International Cooperation
By exposing students to international artists, teachers can do a world of good.
As small as the dance world is, most dancers have only seen a sliver of what’s out there. Globally, dance is a huge phenomenon—from Mexican folk to contemporary in Russia. And if the professional market continues to demand that dancers be well-versed in all styles, than it only makes sense to expose students to as many genres as possible. Teachers can take advantage of the global network of dancers by inviting international guests to their schools and expanding the repertory of their students.
Why Foreign Artists? Times are tough for American dancers. While our country’s economy weakens, funding for the arts inevitably gets cut. Professional companies must fight harder for grants, and as the competition for money tightens, so does the competition for jobs. Meanwhile, dance in South America and Europe is flourishing. Many young dancers now look for work overseas, and by first making contacts with international artists in their training, they have a better shot at success. Yet, exposure to international dance isn’t purely pragmatic. Many teachers find it not only benefits their dancers’ professional prospects, but also helps in the development of their identity. “When my dancers worked with [Canadian artist Jill Johnson], they began to feel they were getting to their own voice and their own movement,” says Cherilyn Lavagnino, Chair of the Department of Dance at NYU’s Tisch School of the Arts. Daniel Lewis, Dean of Dance at New World School of the Arts in Miami, FL, feels bringing international artists to the states also aids in the growth of the next generation of choreographers. “Dancers need a better idea of what’s being done so that they don’t repeat what’s out there,” he says. “The more references you have, the more equipped you are to either rebel against or go with the grain and develop something new.”
New Perspectives Teachers who’ve hosted international artists have found their influence on students to be profound. Young dancers are often treated to new perspectives on dance, which helps them gain a deeper appreciation for the art form they love. Deborah Thorpe, the dance department chair for the Governor’s School for the Arts in Norfolk, VA, found her students responded positively to ballet master classes from the Royal Birmingham Ballet last year. “It was so fabulous for them to understand that the same ballet language is used around the world,” she says. “They got a sense of how universal ballet is, and it made a real impact.” Students may also acquire an appreciation for foreign technical emphases, which differ from typical American classroom focus. Nicola Conraths, an instructor at the Interlochen Center for the Arts in Interlochen, MI—who herself is German, raised in Rome, and trained in Italy—observed a difference between her and her students’ tastes. “The European emphasis is on arms and musicality, while here, there seems to be more technically-based focus on the legs, feet and lower body,” she says. “I’ll watch a video with my kids and I’ll be very impressed with a port de bras, while they’ll focus on the height of the leg in a battement.”
New World School of the Arts performs Gartha Fagan's Before
Bringing international guest artists to the studio may also give the current faculty a boost in reputation and respect from the students. Thorpe saw that her students were impressed by their teachers’ connections. “There’s an inevitability that some company will come to town and someone will known someone in our faculty,” she says. “That’s exciting for our students because they see how their faculty are well-connected and professional. They get an understanding of how small the dance world is and how important it is to maintain relationships.” Beyond increasing their own profiles, however, most teachers agree that one of the best benefits for their students is not just a gain in artistic perspective, but in social awareness and empathy for another culture. “Any point of view that broadens your understanding of the world is a good thing,” says Mark Borchelt, Director of Dance at Interlochen. “And the more international exposure you give your students, the more they can experience these points of view in a different, more personal realm.”
Make It Happen Many teachers recognize the benefit of international artists, but assume hiring foreign companies requires heavy clout and big bucks. But, small studios and high school dance departments can find simple solutions by connecting with a local theatere company or presenting festival. “Producing organizations very often have to do community outreach for their granting awards,” says Thorpe. “They seek out performing arts schools.” Since international companies will already be in town, they might be able to offer a master class to your studio without having to charge for airfare or hotel costs. And, if outreach is a requirement of the company or festival’s grant, then master classes won’t cost a red cent. Another way to save on costs would be to trade rehearsal space. If your studio has the space, you can rent out your facility for the price of a master class. The added benefit: Exposing students to a professional rehearsal environment. “All the students were glued to the windows watching the professional companies rehearse,” says Thorpe. And if all else fails, and there’s no festival or theatere presenting international dance companies nearby, teachers can resort to a good old-fashioned web search. “Most companies now have their own websites and some have actual footage of their choreography posted,” says Lavagnino. “From there, you can contact them personally or through their reps.”
International Alternatives Even though international cooperation is a vital part of artistic development, in the post-9/11 climate it has become very difficult for foreign dancers to obtain work visas. Of course, this often obstructs cultural exchange, especially for smaller schools that might not have as much leverage as a university with a prestigious dance department. However, studio directors and dance chairs needn’t worry: The United States is a cultural melting pot with plenty of international resources right in its own backyard. “When in doubt, hire U.S. artists who originally came from other countries,” says Lewis. “You can get the same thing here without going overseas.” Lewis himself has brought in Mike Uthoff of the Hartford Ballet (originally from Santiago, Chile) and international dancers from Battleworks. Another option would be to introduce a U.S.-based cultural dance company to your students. Borchelt is dedicating one week of his school’s summer program to the “Silk Road” project, bringing in the Kun-Yan Lin/Dancers to perform their unique fusion of Asian cultural dance with American contemporary.
Choose Wisely Teachers who are able to hire international artists should take special care in selecting which style, country of origin, and company to introduce to their students. Don’t just select an international company because they are in town. Pay attention to what the company is doing and how it will be beneficial for your students. “I would ask teachers, how does this international artist fit into your curriculum? How are you preparing students in regards to what they’ll be doing?” questions Borchelt. “Tell the students about the aesthetic of the work. Do some peripheral work so they understand culturally what’s going on, and the relevance of idiom and form.” It’s important to prepare students for the arrival of foreign guests artists, not only for proper classroom etiquette, but also why this particular dance form is important. If you are at a college or high school, utilize your own faculty (art or history teachers) to provide seminars to students. If you’re a studio director, search for local high school or college teachers as resources to broaden your understanding of the particular culture/dance you will be bringing in. The more legwork you do, the more your students will gain from the experience as dancers and as people.