Editorial – Page 68

The Jersey Tap Fest

May 15, 2010 by 4dancers

This is a post for all you tap dancers out there…4dancers is pleased to share some information about Jersey Tap Fest, and its founder, Hillary-Marie…

1. Can you tell readers a little about your background?

I am a tap soloist, performer, choreographer and teacher who specializes in the American art form of rhythm tap dance. I established an entrepreneurial stance at a young age by managing local musicians in the tri-state area under Fireshot Promotions and am now the Founder and Director of Jersey Tap Fest.

Hillary-Marie Promo Shot 1 — Hillary-Marie

I have been mentored by and assistant to Dr. Harold ‘Stumpy’ Cromer since 2007 and mentored by Karen Callaway Williams since 2004. As a belter and actress, I made my theatrical debut as Val in a regional production of A Chorus Line and now provide audiences with an afternoon of song and tap dance in my new show, What’s On Tap? I proudly became a member of the New Jersey Tap Ensemble in April 2006 and have since become a principal dancer for the New Jersey Tap Ensemble under the direction of Founder and Artistic Director Ms. Deborah Mitchell. I have been so fortunate as to work with the New Jersey Symphony Orchestra, Princeton Symphony Orchestra, New Jersey Ballet, Russian Moscow Ballet, American Tap Dance Foundation, as well as award-winning composers Marvin Hamlisch, Leonard Oxley and Nikki Denner.

I have performed in many New Jersey venues, including Cafe Arabica, the Edward Nash Theatre, Montclair Arts Museum, the Morristown Community Theatre, the NJ State Theatre, NJPAC, Patriot’s Stadium, Pianos, the Richardson Auditorium, Skipper’s, the South Orange Performing Arts Center, The Priory, the Union County Performing Arts Center, the Westminster Arts Center and the Wilkins Theatre, as well as New York City’s Battery Park, Cobi’s Place, the Duke Theatre on 42nd Street, the Fashion Institute of Technology Haft Auditorium, Peter Norton Symphony Space, Small’s Jazz Club, Showman’s, The Kitchen, Washington DC’s Duke Ellington Theater and Smithsonian Museum, St. Louis’ Blanch M. Touhill PAC, and Los Angeles’ Hamilton Performing Arts Center.

Outside of teaching and performance, I write for Terrence Taps’ Tap Dance Blog and am a member of the International Tap Association and New Jersey Jazz Society, where I dedicate myself to keeping the art form of tap dance alive.

2. Briefly, can you explain what Jersey Tap Fest is?

Jersey Tap Fest is an annually fantastic New Jersey tap dance event that will educate and serve diverse students with a passion for tap dance. Founded by Hillary-Marie, Jersey Tap Fest provides repertoire classes to celebrate today’s young, emerging tap dance artists and master classes to celebrate the tap masters and allow them to train the artists who are the future face of the tap dance community. We are committed to tap dance by being dedicated to its advancement for the purposes of promoting and preserving its tradition, history and musicality as an American art form.

Jersey Tap Fest provides non-competitive opportunities of self-advancement and networking for the basic tapper, tap teacher, tap enthusiast, pre-professional and professional artist and tap master. This stimulating, demanding and rigorous program will serve diverse students with great passion for tap dance in the tri-state area, allowing them to improve their technical abilities and increase their overall knowledge of the art form. All participants will be awarded opportunities of performance to give them valuable experience in which they can reflect on. Overall, Jersey Tap Fest is focused on serving tap dance, teaching its history, preserving its percussive traditions and promoting it for what it is, a cherished American art form.

3. Who should attend?

Everyone! Classes are based on skill level

Kids – There are youth classes and a youth rep for children between the ages of 8 and 12 (the choreography learned in the rep classes will be performed in the main stage show on July 17^th at SOPAC theater, amazing performance opportunity!)

Teenage, college, pre-professional and professionals – There are open intermediate and advanced classes and intermediate and advanced reps (the choreography learned in the rep classes will be performed in the main stage show on July 17^th at the SOPAC theater… another amazing performance opportunity!) Classes can be registered for individually, but as always… packages are the way to go!

Adults – There are adult beginner classes all three days of the festival towards the end of the day, before the night time events. This is a great opportunity to brush up on childhood dance skills, start a new hobby, or learn about what your child does in dance class and give you something in common, a new dinner table discussion!

