Co-Authored: Kyli Davis + Andrea Hansen

It’s been a breathless summer for the Bakersfield dance community.  The high temperatures have heated up studios across the valley while Jordan Wandick, competing in “So You Think You Can Dance: The Next Generation” has lit the small screen on fire with her powerful, charismatic dancing. On June 27th Jordan became a top ten finalist in the popular Fox TV series, and each week she wowed viewers with her dancing. KDA supporter and SYTYCD season 8 runner-up, Sasha Mallory chose to be Jordan’s mentor and together they delivered a performance to ‘Amazing Grace’ that prompted the following response from Entertainment Weekly writer Kelly Connolly: “Wow. It’s like the whole show stopped to breathe at once.”

Jordan began her dance journey at the age of nine in a jazz class at Dancers Turnout Academy. Ambitious and energetic, Jordan was soon recruited for the competition team. She quickly excelled taking as many classes as she could, even going home and practicing regularly. A passion for dance accelerated a proliferation in her technique and her devotion to dance soon included additional responsibilities, including assisting DTA teachers in various dance technique classes.

This past January, Jordan was not only recognized for her dance talent, but also her academic achievements as one of two KDA scholarship recipients.  A 4.0 student, a featured dancer in Debbie Allen’s “The Hot Chocolate Nutcracker”, and a shining example of leadership and humility led the KDA Board of Directors to unanimously approve her scholarship application.

Jordan was eliminated from the competition on August 2nd, but it is safe to say that SYTYCD is only the beginning for the young dancer. Jordan’s future plans are clear. “My dream is to dance on Broadway,” she told KDA. “I want to see my name in lights and I can’t do that without dance.”

by Marcie Hronis

To perform at optimal levels, dancers need to be well fueled for classes, rehearsals, and performances.  Carbohydrates are a major energy source in muscles. An ingested carbohydrate is broken down into simple sugars (glucose) in the digestive tract then stored in muscle in the form of glycogen, the primary fuel for energy production. Dancers who do not ingest sufficient carbohydrates will compromise their ability to train because of low muscle glycogen levels. They may feel more fatigued during classes and rehearsals.

Dancers should favor complex carbohydrates derived from whole wheat bread, oats, quinoa, legumes, vegetables, fruit, and low-fat dairy rather than simple carbohydrates, such as candy, cake, ice cream, pastries, sodas because complex carbohydrate are nutrient dense with many micronutrients while simple sugars are nutrient poor.

Here is a complex carbohydrate recipe that is low in fat and will surely give you energy!

The Whatta-Burger (meat-less burger)

Burgers:
3 ½ C         Water
½ C            Nama Shoyu (soy sauce)
4 ½ C         Oats –uncooked
1                   Onion large – chopped
1 C               Sunflower Seeds – chopped
1 Tsp.          Italian Seasoning
2 Tbs.         Nutritional Yeast
½ Tsp.       Garlic Powder
2 Tbs.         Olive Oil

Directions:

• Preheat oven to 350 degrees
• Mix water and Nama Shoyu together in large mixing bowl.
• Add oats and sunflower seeds. Stir until moist
• In a skillet, sauté onions in olive oil until tender, then add oats and seasonings.
• Take off heat and let stand until liquid is absorbed, about 10 minutes.
• Form into patties by hand or use a burger patty ring.
• Place on a baking sheet that has been sprayed with nonstick vegetable spray.
• Bake for 20 minutes on each side or until browned.

Serves 10

Comments:

Of course you can eat these with hamburger buns like the traditional hamburger.  I also like to plate just the patty, add mustard, mayonnaise, shredded lettuce, chopped onions and chopped pickles on top, and then eat them with a fork as the entrée.  This is a gluten free recipe.

by Amy Adams

Are you struggling with a particular aspect of performing?  Whether you feel stuck by a major roadblock or just want a new perspective on an old problem, this regular column offers advice from a fellow performer who has been there before.  

When I am in dance class or alone, I love to dance, but once I am aware that people are watching me I mess up so much that dancing becomes frustrating.  Aren’t performers supposed to love being watched?  Is it weird to be shy and be a dancer?  How do I become more comfortable in front of people?

Believe it or not, not all performers love to be watched. The interesting thing about being a gifted performer is that it can truly be within anyone, extroverts and introverts alike. The most important thing to remember is that the second you get inside of your own head and make yourself aware that people are watching you will have a tendency to second guess your perceived ability and begin to focus on the “what ifs” people may be thinking. Be as present as you can be in the moment, and always focus on what you love about dance, for me it is the the flow of movement that makes me forget that I am actually counting in my head, the moment you can just let go you can feel that love, tap into that. Also, one of the greatest gifts you can give yourself is confidence in your ability, if that confidence waivers make sure you are continually educating yourself. The more prepared you are the more empowered you are so that you can truly dance like nobody is watching.

by Andrea Chesley

Whether you are a seasoned professional or just starting out, it is important to practice good dance class etiquette. Not only is class etiquette important to cultivate the best possible class experience for you and your fellow dancers, but it can also be extraordinarily impressive to your instructors who, more often than not, play a large role in deciding the future of your career. It is especially important for young studio dancers as they move on to collegiate and professional studios and take more master classes to be educated about and practice proper dance class etiquette because it will separate you from the rest. You will appear professional, mature, and humble and directors and choreographers will want to work with you again and again because you make their job easy and rewarding. Some of these rules may be obvious to you, but some are “etiquette crimes” still committed by experienced dancers! Practice the following 10 guidelines, and you’ll always impress in class.

