo Matos

International Intensives
Joffrey World Dancer – TBA
Florence, Italy – Scuola di Danza Hamlyn
Moscow, Russia – Bolshoi Ballet

Youth Intensives
New York City – Directed by Jo Matos – ages 8.5-14
Joffrey South Georgia – Directed by Alice Alyse – ages 10-13
NYC Dance Camp – Directed by Jo Matos – ages 3-7


About Joffrey Ballet School
Founded in 1953 by Robert Joffrey and Gerald Arpino, Joffrey Ballet School maintains the vision of its founders to transform passionate dance students into versatile, individualistic artists able to collaborate and evolve fluidly in a fast-changing society. With an accredited dance program that offers two core pieces of study – ballet and jazz/contemporary – Joffrey is known for its diverse curriculum as well as being the largest summer intensive training program in the country. As Joffrey celebrates its 60th anniversary, it remains at the forefront of American dance education, instilling a passion for dance in children, youth, adults, pre-professionals and professionals. Graduates of the School have gone on to dance for major classical ballet, modern and contemporary companies, both in the United States and abroad.

November 4, 2014 Posted by | ART, CULTURE, ENTREPRENEURS, LIFESTYLES, opportunity, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

DANCE — The Blessed “Bessie” Award-Winning Amazing Outstanding Emerging Choreographer Jen Rosenblit

 Jen Rosenblit
for a Natural dance
The Kitchen
Outstanding Emerging Choreographer

Produced in partnership with Dance/NYC, the NY Dance and Performance Awards have saluted outstanding and groundbreaking creative work by independent dance artists in NYC for 30 years. Known as “The Bessies” in honor of revered dance teacher Bessie Schoenberg, the awards were established in 1984 by David White at Dance Theater Workshop. They recognize exceptional work in choreography, performance, music composition and visual design. Nominees are chosen by a 40-member selection committee, comprised of artists, presenters, producers, and writers. All those working in the dance field are invited to join the NY Dance and Performance League, as members participate in annual discussions on the direction of the awards and nominate members to serve on the selection committee. This year’s 30th Anniversary Bessie Awards were held at The Apollo on Monday October 20, 2014.

The fourth annual Outstanding Emerging Choreographer Award. Previous recipients include Beth Gill (2011), Rashaun Mitchell (2012) and Joanna Kotze (2013). This year, the committee’s vote was tied and selected two of the nominees to receive the Outstanding Emerging Choreographer Award.  The first recipient, Jessica Lang, was recognized for the elegant works created for her newly formed company of dancers at the Joyce Theater in her transition from freelance choreographer to artistic director. Additionally, Jen Rosenblit was recognized for a Natural dance, performed at The Kitchen, for a confident voice investigating the fluidity of identity, the pulse of time, and the nature of what it is to dance


Talk about your background.



I grew up in Maine dancing at a small studio with one teacher, Debra Lee Irons.  She taught us what she was calling Variant dance.  Many different forms blended together, all really through a jazzy post modern lens which I had no real frame work to understand at the time.  From very early on she encouraged me to make dances.  Improvisation was also a major element in my training at a young age.  I began teaching classes and working with my peers to make small works.  In high school I eventually travelled to Portland, Maine to take Ballet classes with Karen Hurl Montenarro to develop my skill.  I was of course the oldest in the class and my body was very different compared to the 8, 9, 10 year olds and for our final showing my Mom had to sew a skirt for me because non of the ones from the little girls’ catalogue were my size of course.  Karen took me on for private lessons, she got me in point shoes and told me that ballet was meant for my body.  Those 2 women from Maine completely carved a space for me in dance.  I then attended Hampshire College, part of the 5 college system in western massachusetts.  This program was about self designing your education, I was reading and writing as much as possible, being encouraged to think beyond the conventions of academia to articulate contemporary thoughts along side a strong historical lineage.  This is where critical thinking and language surrounding dance making became very important to my practice.  Since 2005 I have been living in NYC, making dances, teaching and traveling.