Tap Teachers – Attending Jersey Tap Fest will provide you with new steps, techniques and routines to teach your students.

Tap Enthusiasts – Not a tap dancer, but love tap dance? There are classes and events for you! History with Dr. Cromer and “Music Theory for Tap Dancers” can be registered for individually. There is a free Shim-Sham class and everyone can purchase tickets to the night time events, including the Jam Session, Panel Discussion, Participants Showcase and the main stage faculty show.

4. Can you tell readers about the people who will be teaching at the event?

Honoree:

Living tap dance legend Dr. Harold ‘Stumpy’ Cromer of the song and dance comedy team “Stump and Stumpy” with James Cross. Credits include, Du Barry Was A Lady, Early To Bed, The American Dance Machine and special appearances with Frank Sinatra, Duke Ellington, Ella Fitzgerald, Sarah Vaughn and many more!

Rep Teachers:
Logan Miller (A.C.G.I., St. Louis Hoofers)
Sarah Reich (A.C.G.I., LA Ironworks)
Alicia Smith (New Jersey Tap Ensemble)
Kyle Wilder (New Jersey Tap Ensemble)

Youth/Int/Adv/Early Bird/Technique Teachers:
Karen Callaway Williams (Riverdance, New Jersey Tap Ensemble)
Maurice Chestnut (Bring in ‘Da Noise Bring in ‘Da Funk, New Jersey Tap Ensemble)
Dr. Harold ‘Stumpy’ Cromer
DeWitt Fleming Jr. (Banana Spheel, Broadway Underground, New Jersey Tap Ensemble)
Jeffry Foote (New Jersey Tap Ensemble)
Jason Janas (Imagine Tap)
Hillary-Marie (Founder and Director of Jersey Tap Fest, New Jersey Tap Ensemble)
Deborah Mitchell (Founder and Artistic Director of New Jersey Tap Ensemble, Black and Blue)
Jenne Vermes

Hip-Hop:
Tom McKie

Music Theory for Tap Dancers:
Nicki Denner (The Nicki Denner Latin Jazz Trio)

Special Guest:
Yvette Glover (Mother of Savion Glover, Jazz Vocalist)

5. Would you talk about a few of the highlights of the Fest?

Beyond the amazing faculty and 40+ classes that Jersey Tap Fest offers… there are public nighttime events and extra classes!

Wednesday, July 14^th

**“Music Theory for Tap Dancers” can give any tap fanatic a better understanding the percussive and improvisational elements of tap dance,

**Open Jam Session – musicians and tap dancers are invited to call their tune and jam with the live jazz band!

Thursday, July 15^th

**The free Shim-Sham class is a great time to learn the classic tap dance finale, “The Shim-Sham Shimmy”

**Panel Discussion

Friday, July 16^th

**Learn about tap dance history from history itself with Dr. Cromer!

**Jersey Tap Fest participants are provided with the opportunity to share their talent and perform for the public (acts are not limited to tap dance)

Saturday, July 17^th – Main Stage Show

**An AMAZING faculty performance that you do not want to miss! (This performance will include rep pieces learned during the festival)

6. What else can you tell readers about the Jersey Tap Fest experience?

Tap festivals provide tap dancers of all skill levels and ages with opportunities to learn, grow, network and perform. Don’t miss out on this amazing event.

All events will take place at South Orange Performing Arts Center (SOPAC). This is an amazing theater that is allowing us to use their Loft to hold the classes and their stage for the culminating main stage show. SOPAC is conveniently located next to the South Orange train station, which is only a 30 minute train ride from NY Penn Station.

A Quick Dance Quote…

May 10, 2010 by 4dancers

Thought I would start the week with a lovely dance quote that I just heard…

“Always the question for dancers is: Can we fly?” – Jean-Christophe Malio

Now that I am not able to soar through the air as I once was, I do miss that feeling. I used to love to practice leaps, and see how high I could get…or how much distance I could travel. Not everyone gets to experience that type of sensation–especially propelled by their own body.

It’s an amazing thing.