Arrive On Time. Always arrive with enough time to be fully prepared to begin class without distraction. If you do happen to arrive late, enter the studio quietly as possible and wait until the end of class to apologize. You may even want to wait for permission from the instructor to come on to the floor. The key is not to disrupt the class any further. Try not to “come and go” during class either. Once in class, stay in class for its entirety. In addition, never leave early. If there is an emergency and you must, discuss this with your instructor before class and leave as discreetly as possible.

Observe Studio Floor Rules. Different studios may have different rules regarding their floor, but there some general guidelines on what is appropriate treatment of studio floors. Wear only approved foot wear on the floor. Help protect our precious dance floors by never wearing your street shoes inside the studio and never wearing your dance shoes outside the studio. Socks are traditionally not appropriate for dance class but have recently been a footwear trend in class and performance. Socks can allow for more stamina on sometimes, sticky marley floors or aesthetics and increased technical capability in choreography. However, some floors may be too slippery for socks and some instructors may find it too informal. If you’re in doubt about whether socks are appropriate for class, ask your instructor about appropriate foot wear.

Bring Only the Necessities Into the Studio. The necessities should not include your phone. If you must have your cell phone, use it wisely and make sure it is completely silent, even vibration settings can be a distraction. Always ask instructor permission before pulling out your phone to film or take photos of any part of class, especially if you plan to post the instructor’s choreography in any public capacity.

Come to Class “Clean.” Come to class in proper dance attire, free of any jewelry. This allows the instructor to easily spot corrections in your technique and you to dance fully without worrying about your safety or the safety of the other dancers. Never chew gum during class or bring food into the studio. Water should be your only necessity.  Always come to class having practiced good personal hygiene. Not only will your instructor and fellow dancers thank you, but you will feel better and dance better as a result!

Give the Instructor Your Full Attention. Never sit down in the middle of class. Avoid negative body language such as crossed arms, leaning on the barre, or yawning. These behaviors will make you appear bored, thus the instructor will think you’re uninterested in class. Give the instructor your undivided attention, never talking while they’re speaking, not even quietly to your neighbor. Most importantly, listen first, then ask questions. The instructor should never have to repeat themselves because you weren’t listening. Ask questions that are relevant to class and the current combination being taught. If you find yourself with more than 1-2 questions about a particular subject or combination, consider saving them for after class so not to delay or disrupt the flow of class.

Never “Mark” a Combination. Unless the instructor has otherwise specified, always dance to your fullest ability. To not do so is a waste of your dance instructor’s time and implies that you do not care. Use your time on the floor and in front of your instructor wisely. Your technique will only improve and your instructor will notice!

Be Attentive. When performing across-the-floor or center combinations, be prepared when it is your turn. Especially if your instructor has given the class explicit instructions on when each dancer or group should begin, he/she should not have to “count you in.” For example, if an across-the-floor combination is four 8-counts, the next dancer or group should be ready to on the fifth! Your instructor will be thankful for this display of professionalism. In addition, never quit early or pause in the middle of the floor because there is a dancer coming right behind you! Do your best to keep going if you make a mistake to avoid collisions or other dancer’s ability to complete the combination.

Practice Your Spatial Awareness. Be aware of the personal space of your instructor and fellow dancers. Never crowd the front (or back) of the studio floor or your instructor. Be confident and do not be afraid to stand where you can best see, hear, and learn, but try to only stand in front if you really know the combination.

Let the Instructor Do the Teaching. Do not to correct other dancers during class. That is the instructor’s job. Keep opinions about class choreography or combinations to yourself. Only worry about you and what you can glean from class and each particular instructor.

Always Say “Thank You.” Thank your instructor after class, even if you’ve had several classes with them. Thank them every time. Be sure to thank the class accompanist as well. Applaud when appropriate at the end of class and for class demonstrations or end-of-class performances. Instructors will notice and you will always impress if you remember to truly be grateful for the time you get to learn and dance!

By Andrea Chesley

Kern Dance Alliance has officially become a chapter of the National Honor Society for Dance Arts with approval for a secondary program accessible to 9^th-12^th grade students studying dance who meet the requirements for induction. KDA seeks to ensure that excelling dance students within Kern County have every opportunity to grow and succeed. This means that students attending a high school without a dance program or whose high school or dance studio are not current chapters, can still be inducted through Kern Dance Alliance.

The National Honor Society for Dance Arts, or NHSDA is a program of the National Dance Education Organization whose mission is to recognize outstanding artistic merit, leadership, and academic achievement in students studying dance and to foster an appreciation for dance as a true art form. By recognizing these dance students nationwide, providing institutions with a way to promote their dance programs, NHSDA helps to advance the field of dance and the importance of dance education. This new KDA chapter comes to California on the heels of the passing of SB916 or TADA!, allowing high school dance and theater teachers to receive a credential with the potential to be highly qualified alongside their teaching colleagues. It is an exciting time for dance education in California and KDA is hoping to make Kern County dancers a part of it.

Dance students are inducted based on a “point system.” Points are awarded for dance activities such as dance classes, rehearsals, performances, research, workshops, or community service, alongside a GPA of at least 3.0.  Dancers who are inducted receive recognition of their artistic merit, academic achievement, and leadership throughout their educational experience, certificates at each level of induction with the opportunity to wear the gold Honor Pin and blue and white Honor Cord with graduation gowns, mentorship from the KDA Chapter Sponsors and board members, networking with their peers, and have access to leadership and development opportunities within their NHSDA Chapter. Students will potentially have the opportunity to assist the KDA chapter sponsors with administration, record keeping, fundraising, and event planning as the chapter grows. Inducted students also qualify for the NHSDA National Merit, Leadership, and Academic Achievement Award, a scholarship award and the highest honor from the National Dance Education Organization.