How did you decide to create a company?

I didn’t create a company.  I work project to project.  I have worked for the past ten years with my dearest friend, Addys Gonzalez.  He continues to expand and question my curiosities.  We have grown up together.  He understands something deep about my feelings that I can barely articulate.  He sticks around even when we are lost in our sense of communication.  Even when he doubts me he returns the next day to rehearsal.  This is how I think about working with other bodies.  I get so lost sometimes in my process, I need to trust that people will go on that tangent as well.  There is something equivalent between “company” and “marriage” to me.  I’m not interested in working that way.  I’m deeply invested in a more precarios translucent arrangement.  Not even money or a contract binds us.  I aim to build alliances with the people I work with.  I also wanted to move away from the demand of making group works that a company model really represents.  Even if I am working with 5 bodies, we are not a company, we keep each other company.
Jen Rosenblit and Jessica Lang win Bessie Awards

What are the challenges of a young choreographer and how do you meet them?

oh. god. I think the challenges must be pretty similar to any age range or qualification.  I do wonder when I will no longer be a shiny new young choreographer.  I’m sure I will miss the shine!  All I know is that I have longed for connections with older artists.  I have made some of those connections deeply.  Job wise it is hard to prove that I am a worth while teacher but that is a whole other conversation about universities and institutional red tape and how there are so many older artists who are much more qualified for the jobs we are all applying for.  This is also that I feel teaching is a part of my work, it is not for everyone.

What is your personal definition of how and why you create?

My friend just asked me if he should stop making work.  He wanted an honest opinion based on the value of what he was producing.  Making dances is a lens for how I begin to organize information.  It is how I sort through things.  It is how I pay attention.  I have a ton of bad ideas.  Sometimes a performer will turn a bad idea into an interesting one.  I’m invested in the process of those exchanges, the outcome if part of the process as well, but not nearly as long as we all have to endure the many many embarrassing ideas.

Describe the evolution of your favorite piece.

well I was really committed to my recent work at The Kitchen, it was also one of my longest projects.  a Natural dance stole my life for 2 years.  I was so confused by the work and also had a deep sense of exactly what is was.  I started with a completely different cast.  Addys was in Paris and taking some time away from dancing.  At the invitation of Juliette Mapp we performed what was then titled H U R T S as part of the Danspace Project platform celebrating Judson Dance Theater’s anniversary.  Juliette’s proposal or thought was that surrounding some moments in the Judson years was a real relation to nature and it’s discontents.  I was playing with oversized sweatpant costumes.  We were 5 bodies with our own solos, sometimes intended to align with another and most of the time not.  This was an early interest in bodies falling out of relation, physically and spiritually, with a strong curiosity for what togetherness could then be.  I left this work, took some time off to perform for some other artists on their works.  Addys and I started working again and I then asked Justin Cabrillos about his interest in joining.  I met him in a class.  He did a 30 second solo during one of our improvisations.  I will never forget his presence.  I was feeling sassy about how similar he might be perceived when placed next to Addys.  I had also never worked with another male body which is something Addys had mentioned wanting to explore.  Collecting and including desires is major in my process.  We worked for a year, once a week sometimes 2 or 3. I knew from early on that I would work with Effie Bowen on a repetition of text: Helen, where did you go.  On a long night walk in Berlin Effie and I talked about meaning, women and what performance can be.  Elliott Jenetopulos then sent me this guide book for theatrical color gels.  Effie became the anchor for the swing of what is natural into a more absurdist landscape of repetition, slippage and female desire.

What would you like to tell young dancers? Young choreographers?

1. include everything. treat all information like matter that takes up space and solicits feelings.  Be critical and then find spaces where we don’t always have reasons or intentions, let intuition communicate with design.
2. Try to have a stable job until it proves that you just can’t and you have to find other ways to make money and make your work.
3. we are all deeply confronted inside of dance making, dancer or choreographer, there have to be moments where we are all bodies and hearts working on this thing together while protecting each other’s spaces of commitment and identity.
4. apply for everything until you begin to uncover what is worth it and what you want to be a part of.
5. warm up before class and rehearsal, cross train, stretch after class and rehearsal.
Jen Rosenblit relaxes at Bessie Award nominations

Where do you see your next season? Will everything be thematic? Will your dancers define your aesthetic?

