A website for dancers, dance teachers and others interested in dance
Do you know how you should approach a Generation X-aged classroom? What about one that is filled with Millenials? I came across a resource that discusses this idea, and it can be of value for those who teach dance. After all, not every generation appreciates the same approach.
I found that the comments about Gen X’ers fit me perfectly. Very interesting!
Today for our “10 Questions With…” series we have Matthew Powell; choreographer, teacher and dancer…
1. How did you become involved with dance?
Like many male dancers, I entered the world of ballet because my sister was already taking lessons. She was put into ballet classes when she was little to correct a hip alignment issue she was born with. Every week, I would go with my parents to the studio to wait for her to finish. Since I was hanging around so much, the director invited me to come in and take class. Luckily, I had a wonderful teacher who loved to choreograph. Our days in the studio were filled with rehearsals of her ballets. I think if my time were spent doing only plies and tendus in class, I would easily have become bored. The intricacies of learning choreography, feeling the musicality, and finding ways to put a piece of myself into my dancing are what kept me coming back. I stayed at that little studio for ten years, until I left for the School of American Ballet. I am so grateful for my time there, because it taught me at an early age the importance of being an artist rather than just a dancer executing steps.
2. What are you currently doing in the field?
I am happy to say that I am very busy! This summer, I am teaching ballet classes at Broadway Dance Center, Peridance, Brooklyn Ballet, Petrov Ballet, and substitute teaching at Ballet Academy East. Later in the summer, I will be heading to Martha’s Vineyard to work as Ballet Master with Morphoses during their residency at the Vineyard Arts Project. While there, choreographers Jessica Lang and Pontus Lidberg will be creating new works to music by David Lang. These will be performed at the Works & Process series at the Guggenheim on October 3rd and 4th. Every aspect of this project excites and inspires me. To have the opportunity to be in the studio for five weeks with some of the world’s best dancers and choreographers is truly a gift. Morphoses is overflowing with artistic energy and positive vibes as the company grows into its new curatorial model, and I am so happy to be a part of it all.
3. You are a choreographer as well. What have you done, and how did you wind up going this direction?
Choreographing gives me the opportunity to create something physical out of the fantastic (and sometimes crazy) sensory episodes that whirl around in my mind when I hear a piece of music that I love. Some of my favorite nights have been spent plugged into an ipod, dancing around the apartment by myself with a glass of wine and a good piece of brie. It’s a very personal experience for me, and for this reason, it can sometimes be difficult to muster the self-confidence needed to move forward with a piece. I love being in the studio and the process of creating, but once my work hits the stage, it becomes business and a part of my livelihood! Still, I enjoy the artistic challenges choreographing provides, so I continue. My first work was performed at a choreographic workshop at the Kansas City Ballet. Over the next two years, my Artistic Director, William Whitener invited me to create new works for the company’s summer residency in Colorado. He then nominated me for a fellowship from the New York Choreographic Institute, which I received in 2006. That work, Resonant Dances, was then performed as part of Kansas City Ballet’s 50th Anniversary season.
4. Can you talk a bit about how you come up with the movements you select to go with the music? What is the process…
It’s hard to pin down any specific process that has worked best for me. I really go on a case-by-case scenario. Sometimes I create work on dancers I have known for years, so I have a good understanding of the way their bodies move best. Other times I am meeting the dancers for the first time the day we begin. When working with professionals, I like dancers to feel that the choreography I create for them meshes well with their strengths. This enables them to focus more on musicality and the overall feel of the piece. When I work with students, I often purposely create works that play on their weaknesses so they can use the piece as a means to become stronger dancers. Otherwise, my choreographic process is anyone’s guess!
5. What was the Crossroads Ballet Festival, and how were you involved with it?
The Crossroads Ballet Festival was an incredible labor of love, and one of the most satisfying experiences of my career. Though I was the Founder and Artistic Director, it was only made possible thanks to the collaboration of some really wonderful friends in the arts community. The festival combined the talents of dancers from nine different ballet companies for two evenings of classical ballet favorites, three newly commissioned works, and George Balanchine’s Stars and Stripes Pas de Deux. Dancers who participated in the festival came from New York City Ballet, Milwaukee Ballet, Cincinnati Ballet, Ballet Florida, Pacific Northwest Ballet, Staatsballett Berlin, Kansas City Ballet, Suzanne Farrell Ballet, and Sacramento Ballet. Because the festival was presented in the middle of the summer, I was able to provide dancers with good employment, and balletomanes with incredible performances at a time of year when ballet companies are typically on hiatus. We had budgeted for houses at 70% capacity, but ended up completely selling out, and had incredible audience response after each show. We took the small surplus we accrued and donated it to dance organizations in need. My hope is to someday take the festival on the road every summer and perform in cities that do not have (or no longer have) a professional ballet company. Classical ballet needs more exposure in order to survive, and by bringing professional dancers to these communities, I feel this festival could help show just how wonderful and important the art is. One can dream.