9^th-12^th grade dance students who might be interested in the induction process should stay tuned for announcements from KDA beginning in the Fall through member email and social media. There will be an informational meeting soon and progress meetings throughout the year to ensure students who desire to be inducted are guided and mentored throughout the process. For more information about NHSDA, please visit www.nhsda-ndeo.org. KDA is thrilled to highlight the best and brightest dancers in Kern County.

Whether you are a dancer, studio owner or arts connoisseur, KDA is here for you.

• HOW TO GET A SCHOLARSHIP:  If you’re interested in receiving a scholarship for your school, a workshop or even a summer intensive programs, KDA can help.  We offer scholarships up to $500 – apply directly on our website – click here!
• HOW TO GET EVENTS POSTED: Studios, organizations and students are all able to have any and all events added to the KDA calendar!  All you need to do is email fara@kerndance.org about your event, include all details and any image you’d prefer and it will be posted on the KDA calendar. FYI: in the near future, you will be able to post events yourself directly to KDA’s event page 
• HOW TO FIND OR POST A JOB:  On KDA’s site we have a job board that lists casting, employment and internship opportunities!  To have something added to the job board, please email info@kerndance.org.
• HOW TO BECOME A MEMBER: Want to receive membership perks like tickets to great events? Want to be able to receive a scholarship?  Want to collaborate and be involved with events that help arts and dance in our community?  Want to be able to access all Kern County dance events in one place?  It’s just $25/yr for individuals, $50/yr for organizations and $100/yr for venues.  Become a member!
• HOW TO DONATE:  Want to help KDA programming like the dance education and outreach program at The Fox Theater this fall?  In November, KDA will host performance and dance classes  for underprivileged children in partnership with Garden Pathways, The Boys and Girls Club and Bakersfield Homeless Center.  Donate here or email us if you’d like to personally get involved!
• HOW TO SHARE WHAT KDA IS DOING:  KDA would love you to share what we are doing!  Follow us and share what’s going on – Twitter, Facebook, Instagram, and of course email links to our website or newsletter.
• HOW CAN KDA HELP YOU?  If you want to collaborate, we have community connections and would be happy to help.  Just shoot us a note and let us know what you as an individual or your organization needs help with, we will see what we can do!

by Kelly Damian

In the minutes before 4:00 pm on Thursday, November 19th the Fox Theater was abuzz with pre-performance anticipation.  69 children, at various stages of restlessness, sat in the seats, waiting to watch, what for many, would be their first live dance performance.  Finally, the lights dimmed, the music rose and so began the Children’s Dance Education and Outreach Event, an afternoon conceived and coordinated by KDA with the goal of making a professionally produced live dance experience available to all populations of local children.

The first performance of the afternoon was an improvisational solo piece from the Mojave Movement Arts Center.  Following that was a high-energy dance from the CSUB dance team and a thoughtful, lyrical piece from Dancer’s Turnout Academy.  Experience Dance Studio presented a crowd-pleasing hip-hop duo and Bakersfield Dance Company finished off the performances with an emotional lyrical number.  The lights came up to enthusiastic applause.

The hallmark of a great performance is one that ignites in the audience the desire to dance.  From its inception, the evening’s event was meant to be a participatory experience.  To this end, the 80 audience members from Garden Pathways, Boys and Girls Club, Bakersfield Homeless Center and CASA split into two groups and headed to different parts of the Fox Theater.  They had less than an hour to learn a choreographed dance routine.  As the audience members and leotard-clad dancers mingled together, the tables had turned.  It was now the audience who was filled with pre-performance jitters. Any initial hesitation was soon dispelled by high energy music and the need to learn dance steps.  Sweatshirts were thrown aside, shoelaces tightened and even the more reluctant dancers were swept up in the excitement of the opportunity.

After rehearsal the attendees made their way to the stage, abuzz with adrenaline ignited by the lights and music.  The stage was soon crowded with dancers and the audience-turned-performers began their routine, some shyly some with unbridled enthusiasm. Somehow the dance that seemed so long during rehearsal felt disappointing short on stage.  The routine ended but the music kept going, and an impromptu dance party erupted on stage.

After copious applause and one celebratory high-five followed by the splits, the attendees returned to their seats for a question and answer period with the dancers.  The questions from the audience were plentiful:  “How do you learn your dances?” “What helps you memorize your dances?” “What is the hardest part about dancing?”  In line with the spirit of the event, the microphone was then turned over to the performers who asked their own questions of the audience.

All too soon, the event was over and the students filed onto buses, snacks in hand.  Those in attendance agreed that the evening’s event would be the first in a long line of outreach events.  KDA would like to thank The Arts Council of Kern, The David A. and Linda A. Cates Family Foundation for providing funding for the event. We’d like to thank Grimmway Farms for the healthy snacks.  We also thank Garden Pathways, Bakersfield Homeless Center, Boys and Girls Club and CASA for sending such great audience members.  Thanks also to the Fox Theater for providing a lovely venue.

by Marcie Hronis

With flu season in full swing, staying healthy is often at the top of every dancer’s mind.  You probably already know that to stay healthy you should wash your hands often, avoid touching your face and get a full nights sleep, but did you know that cutting out refined sugar is a good way to prevent illness?

Sugar and Vitamin C are similar in chemical structure so when you eat sugar, it competes for space in your immune cells with Vitamin C. White blood cells need Vitamin C to destroy bacteria and viruses. The more sugar in your system, the less Vitamin C can get into your white blood cells.

In an orange or carrot, the sugar is packaged with nutrients, water, and fiber that help you digest it. When you strip the vitamins and minerals from corn to make high fructose corn syrup, your body has to take nutrients from your bones, skin, and vital systems to break down the concentrated sweetener. Your kidneys will stimulate more urine production to water down the sugar, which is dehydrating and speeds up signs of aging and disease.

Here is a recipe free of refined sugar to enjoy during this winter season!