I have no idea.  I have a studio though LMCC this year and will focus on the making.  I am also traveling a lot for a few other pieces I am in.  I am trying to meet curators abroad and trying to think about a new work that can include elements that I would like to work on in new york yet also have a compact/travel dialogue inherent to it’s nature so that I can be working while I am traveling and working!  working while working.

How do you grow your company?

re: the company questions earlier.  But also I don’t know.  I listen to people older than me a lot.  I take advice.  I try to pay attention to grants and make timelines to see what I am ready to apply for.  I also feel like growing my work administratively is hard to do on my own.  It is easy to get behind on deadlines and email correspondence when in the studio.  I think I’m feeling like the key is to just keep making the work and keep asking for help and finding new ways to support that help.

How do you think of music for each dance?

I make my own sound, sometimes it resembles music! It is similar to the visual elements /costumes, I am interested in the crafting of the performance so when I have used other people’s music I have felt like there was some work that I didn’t look deeper into.  Singing is something for me right now.  Im not the best vocal performer of the year, but that confrontation feel important for me as a performer, as I ask other performers to dive into their deep dark spaces.

How does dance relate to memory or cotemporary emotion? Do they mix?

The body can be so gross.  It holds onto everything.  When someone passes me on the street wearing a parfume that my ex girlfriend wore, my body physically has to stop and sit down.  It is in those moments where I understand the brain and all my organs and my hip flexors and my skin to be a part of my body.  It is then when I kind of understand dance.  Much more than when I am doing a cool dance move on stage.  I am reading Heather Love’s Feeling Backward: Loss and The Poitics of Queer History.  She proposes this dystopia of coming together as a group of people and that this backward glance could be a site to consider all of our loss and mourning.  We need not move on necessarily.  I feel a deep connection in dance this notion that is sort of against utopia.  Getting better and being good and whole and finding completion and coming together is not at the  center of my research.

Your Bessie acceptance speech brought many warm smiles and tears to the audience. It reminded me of the philosophy  of the Bill T Jones/Arnie Zane company.  Do you remember most of your speech?

yeah I remember talking about my body and how special it feels that there is a space for me inside a form that is pretty conventional.  Body politics are central in my work.  I think I resisted that for some time but I think I was also resisting my body.  This refusal for definition is still present, I often say things and immediately want to take it back.  But I am truly honored to be seen for inventive work, not just skinny flexible bodies doing technical things.  I love skinny bodies.  I love technical things.  But my work is about something else.

Were there particular companies or dancers or dances or choreographers that inspire you?

Ya I of course became obsessed with Tere O Connor when I saw his work in college.  I was mad, I asked my professors why no one told me about him earlier!  Hilary Clark is a performer and teacher and in general master at her craft.  Niall Noel Jones’s slippery presence has shifted the way I understand how bodies can come together.  Addys Gonzalez of course is someone who I want to continue to see until I die.  Its like I want to see every decision he makes and every moment that he stumbles into.  God I feel like I could just name everyone.  Meg Stuart’s work has been a huge interest of mine.  RoseAnne Spradlin.  Will Rawls.  I am currently working with Simone Aughterlony in Zurich.  I listen to her proposals in rehearsal and feel like I am in the absolute right place.  I then see her working, improvising and just feel splattered against the floor.  Her casual brilliance will be something I think about on my body forever.

What started you on this path?

I guess my mom put me in dance class in Maine.  But this specific path, I think I put myself here.  With encouragement of many people, this is a place I am still actively working inside of.


Thanks, Jen!



October 20, 2014 Posted by | ART, BUSINESS, CULTURE, ENTREPRENEURS, LIFESTYLES, opportunity, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , , | Leave a comment


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