10 Questions With…Patti Eylar

May 7, 2010 by 4dancers

Today I am just thrilled to introduce a lady who was with Chicago City Ballet Company when I studied there. Her name is Patti Eylar, and I can recall sitting at the side of the studio on the floor, watching her rehearse, and being amazed by her focus, her technique and her beautiful arms…

I have been fortunate to cross paths with many wonderful people in the dance world over the years, and I love having the opportunity to share some of their stories with you here on 4dancers…

1. Can you tell readers a little about how you became involved with dance?

My mom started me in ballet at age 7 because she always wanted to take ballet herself but her family couldn’t afford it – she was the youngest of 10 siblings. About 10 years ago I reconnected with my first ballet teacher. I found her because she produced a video (Teaching the Most Important Levels in Ballet) and I saw the ad in one of the dance magazines. I was lucky to have such a great start.

2. Where did your dance career take you?

I studied at the ABT school and went to a lot of auditions in NY. I lucked into a job in Chicago (with the Lyric Opera Ballet, which later was the basis for Chicago City Ballet) and have been here ever since. The companies I danced with here went on not-so-glamorous tours – mostly bus tours – but I did get to tour France, Italy and Tunisia, and also the east and west coasts of the good ol’ USA. Even in a small company, I think the opportunity to travel AND dance is wonderful. True, sometimes your dressing room is the band room, but other times you find yourself in the most beautiful theatres.

When I was on scholarship at ABT they used some of us as snowflakes in “Nutcracker” and I got to dance at the Met – I know it was just “snow” and the regular company members were glad not to be in it, but it was quite a thrill for me. (Later, when they came to Chicago on tour I was asked to fill in at the last minute and dance “snow” at the Opera House.) Chicago City Ballet premiered at the Auditorium and I’ll never forget how exciting it was to be onstage for “Rubies” when the curtain went up.

3. What are you doing now in the field?

I’m the co-director of Chicago Ballet Arts, a small school with a big heart and a great faculty! We believe dance is good for everyone, attempt to make it affordable to everyone, and teach the real thing to everyone. I didn’t start CBA, it was founded by Clare Carmichael, but have been a co-director with Leslie Saunders for about 5 years now and am very proud of the school and what we accomplish there. We’re currently preparing for our annual spring concert and benefit (June 12 & 13 J) – I actually choreographed something, which is a first for me. Joffrey dancer and CBA faculty member Calvin Kitten will be our guest artist, along with Jennifer Goodman, a former Joffrey dancer.

I teach the Intermediate class at Lou Conte’s twice a week as well. I love teaching there – it’s a wonderful environment and I meet some fantastic people. I still take class regularly – at Lou Conte’s and CBA mostly. I’m a member of the Board of the Civic Ballet of Chicago (the pre-professional performing company of the Ruth Page Foundation), the Joffrey Women’s Board and the Dance for Life Committee.

4. Can you talk a bit about your involvement with Dance For Life?

I attended Dance For Life many times when it first started but just became a co-chair last year. Everyone involved has been fantastic – Keith Elliott, co-chairs Joe and Kevin, and the whole committee. It’s obviously a great cause, but also a great performance every year and you really couldn’t ask for a better group of volunteers. I love seeing dancers from all the companies join together in the finale.

5. What do you think is the most important thing for a dancer to realize?

Wow, that’s a good question. I’m afraid this is going to come out the wrong way, but I think we have to realize that it’s a privilege to be able to share our art. Dancers provide the talent, of course – there wouldn’t be a company without them – but dancers need others to help present that talent to audiences, and audiences to come to the performances. The companies I danced with, CCB and Ballet Chicago, were often struggling financially so I was grateful to the directors, funders, Board members and audience members who did keep the company going. I was happy to be able to perform the ballets I loved and to have a great city to live in as well.

6. Has your view on dance changed over the years? If so, how?

I don’t think my view has changed much, except I’m more protective of the older dancer now, having been there. I know the young dancers have to have their space and time marches on, but younger dancers will be older dancers soon! It was frustrating to me to be finally feeling like I knew what I was doing and then to be replaced. I know there are practical considerations, so maybe my frustration is more with the way these things are generally handled.

7. Can you offer any tips for those who want to dance professionally?

I fully realize that it’s harder to get a job today than when I was 19, but even then it wasn’t easy. I was a few months away from going back to college when I landed my job with Maria Tallchief at the Lyric Opera Ballet, and then I ended up dancing professionally for 18 years. Perseverance is important, of course, but also realizing if you’re on the right track or not. I see some aspiring dancers who don’t seem aware of their weaknesses, so are doing nothing to improve them, and seem to have no sense of urgency! Look at the dancers in the company you aspire to – can you see yourself dancing with them? If not, why not? Is it something you can change, or do you need to look elsewhere? The internet is a big help in that regard – you can research the companies and discover where they get their dancers, height requirements, etc.