APPLE CRISP

Pie Filling:

7  cups apples – peeled, sliced

12 oz apple juice concentrate, frozen unsweetened (do not add the water, use it concentrated)

4 tablespoons  corn starch

1 tablespoons vanilla

1 – 16 oz can crushed pineapple, unsweetened drained (optional)

To taste cinnamon (optional)

2 tablespoons margarine (optional)

Directions Pie Filling:

• Preheat oven to 350 degrees
• Mix corn starch into ¼ of the thawed apple juice concentrate
• In large pot put in all the pie filling ingredients, stir continually, till apples are 2/3 cooked
• Pour pie filling into a baking dish; remember to leave room for the topping

Topping Crust:

2 cups old fashion oats

1 ¼ cups  whole wheat flour or whole wheat pastry flour ( use rice flour for gluten free)

½ teaspoon salt

½ cup corn oil

1/3 cup water

1 C  walnuts or pecans – chopped

6 -8   dates – pitted, chopped

Directions Topping Crust:

• In mixing bowl combine oats, flour, salt, oil and water, mix thoroughly
• Add in nuts and dates and mix well
• Sprinkle topping crust over pie filling
• Bake for 30 -40 minutes. Keep checking that the topping does not burn

Serves: 10

by Amy Adams

Are you struggling with a particular aspect of performing?  Whether you feel stuck by a major roadblock or just want a new perspective on an old problem, this regular column offers advice from a fellow performer who has been there before.  

I have to do an emotional dance with a person who I have no connection with personally (and don’t particularly like). Is there any way I can have a great performance with a person who I don’t have a great relationship with? -Unenthusiastic on Stage

Wow, this is a tough one however, the answer is ‘yes’. As a performer our job is to focus first and foremost on conveying the story. Communicating emotions is not always easy to achieve with someone we don’t typically work very well with. The times I have faced this, I try to take myself out of the situation emotionally and focus on the physicality of what said “connection” would look like. When our internal connection to a piece is strong it is always much easier to achieve a powerful performance. We will not always be gifted with the knowledge and ability to easily connect with every piece or partner. One way you can overcome your aversion to this person is to change your perspective and focus on the things that you appreciate about your partner. Maybe you love his form, or technique, whatever it may be. Find a way to pull focus on the things you do like. If you say,”What if there are none?” you may be a bit unrealistic in your perspective.

As a professional performer it then becomes your job to not focus on the things that are in the way of you doing what you are hired to do. So if you would like to do this as a profession take the time to empower yourself and say that this task of connecting for the sake of the performance is something that you will learn from and grow from to be a more effective performer in the future. I also strongly encourage you to imagine a connection with your partner, and visualize said connection for the stage. Never forget that you are storyteller and the story you are telling is above all far more important than your personal opinion of your partner.

by Andrea Chesley

Social media is evolving.  No longer just a way to communicate with friends and share photos, it has become an important tool that allows dancers to take control of their careers, expose themselves to a much larger fan base, and shape the way they are perceived by the world.  A dancer with a well-developed online presence that reads like a resume, shows dedication, and personality, is much more likely to be cast over a similarly skilled dancer with no or poor online presence.

For better or worse, when you walk into an audition room, you’ve already been “Google’d”.  It is up to you as a performing artist to build and shape your online presence in a fun a professional way that is uniquely YOU!

Think of your profile as your portfolio or resume. Share where you are studying, what you are working on, where you are performing, and who you are working with. Share with your followers your goals and share when you achieve them. Look at your profile as a whole. Does it accurately account for your dreams and accomplishments? Casting directors and company directors WILL look at these profiles. What does yours say about you?

Your profile should be professional, yet show your personality. Ask yourself: What is your unique message? What would YOU like to share with the world about dance? Be clear about that message and align your posts with it. Then, among those professional photos and updates, add the occasional behind-the-scenes moment that allows your followers into your world for a brief moment.  What makes the dancers we most admire so endearing is that they are candid without being overly personal. What dancers do you admire? What performances have you seen and loved? What is your pre-performance meal? Share it!

Build your audience. The amount of followers you have is certainly no indicator of talent. However, those followers that are probably now just your friends and family can potentially grow to be your fan base. And the larger your fan base, the more intriguing you become to colleges, dance companies, and casting directors. Your fans are the people who come to see you perform and ultimately support your career in dance. As dancers, we have the benefit of capabilities that are very visual. Photos and videos are much more likely to be shared and followed on social media, so document everything! Use hashtags on EVERY POST.  Hashtags are how new followers can find you. You might even consider creating your own signature hashtag to use in every post. How fun it will be for your followers to be able to contribute to your signature hashtag feed when they see you perform or are inspired by you! Lastly, think about targeting your audience. Who are the dancers you admire? Who are the companies you’d like to dance for? Where would you like to further your dance education? Follow them. Tag them in posts. Reach out and be diligent and you will see your audience of supporters grow dramatically.

Think before you post. There is a fine line between showing personality and being overly personal. Oftentimes, dancers will create two separate profiles, a professional dance social media account and a personal, private account. Although it is not necessary to do so, this can  help alleviate any worry about crossing the fine line between a candid behind-the-scenes look into your world of dance and airing personal grievances or your opinion on polarizing topics unrelated to dance or your unique message. Before you post a status or a photo, ask yourself: Does this align with my ultimate goals as a dancer? Do I want a company director to know this about me? Do I want younger dancers who look up to me to see this? No matter how insignificant the post may seem, if you can’t answer “yes” to these questions, do not post it.

You are a package. Your technique, performance capabilities, and personality are what make you a whole, marketable package. Learn to see yourself as a valuable asset. Be able to verbalize it. No one knows you better than you. Every dancer has something that makes them unique and special. Own it, be confident, and learn to market yourself. Your social media profile should reflect this confidence.