6. Would you share one of your career highlights?
I wore a vest for Allegro Brillante that had a shoestring-type front to it. I had done a lift with my partner and was sliding her down my chest. En route, her costume hook latched onto my vest…we were trapped. She next had to run across the stage in one of Balanchine’s signature winding patterns. Not realizing what had happened, she began to take me with her! Even worse was the fact that my vest was now drawn so tight it was restricting airflow. Frantic costume ripping ensued, and finally we were freed from each other. We still laugh about the fiasco to this day. Perhaps not a career highlight, but it was definitely a performance I will never forget.
7. What do you think are the most important qualities for a dancer to have?
Given the complexity and depth of artistry in today’s choreography, I think it’s important for dancers to be as versatile as possible. They should also be willing to drop inhibitions and take risks that may be out of their comfort zone. And, of course, they should have brilliant technique!
8. Is there any advice you can give specifically to men in ballet?
Thankfully, the social stigmas surrounding men in ballet have slowly become less of an issue over the years. However, it still can be tough, especially for younger male dancers. The best advice I can give is to work hard, be nice, and be patient – things will fall into place.
9. What is it that you love so much about dance?
I love dancing because it is an art that so perfectly combines the physical and emotional aspects of human nature. Even better is the fact that this marriage is mutually beneficial for both the audience member and the dancer. Throughout my career, I have tried to become as well rounded as possible so I could continue in this incredible field beyond my dancing years. Thankfully, I have been given some wonderful opportunities to do so. Yet, had these never presented themselves, I’d still find someway to stay with the art – I’d dance for nickels in the subway stations of New York if that’s what it took.
10. What is next for you?
I am excited about the prospects of working with such a pioneering company like Morphoses. I hope to continue to grow with them and contribute in any way I can. Along with that, I will be joining the summer faculty at the Rock School in Philadelphia, and traveling a bit for some other guest-teachings. I am in talks with a few places to choreograph new works as well. I’d also love to continue exploring the possibility of taking the Crossroads Ballet Festival on the road in the summers. This is the first time in my life I’ve worked solely as a freelance artist. It’s a little intimidating, but very exciting. I’m happy, healthy, and working in the field I love. What more could I ask for?
As a teacher, Matthew was a faculty member with the Kansas City Ballet School, and has taught classes at institutions such as the Universities of Iowa and Alabama, Marymount Manhattan, and Ballet Academy East. He has taught company class for Kansas City Ballet and Alvin Ailey American Dance Theatre while on tour. Additionally, Matthew served as the company ballet teacher for the West Side Story International Tour. He is currently teaching ballet at Broadway Dance Center and Peridance.
Matthew’s choreography received a fellowship from the New York Choreographic Institute in 2006. In 2008, he founded and directed the Crossroads Ballet Festival, a celebration of classical ballet performed by dancers from some of the world’s most renowned companies. He also worked as Assistant Director to Dorothy Danner for the Lyric Opera of Kansas City’s production of Pirates of Penzance. Most recently, Matthew has been working with Morphoses as Ballet Master, and will be guest teaching this summer at the Rock School in Philadelphia. http://matthewpowell.net
Just a courtesy post…pass the word if you know anyone who might be interested…
Ballet Arkansas is looking for a male dancer, must be at least 18 years old (5’10” or taller) with strong ballet technique/partnering and performing experience in classical and contemporary movement. Other dance techniques and skills, such as jazz, tumbling and hip-hop, are desired but not required. A resumé, references, and dance photos (video submission can be discussed in the email) can be submitted to Arleen Sugano, Artistic Director, missa (at) suganosystem.com.
40 week contract beginning August 1.