8. Would you share a favorite moment from your dance career with readers?

I had a lot of favorite moments, because overall, I loved being a dancer. There were certainly sad, frustrating and depressing moments – disappointments in casting, performance opportunities, abilities, etc. But I loved going to work every day – how great to have a job doing what you love that also keeps you in shape. I only had one injury, a stress fracture, that kept me out of class for a few weeks, but other than that I never missed a day. I loved learning Balanchine ballets, which I didn’t grow up with, but are just indescribably wonderful to dance – even for corps members, as I usually was.

I know most dancers get tired of dancing “Nutcracker”, but I just really enjoyed performing it. Most of the time our regular seasons were short, but we did enough “Nutcracker” performances to really get comfortable in a part, and I loved my roles so it was just a great experience all around. Taking class from and being directed by Larry Long was part of it – I had been taking class from him for over 30 years when he passed away last summer – a tremendous loss for us all. His sense of humor was legendary – every year I looked forward to the time in rehearsal when he would act out the mouse counting the chimes as the clock struck midnight – a priceless rendition….

9. What was it like to work with Maria Tallchief?

Life-changing, no question. I would not have had a career at all without her. Not everyone seemed to be able to work for her – she’s very dramatic! But she had a way of making every little detail VERY important – and guess what? That’s what classical ballet requires. If you saw 100 dancers in a class – who would you watch? The ones who are treating it as an exercise class or the one who is displaying musicality, attention to detail, artistry – even at the barre? I was not a prodigy or virtuoso dancer by any stretch of the imagination, but I actually think that’s more inspiring – you actually can make a career for yourself even if you can’t manage 32 fouettes! But you do have to respond to what your teacher or director is telling you. It took me awhile to accept what Miss Tallchief was teaching – I did not have any SAB training – but I did come to understand what she meant and it helped me immensely as a dancer. It wasn’t easy though, and I do have some good stories….

10. What is next for you in terms of your career?

I’m very happy co-directing CBA and teaching at Conte’s. I love teaching – I always hope I can be helpful.

Dancin’ At Sea–A Unique Opportunity For Dance Studios

May 5, 2010 by 4dancers

1. What exactly IS Dancin’ At Sea–and who should contact you for information about the program?

This program is designed for dance studios that want to enhance their students’ public performance opportunites and experience.

2. How does the program work?

We combine a family cruise vacation aboard major cruise lines allowing the dancers of all ages to perform in the main theatres/show rooms of the ship. These shows are open to ALL cruise passengers. The number of performances is determined by the length of the cruise and the Studio Director.

3. Where do the cruises go and what are they like?

Cruising has become so popular in the last 20 years. The destinations vary from the Caribbean to the Mexican Riviera to Alaska. It allows families to enjoy multiple cruise activities and explore new destinations while their “dancer” performs in professional venues.

4. What is included in the cost of the cruise and what isn’t?

We include just about everything! The cruise fare, meals, gratuities for all service personnel, costs for rehearsals, performances, cocktail / coketail parties, award ceremonies, performance invitations and announcments,dancer shirts; and most of all each group is escorted—which only enhances our specialty. Hands on experience! Additional costs are only those expenses of a personal nature such as gift shop, bar purchases casino and shore excursions in each port.

5. What is done to make sure that the experience is a good one and everything runs smoothly?

Nothing is ever 100% perfect in everyones eyes. However, due to our 18 years of experience, our escorts are able to foresee any possible “hiccups” and address those issues so that we do have “smooth sailing”. If there is a problem, it is addressed on board with the proper personnel immediately.

6. What else can you share with readers about this unique experience?

We bring families and friends together for an experience that will last for years. Many of our studios have sailed with us 3 times or more! Visit our website and see many actual performances aboard the ships.

Robin Smith is the Owner/Director of CALADESI TRAVEL / DANCIN’ AT SEA®, which has been around for over 18 years. Ms. Smith has 29 years of experience as a travel professional, and she has also been an elite competitive gymnast, dancer and instructor.

For more details about Dancin’ At Sea, visit their website, which has photos, videos and testimonials about the experience.