Learn to make social media work for you and your career, but most importantly, have fun! For inspiration, check out the profiles of some of the most successful dancers to come out of Kern County: Sasha Mallory, Tiler Peck, and Mason Trueblood!

IG: @sashadm

@misstilerpeck

@masontrueblood

by Valerie Hashim

With over twenty years of costuming experience, Valerie Hashim has made costumes that transform dancers into swans, insects and Elizabethan courtesans. In this month’s newsletter she shows KDA members how to make a beautiful flower headband in seven minutes flat.

Don’t forget to share! If you make a headband share it with us via facebook, twitter, or instagram.

Whether you are a dancer, studio owner or arts connoisseur, KDA is here for you.

• HOW TO GET A SCHOLARSHIP:  If you’re interested in receiving a scholarship for your school, a workshop or even a summer intensive programs, KDA can help.  We offer scholarships up to $500 – apply directly on our website – click here!
• HOW TO GET EVENTS POSTED: Studios, organizations and students are all able to have any and all events added to the KDA calendar!  All you need to do is email fara@kerndance.org about your event, include all details and any image you’d prefer and it will be posted on the KDA calendar. FYI: in the near future, you will be able to post events yourself directly to KDA’s event page 
• HOW TO FIND OR POST A JOB:  On KDA’s site we have a job board that lists casting, employment and internship opportunities!  To have something added to the job board, please email info@kerndance.org.
• HOW TO BECOME A MEMBER: Want to receive membership perks like tickets to great events? Want to be able to receive a scholarship?  Want to collaborate and be involved with events that help arts and dance in our community?  Want to be able to access all Kern County dance events in one place?  It’s just $25/yr for individuals, $50/yr for organizations and $100/yr for venues.  Become a member!
• HOW TO DONATE:  Want to help KDA programming like the dance education and outreach program at The Fox Theater this fall?  In November, KDA will host performance and dance classes  for underprivileged children in partnership with Garden Pathways, The Boys and Girls Club and Bakersfield Homeless Center.  Donate here or email us if you’d like to personally get involved!
• HOW TO SHARE WHAT KDA IS DOING:  KDA would love you to share what we are doing!  Follow us and share what’s going on – Twitter, Facebook, Instagram, and of course email links to our website or newsletter.
• HOW CAN KDA HELP YOU?  If you want to collaborate, we have community connections and would be happy to help.  Just shoot us a note and let us know what you as an individual or your organization needs help with, we will see what we can do!

Whether performing on the stages of New York City or in front of a camera in Hollywood, many dancers who made their start in the small studios of Kern County have gone on to find great success as professional dancers and performers across the United States.  KDA got in touch with Kern County dance alumni Tiler Peck, Sasha Mallory, Mason Trueblood and Geoffrey Kropp, to ask about their biggest challenges, their memorable moments and that all important question, ‘What’s the last thing you ate?’

How old were you when you know you wanted to make dance your profession?

Sasha Mallory:  I think I was around 10 years old when I discovered that I wanted to make dance my profession. When I was younger I idolized professional ballet dancers and dreamt of becoming one.

Mason Trueblood:  Believe it or not, I don’t think I knew I wanted to make dance my profession until I was already dancing professionally. Dance has always been a huge part of my life – a weekly hobby that became my life’s routine – it really permeates all that I do, but I’ve always seen it as a means to the end and not the end itself. I want to be an artist, but not exclusively in one medium. I’ve set out to inspire, to entertain, and to provoke conversation. To wrestle with what it means to be human and share that experience with others; dance has always been a fantastic vehicle for that kind of communication.

Geoffrey Kropp: As soon as I knew that ballet could be a job, I knew that was what I wanted to do. When I was 12, I spent the summer training at the San Francisco Ballet School’s Summer Intensive, and that was when I saw that you could be a dancer as a profession. At 17 years old I really committed to making a job out of my passion. I moved to Philadelphia to study at the Rock School for Dance Education and then to Seattle to train with Pacific Northwest Ballet.

What is the greatest challenge you’ve faced in your career?  How did you overcome it?

Tiler Peck: I suffered a stress fracture when I was 18 years old and had to be out for a total of six months. It took three months of complete rest to let it heal and three months of intense physical therapy before I was on the stage again. Injuries are sometimes a blessing in disguise because you become more aware of your body and also normally come back stronger than before.

Sasha Mallory: One of the greatest challenges I’ve had to overcome was being a part of the TV broadcast of So You Think You Can Dance. Being on that show was extremely demanding on the body and spirit. Although it was very intense, I learned that my body and spirit could take a lot more hardship that I ever knew. I tried to stay focused on whatever was the task at hand.  I went through the whole process step by step focusing on the details of each movement I had to make.

What is your greatest physical strength as a dancer? What is your greatest physical weakness and how do you overcome it?

Mason Trueblood: My greatest physical strength as a dancer is my ability to tap dance, which I attribute to both rhythm and a precision and quickness of my feet. My greatest weakness as a dancer is definitely my flexibility. I’ve worked hard for to overcome this “weakness” by stretching daily and often, which helped, but never enough. I decided the best way to overcome this is to learn how my body works and embrace the facilities that I have. This freed me up to just enjoy the uniqueness of my own physicality and my own movement, not judge it for its “imperfection” or “substandard performance” in comparison to others.

Geoffrey Kropp: I think my height is both a strength and a weakness for me.  At 6’4”, I’m pretty tall for a dancer.  For partnering, it is great.  When a ballerina goes up en pointe, she gets six inches taller, but that isn’t a problem for me.  It also helps me stand out.  But at the same time, there is a lot of me to control and moving the same speed as a dancer who is 5’7″ can be hard.  And, because my height makes me stand out, if I’m off with something, everyone can see it.