1. What is the benefit of teaching children about “creating shapes” when it comes to dance?
Interesting question. I don’t really think I teach kids about creating shapes. We all create shapes when we move, we do it naturally. I teach kids to become aware of their bodies and become aware that they are creating shapes. We break down shapes into straight lines, angles and curves. What does a straight line feel like and look like? Bend the line and create a point. Now it is an angle. How is that different then a straight line? Soften that angle, make it round. Now you have a curve. Dance freely around the space, now stop. What kind of shape are you in? Are there angles, curves and straight lines? Are your arms in one shape and your legs in another?
If kids understand the elements of movement then learning and perfecting technique can be a natural progression in their dance education. If you ask a child to keep her leg straight when she turns and her arms curved, well this is not that difficult because you have explored shape already. The young dancer has the resources and experiences to pull from.
The benefit of learning about creating shapes is learning about what the body can do, as well as learning about the images and ideas the body can invoke. If you ask your students to tell you about a tree, they might say it has a big trunk, the roots go deep into the ground and it has branches reaching upward. Have the dancers create the tree shape in their bodies. Next, have your students then observe a tree. Discuss the shapes, the curves, the bulges and knots in the trunk, the branches that bend down to the ground in an angle. Now have your students create the shape in their bodies again. You will have shapes that you probably have never seen your students create before.
2. What age group do you like working with best and why?
This is going to sound like a cop-out but any age that is in front of me. Each age has its own challenges but the important thing is to have an objective and to be aware of the developmental milestones of each age. I actually love teaching various ages together. It is very challenging but there is something so beautiful when all ages can move together, connected by a physical experience.
3. How has having a daughter impacted your work as a dance teacher?
I would never have created Up Down & All Around, the creative movement DVD for kids and parents. It was because I wanted to teach and create and I had to find a solution to teach without being in a studio all the time. Also, my focus changed. I wanted to reach out to more families and explore teaching families the joy of moving together. I dance with my daughter all the time. I danced with her ever since she was little. But I never taught her how to dance. Kids know how to dance. I guess my philosophy deepened when I danced with her. Teaching dance is about teaching body awareness, spatial awareness, the elements of movement as well as technique and placement. Yes, there is a correct way of spotting or stretching but there is no wrong or right way of moving.
Watching my daughter dance, and dancing with her solidified this in me. Dance is organic. I appreciate this more now.
4. In your experience, what types of ideas are hard for young children to understand in dance class?
Hmm. Space is difficult. I always start with spatial awareness. I find for a successful and safe movement experience this is a must. This is a difficult concept for kids to understand because they have to be aware not only of themselves but the people and things around them. And developmentally this can be challenging.
5. If you could tell people who have kids one thing about finding a good dance teacher, what would it be?
I would tell parents to find a dance teacher that is a good teacher. What I mean by this is find someone that is focused on the development of the child, on the overall learning experience of the child. It is not just about a great performance at the end of the year, but a wonderful experience throughout the year.
Bio: Stacey is the Founder and Director of Leaping Legs Creative Movement Programs. The focus of Leaping Legs Creative Movement Programs is to help people regardless of age, experience or ability, become educated about their movement potential, develop kinesthetic awareness, and become more physically fit and healthy together as a family, and community.Leaping Legs promotes its goal through the original Up Down & All Around DVD. Utilizing the elements of movement, the video entertains as it motivates kids and their families to exercise together using movement games, silly exercises and challenges. The DVD received Dr. Toy’s 100 Best Children’s Products 2009 Award and 10 Best Active Products 2009 Award. The DVD has also been featured in many magazines. In its August 2009 issue, Dance Teacher called the DVD “an essential tool for teaching the fundamentals of movement.”
Stacey received her BFA in dance performance at Montclair State University and her MA in dance education from Teachers College, Columbia University. She has taught as an artist in residency and guest artist in public and private schools for over twelve years.
I thought it might be fun to share with you how I got into ballet. It’s actually a rather funny story…
I ask almost everyone I interview that question and most of them have a much more glamourous response than I do. The truth is…
I was enrolled in a gymnastics class and it was “recital time”. I was supposed to do a running cartwheel on the mat, but when I looked up and saw my family and all the people there–I decided I was going to do it without using my hands. Thought I’d impress everyone.
The problem?
I was five years old, and I had never done one before.
I’m sure you can guess what happened next…I ran, went flying into the air and landed badly. When I could get to my feet, I held my left arm up and saw that I had snapped both bones clean through.
That was the end of gymnastics class.
My Mom decided that she would enroll me in ballet instead. And that is how I got my start. Quite by accident.
Literally!