Inquiries from dance studio owners are welcome.

Dance Sabbaticals Do The Body Good

May 4, 2010 by 4dancers

Today we have the first post from 4dancers newest contributing writer. Please welcome Lucy Vurusic Riner…

I have been teaching dance to high school students for over 14 years. In 1996 I student taught at Stevenson High School and got my very first teaching job there: ripe out of college. I’ve been in the suburban public school system ever since. Most of my thus far adult teaching life has been at Oak Park and River Forest High School in Illinois, where I am the dance program director. I love teaching and I love high school. Yes, I’m one of those rare people you meet that loved those four years of her life. It seemed natural to go back to this place I loved and teach what I love most. Great life….I know.

But about two years ago I started getting cynical, resentful and just plain mean. I couldn’t put my finger on why I was so bitter. Going to work wasn’t nearly as fun and students were getting on my nerves on a daily basis. All I saw in front of me were egotistical, self-absorbed teenagers that constantly wanted something. Something was wrong with this picture. Why had the typical teenager become such a nuisance to me? I was burnt out. I was mad. How had I let 14 years of good professional dance life slip by me for a bunch of adolescents? Sure I had continued to work for smaller companies in town and produce shows independently, as well as with others, but what could I have done? I started asking the questions of “what if?”

And so I applied for a sabbatical. Most school districts have some sort of sabbatical, or “leave” program for their teachers. I am fortunate to be part of a district that allows teachers to apply for sabbatical after 10 years of service. My district also pays half your salary and allows you to keep full benefits while you are on sabbatical. Granted, you then guarantee your school two more full years of service and show that something you did while on sabbatical would contribute to your program. Our district gives three sabbaticals each year. I got lucky.

So for the last year (and a half because I also had a baby, but that is another post) I have been absorbed in dance. I immersed myself in Spanish dance to learn a new style that I could create new curriculum around. I promised to be in 15 productions (to date I have done 12) to enhance my performance skills and truly be the dancer I could not be with a full time job. I started my own company, RE|Dance, with a long time dancer friend. And I have taken class and seen dance whenever possible. This year has been exhausting….but worth every minute.

So with about 28 days left in this school year I realize that my sabbatical is coming to an end. Most people I run into ask me if I am sad. Surprisingly, I am not. This year has given me everything it was supposed to: the opportunity to perform, the time to take class and improve my own technique and the learning of new ideas and ways to engage my students through my own personal experiences. But the most important gift this sabbatical has given me is the renewed appreciation for my students. I miss them. All of them. I cannot wait to get back in that classroom and teach them everything that I know and continue to learn about dance.

If we are to be good teachers, we must forever be students as well. Taking time away from teaching has reminded me why I chose this profession in the first place. I know I am lucky to work in a place that provides these opportunities for its teachers. But whether this is a luxury you have or not, ask yourself what it is you need the next time you find yourself irritated with a student or frustrated with a show. As artists it is our job to be true to ourselves. If we aren’t, we can’t create meaningful work, and we surely can’t have meaningful connections with our students. Find time to revisit who it is you wanted to be when you first started out.

Sabbaticals do the body good.

: Lucy Vurusic Riner

Contributor Lucy Vurusic Riner is a native Chicagoan who has been supporting and contributing to the dance community for over twenty years. She received her BS Degree in dance and dance education from Illinois State University. Lucy has been a member of Molly Shanahan/Mad Shak Dance Company, RTG Dance Company and Matthew Hollis’ “The Power of Cheer.” She has also had the opportunity to be part of the community cast of White Oak Dance Project and David Dorfman Dance.

Lucy has taught modern, hip hop, and jazz at numerous studios and high schools in the Chicagoland area. She has been the Director of Dance at Oak Park and River Forest High School since 1999. In 2005, Lucy completed her Masters Degree in Education from National Louis University and also received the Midwest Dance Teacher of the Year award and was the youngest of four finalists in the running for the National Dance Teacher of the Year award. Lucy and artistic partner, Michael Estanich, formed RE|Dance in 2010. This dancer theater company investigates humanity in movement through long distance collaboration. Lucy has also begun work on a long-term project entitled, “The Moving Vessel” which explores the impact of motherhood on the professional dancer. When Lucy is not working with independent choreographers and producing her own shows, she is at home with her two great kids, Margie and Luka, and her very supportive husband, Jim.

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