If you could offer just one piece of advice to the next generation of dancers, a younger version of yourself, what would that be?

Tiler Peck: Try not to measure your worth and success by comparing yourself to others. Each individual has his or her own gifts and should only focus on his or her own path and career.

Sasha Mallory: Don’t ever hesitate when you have an idea that you want to make into reality. Working hard always pays off. Maintain the quality and integrity of your art and never doubt it if you inspire yourself and others. Keep on creating.

Mason Trueblood: Fully enjoy the moment and the people within it. This isn’t profound, but we’re often distracted from truly living in the moment and investing in the people around us. My advice is to fight distraction and seize the moment with fervor – laugh harder, smile bigger, hug harder, work diligently, seek fun, and don’t take for granted the people around you. It’s amazing how this changes your dancing.

Geoffrey Kropp: Dance for yourself and focus on your own path.  As hard as it is, try not to spend energy comparing yourself to everyone else.  Don’t worry that this dancer got a better part or got moved up before you.  Don’t worry that that dancer did more turns or jumped higher than you.  Dance is such a competitive field (and such a short career), it’s not worth wasting energy.  Pushing yourself is good (and necessary), and some competition is important, but always try to dance for yourself. Work hard, focus on your technique, and you will improve.

What is your pre-performance ritual?

Sasha Mallory: I like to meditate for a moment to center myself in my surroundings. I make sure all of my muscles are warmed up and ready to go. I double and triple check all of my costumes if I have costume changes … just little things like that.

Geoffrey Kropp: I am very particular about what I eat before a show-scrambled eggs on toast with avocado. If it’s an evening performance, I try to take a quick nap beforehand. And right before the show, my dressing-room-mate and I often have a little dance party while we get ready, often to bad 90’s music.

What would you say to someone who thinks dance isn’t a ‘real career’?

Sasha Mallory: I would probably give them a hug because they just don’t know any better. That would be like saying art is irrelevant.

Mason Trueblood: I would ask this person to define a “real career,” because we obviously have two very different definitions. Pouring yourself into a vocation that requires logic, high levels of physical exertion, and passion coupled with discipline and a strong-willed determination is a worthy venture by any standard. Especially when this work then inspires and moves others to be active and share their voice with the world. Dance is a real career – the only way around that truth would be ignorance.

Geoffrey Kropp: I get that a lot (“But what’s your day job?” they ask), but once I tell people my typical work week, they start to understand.  With Kansas City Ballet, we work Tuesday through Saturday, 9:15am to 6:00pm. It’s a real job.

Now for the hard-hitting questions. What’s the last thing you ate?

Tiler Peck: a chocolate chip cookie

Sasha Mallory: kale chips

Mason Trueblood: a delicious homemade tuna-melt with chips and hummus

Geoffrey Kropp: a bowl of cereal

Our Contributors:

Tiler Peck is in her fifth year as Principal Dancer with New York City Ballet.  She had the honor of performing for President Obama at the 2012 Kennedy Center Honors and recently played the title role in Susan Stroman’s newest musical, “Little Dancer”, at the Kennedy Center.  Tiler was seen on Broadway as Ivy Smith in “On The Town” and in 2013, she was named Forbes 30 under 30 in Hollywood Entertainment. Ms. Peck is also designer of Tiler Peck Designs.

Sasha Mallory was the runner-up on Season 8 of “So You Think You Can Dance”.  She also appeared in the movie Crave and danced in Madonna: The MDNA Tour.  She is currently preparing to perform her second international tour with Madonna.

Mason Trueblood recently earned a Bachelor of Fine Arts in Dance Performance and a Bachelor of Art in Film and Media Studies from UC Irvine.  He lives in Los Angeles where he has performed on the television show “Glee” as well as several movies.

Geoffrey Kropp has danced with the Kansas City Ballet for ten years.  He has also performed with the National Choreographer’s Initiative, Kansas City Dance Festival, ARC Dance, Owen/Cox Dance Group and UMKC’s Conservatory of Music and Dance.

By Marcie Hronis

To perform their best, dancers need to be well-fueled for classes, rehearsals, and performances. Protein is needed to repair the breakdown of muscle fibers that are stressed by constant use.  It is also used as an auxiliary fuel, and is important for synthesizing the many enzymes necessary for metabolism.  Protein is made of amino acids, some of which are termed “essential” because we cannot produce them and need to get them from our diet.

Should you eat the protein every day?  The body is better able to utilize protein when it is eaten in moderate regular doses throughout the day and also post workout. Try to divide up total daily dietary protein into regular meals.  For example, a professional level dancer would need to eat 10-20 grams of protein with a balanced meal within 1 hour post-exercise. However, some studies show that the body’s muscle building/repair response will still occur if the protein is eaten within 24 hours of exercise.

Quinoa Tabbouleh

Tabbouleh:

Dressing:

DIRECTIONS:

1. Place quinoa in a colander and rinse several times rubbing the grains together to remove the bitter outer layer.
2. Place 2 cups of water and quinoa into a saucepan and bring to a boil. Reduce heat to a simmer and cover. Cook for 10 to 15 minutes or until water has been absorbed. If quinoa is cooked but there is still liquid in the pot, then drain with a fine mesh strainer.
3. In a bowl put tomatoes, cucumber, parsley, onions and mint. Add lemon juice and olive oil.  Mix well.
4. Stir in cooked cooled quinoa and salt. Mix well.
5. Let tabbouleh sit in the refrigerator for a day to blend flavors.
6. Tabbouleh is usually served at room temperature so remove from the refrigerator 30 to 60 minutes before serving.
7. Assemble dressing: Combine olive oil, lemons, garlic, salt and Italian seasoning in a jar. Put on jar lid and shake well.

Serves: 4-8 side dishes

by Amy Adams

As a performer I have always been so intrigued by the psychological perspective of all great performers; world class, singers, dancers, and athletes. Is there a possible common thread in all of them and how does the psychology of such great performers work? Throughout our KDA newsletter journey you will be invited into the minds of many successful individuals who have found a way to reach their personal goals and world celebrated achievements. They will share stories of insight and heart of their great challenges and even greater victories.
Kristina Lum Underwood is our first featured performer.

During Kristina Lum Underwood’s career as a competitive synchronized swimmer she amassed many honors.  She was the four time National Team and Duet Champion and two time National Solo Silver Medalist, she was US Synchronized Swimming ‘Athlete of the Year’ in 2000, and that same year represented American in synchronized swimming in the Olympic Games held in Sydney, Australia.  She had gone on to appear in commercials and music videos and in 2006 joined the cast of Le Rêve, a regular show at the Wynn Hotel in Las Vegas.  She was married with a small child and another one on the way.  By all accounts she was a happily retired professional athlete.

One phone call in November of 2014 changed everything. Her former synchronized swimming partner, Bill May, was on the phone with news they had been waiting for 17 years- mixed duet was added as a category at the World Aquatic Championships to be held in Kazan, Russia in July 2015.

Bill and Kristina were some of the first competitors to work in the mixed duet format. “In 1998, my coach paired me with a male synchronized swimmer that had joined our club named Bill May. She wanted to create a mixed duet and do it in the style of ice dancing, really playing off the gender differences. This was something that the world had not really seen at an elite level,” Kristina explained. “Over the course of our careers, we won 4 national titles and won international titles at the French Open, Swiss Open, German Open and Rome Open and the silver medal at the Goodwill Games. Men were not allowed to compete at Worlds or the Olympics and this was something that we were trying to push for.”  In 2003 they agreed that it was time to let go of their dream of competing in the World Championships as a mixed duet, and move forward with their careers. To hear the news that the category was added was truly a dream come true, there was only one problem.

Kristina was eight months pregnant with her second child who was due in January.  Accounting for post-partum recovery, she would only have four months to prepare for the competition, a situation that was “unheard of”. After some soul searching and long talks with her family, she decided to go for it.

Once her daughter was born and her doctor cleared her for training, she was confronted by the reality of her circumstances “I am mom, a wife, a daughter, a sister, a friend, a performer/employee, a coworker, a teammate/duet partner. It got tricky prioritizing everything because they were equally important, since I could not do one without the other. I needed to be healthy for work because if I missed work, I couldn’t practice. I needed to be great for practice and keep pushing myself to my max, but still be able to perform at work and perform well, since that is my livelihood and is something that I would continue to do after this was all over.”

“I constantly had guilt, but mostly in the beginning. The worst day for me was one of the first times the kids came to the pool. My coach was in town from California and we weren’t having a great practice. My son had been watching our practice, I got out to feed my daughter, who I was still nursing, and he sat beside me. When it was time for me to get back in to the pool, he grabbed on to my leg and said “No pool mommy! No pool”!!!  At the time, he didn’t speak much, so this was just heartbreaking. It was a constant struggle to not feel like I had abandoned my family to do something for myself.”

Knowing the intensity of her schedule was temporary, Kristina replaced her guilt with a sense of complete focus.  “When we started out, I had a hard time focusing on one thing because I would be thinking about all of the other things going on in my day.  My friend who is a sports psychologist told me to pick a key word to say to myself to snap me back into what I was doing. I would also have conversations with Amy Adams and she gave me great advice which was to be 100% in the moment, whatever it may be, because you can’t go back to redo it. No regrets. I also did a lot of visualizing. This was something I always did before when I was competing. Whenever I was driving, since that was usually my only free time to myself, I would play our competition music over and over again and visualize swimming perfectly. I did this whenever we would make changes to our routine as well, since I always had so many things to think about.  If I made a mistake I would just keep doing it again until it was mistake free. I also visualized without music before I fell asleep. I would try to envision the competition pool and all of the surroundings with a perfect swim, which really helped me.”

On July 30, 2015, with her family watching from the stands, Bill May and Kristina Lum Underwood won the Silver Medal in the mixed duet free final at the FINA World Championships in Kazan, Russia.  “This was such a special and incredible moment in the history of Synchronized swimming,” Kristina said. “I am so fortunate to be able to be a part of it.”  The story of her relentlessness is so admirable with what she was physically able to achieve in what others perceived to be impossible.

Timing was everything, and her time is now.

by Andrea Hansen, M.F.A.

The Dance Resume… a one-page snapshot of your dedication to the art of dance.   While most resumes detail a majority of the same information, not all dance resumes are created equal.  A dancer must consider the type of employment he/she is seeking and then craft his/her resume to meet the requirements of the job.   For instance, a dancer applying for a specific casting role may list a different skill set than the dancer applying for a teaching position. The key to all resume writing is that you list the MOST IMPORTANT information pertinent to the desired job.  Thoroughly research your prospective job and craft your resume to be the greatest representation of YOU.

High profile auditions can bring in up to 2000 dancers for 1 or 2 positions- your resume could potentially be the determining factor between you and the dancer to your right. When pencil meets the paper (or your finger meets the key), enlist the “3 P’s of Resume Writing: Proficient + Professional + Pithy.”

Proficient– Writing with proficiency is key.  The abilities you list within your dance resume must speak specifically to the job requirements.   If the job description details tap as a requirement, highlight your tap experience.

Professional- Much of the dance industry is under pressure to produce performances in a short amount of time, therefore employers are interested in working with dancers who are punctual, receptive to directions and able to be an asset to the company as a whole. Often the first question asked to most references on a resume is to describe the dancer’s professionalism. 

Pithy- Keep your dance resume short and to the point.  Instead of lengthy sentences or drawn out explanations, use bullet points and lists.  An employer should be able to take a bird’s eye view of a resume and quickly know almost everything about your candidacy.

The dance resume can look very different depending upon the job description, however; the key components below can help you shine above the rest.

Contact Information-

List your name, address, phone number, and email address.  If the job requires that you list your height, weight, eye and hair color- you may list that information here too.

Education-

List your formal education: High School, College, Post College, and Certification 

Training-

List all formal dance study, master classes, workshops, and summer intensives.  If you have trained with famous teachers, list their names too.

Professional Experience-

If you have professional experience in the realm of performance, teaching, or choreography list your previous employers and the dates in which you worked for these organizations. 

Scholarship-

Have you been recognized for awards, scholarships, or grants?  Always list your achievements and success.

Reference-

Choose 3 references- (ask permission first) and list their contact information.  If your reference falls short in describing your reliability, then this may cause you your paycheck.  First, verify with your references that you have their permission to list their contact information.  Next, always inform your references that you have submitted their name for a potential job.  The more prepared your references are to speak on your behalf the higher the probability you will win the job.

Finally, there a number of ways you can really “jazz up” your dance resume… here are a few ideas:

• Always use high quality paper when printing your resume.

• Print your resume on the backside of your 8X10 headshot.

• Print your resume on the backside of an 8×10 collage of your dance images showing versatility in your training.

• Print your resume on paper with a slight hint of color- try baby pink for a ballet audition.

• Attach a cover letter to your resume expressing your interest in the job and list a few more details about yourself that you have not listed on your resume.

Above all, stay positive and do not tell yourself no until someone else tells you no. Stay knowledgeable about employment opportunities and eventually the right position will find you!

By Katie Grimm, OTD, OTR/L

Dancing certainly brings joy and physical health, but did you know that it also positively impacts your brain function? Our nervous systems are wired by nerve cells called neurons that send messages to each other when the brain or a sensation tells them what to do. In other words, the neurons get stimulated. For example, if a ball is being thrown at you, the brain stimulates the motor neurons that fire off messages to our muscles to move out of the way so you do not get hit.  When neurons talk to each other to send these messages, it is called a synapse. Neuron synapses are how we function every day.

When we learn something new whether it is an instrument, a new language, subject in school, vocational skill, or learning to dance, our brain forms new synapses – new neuron connections for messages to be sent within the nervous system. With these new connections, the brain can reorganize itself and change the way we process information. Some people struggle with the learning process and get overwhelmed with the feeling of “this is hard!” or even say, “my brain is going to explode!” However, with repetition of the dance steps those neuron connections get stronger and more efficient, taking up less space and effort in the brain. Essentially, the dance that was once hard becomes much easier.  Whether it is your first class or you have been dancing for years, there are always new steps and routines being taught as well as learning to coordinate those steps with music.

Dancing taps in to many areas of the brain: the motor cortex for movement, the sensory and visual systems for processing sound and space as we move through the environment, the cerebellum for postural control and coordination, the basal ganglia for proprioception and sequencing of movements, and the frontal lobe for executive function as we think about the steps and put it all together. Meanwhile, the physical demands of dance keep your heart pumping to send oxygenated blood to the brain which is an added bonus.

It is healthy and essential for the brain to be challenged and to learn across the lifespan for better efficiency and function. Our brains are created for this! The “use it or lose it” principle remains true to keep an active and healthy brain. Dancing and other forms of new activity can help accomplish this. So get up, start dancing, utilize those neurons and have fun while exercising your brain!

Reference:

Lundy-Ekman, L. (2007). Neuroscience: Fundamentals for Rehabilitation (Third Edition). St. Louis, Missouri: Saunders Elsevier

Whether you are a dancer, studio owner or arts connoisseur, KDA is here for you.

• HOW TO GET A SCHOLARSHIP:  If you’re interested in receiving a scholarship for your school, a workshop or even a summer intensive programs, KDA can help.  We offer scholarships up to $500 – apply directly on our website – click here!
• HOW TO GET EVENTS POSTED: Studios, organizations and students are all able to have any and all events added to the KDA calendar!  All you need to do is email fara@kerndance.org about your event, include all details and any image you’d prefer and it will be posted on the KDA calendar. FYI: in the near future, you will be able to post events yourself directly to KDA’s event page 
• HOW TO FIND OR POST A JOB:  On KDA’s site we have a job board that lists casting, employment and internship opportunities!  To have something added to the job board, please email info@kerndance.org.
• HOW TO BECOME A MEMBER: Want to receive membership perks like tickets to great events? Want to be able to receive a scholarship?  Want to collaborate and be involved with events that help arts and dance in our community?  Want to be able to access all Kern County dance events in one place?  It’s just $25/yr for individuals, $50/yr for organizations and $100/yr for venues.  Become a member!
• HOW TO DONATE:  Want to help KDA programming like the dance education and outreach program at The Fox Theater this fall?  In November, KDA will host performance and dance classes  for underprivileged children in partnership with Garden Pathways, The Boys and Girls Club and Bakersfield Homeless Center.  Donate here or email us if you’d like to personally get involved!
• HOW TO SHARE WHAT KDA IS DOING:  KDA would love you to share what we are doing!  Follow us and share what’s going on – Twitter, Facebook, Instagram, and of course email links to our website or newsletter.
• HOW CAN KDA HELP YOU?  If you want to collaborate, we have community connections and would be happy to help.  Just shoot us a note and let us know what you as an individual or your organization needs help with, we will see what we can do!