4dancers

1. What is your dance background, and how did the idea for Dance Teacher Press come about?

I began taking ballet in the 1960’s. Since then I have always been taking and or teaching ballet. After years of teaching I organized all of my notes on my computer. My notebook became an indispensible tool for class planning.  I used my own notebook so much I thought that other ballet teachers would like it too.  Hence The Ballet Combination Book became my first publication and Dance Teacher Press was born. 

Janet Jerger from Dance Teacher Press

2. What types of products do you carry? 

Dance Teacher Press has a variety of educational and fun teaching tools for dancers.   Books for students and teachers, posters, coloring sheets, flashcards, banners, wallpaper, and gifts.

3. What is unique about the things you offer your customers? 

My products teach the terminology needed in dance, and reinforce positive characteristics such as hard work and discipline.

 4. What are your most popular items? 

Ballet Step by Step  – an illustrated ballet dictionary for students, The Ballet Combination Book, Reproducible Ballet Coloring Sheets, and the Ballet Essentials Poster Sets have been my most popular.

5. Who should consider shopping at Dance Teacher Press? 

Anyone needing some new ideas for stimulating students to learn, enjoy, and progress in dance.

Advertising disclosure

David Hunter from Ballet For Men has a line of ballet t-shirts that are pretty terrific…

To check them out, click on the graphic to the right and browse…

Dance t-shirts make a great gift, and Hunter will be adding to them over time, so be sure and keep checking back for more! You won’t find these shirts anywhere else. (I really love the one with the pointe shoes!)

Today we have an interesting feature for 4dancers readers–the team behind the “SayBallet” app answers questions about the process of going from the idea to the finished product….

1. Carol, what is your background in dance?

My name is Carol Richmond and I am the Director of the Carmel Academy of Performing Arts.  The Academy is located in downtown Carmel, California and was built as a dance studio by the late Joanne Nix in 1954.  I bought the studio in 1989.  Currently we have 35 teachers on staff and teach ballet, tap, jazz, modern, contemporary, voice, drama and all musical instruments.  I was originally trained in ballet by Billie Jacobson, a Chicago Opera Ballet dancer turned teacher.  My true formative years in dance were in Texas studying with Doria Avila, a retired Broadway choreographer whose claim to fame was being Judy Holliday’s partner in many Broadway productions.  He formulated my belief there was a big world out there and I was going to get out of South Texas and see it!  I attended the University of Texas at Austin and studied under Ygor Youskevitch, a tough taskmaster.  I auditioned for the San Francisco Ballet and was cut while doing plies at the beginning of the class by one of the Christensen Brothers and that began a 5 year hiatus from dance.  After moving to Carmel, I connected with Mrs. Nix who owned the studio I now own.  She taught me how to teach and I found I loved working with young people.  That was in 1978.  The rest, as the say, is history.

2. Can you tell me what SayBallet is and who it is designed for? (Carol)

SayBallet is designed for the teacher or the student.  I found after years of teaching, I am not able to demonstrate the way I did years ago.  For me, the app is a teaching tool for the classroom.  For the student, it is a way to not only hear the french terms stated, see what the terms mean, but be able to study how the step is performed.

3. How did the idea for this app come about? (Carol)

Phillip Corrigan, the software designer that created the app, came to me with another idea for a fundraiser for the non profit dance organization I founded.  It was a great idea about a photo of the Nutcracker that people could download for .99 as a screen saver.  One thing lead to another, I talked about flashcards I had created five years ago for classroom study…and Phillip thought the flashcards could be beneficial to students and teachers in an app form.

(Phillip) I see a future where more and more Internet access and personal computing functions are delivered on small portable personal devices. Apple, with their iPhone, is the first company to deliver a product that is not only a powerful computer in the form-factor of a phone, but is also very enjoyable and easy to use.  Apple’s revolutionary touch interface is one of the keys to the iPhone’s incredible success.  I believe that the touch interface and the simplification of the user’s interaction with the device (i.e. users don’t have to know and worry about file systems, users don’t have to follow complex software installation processes, etc.) will also make the Apple iPad a very successful product.  These two products are ushering in a new era of personal computing.

But beyond the technical merits, over 90% of the younger generation prefer the iPod (and the convenience of the iTunes music store) over all other MP3 music players.  This generation is purchasing the iPod Touch (if they can afford one) and later migrate to the iPhone, because they already have an investment in iPod Touch/iPhone app software (not to mention their iTunes music library).

To-date over 75 million iPod Touch/iPhones have been sold worldwide in 98 countries. And that number continues to see enormous growth while competing smartphone product sales are either stagnating or seeing declines.  Two years ago, the smartphone market in the US was dominated by 33% RIM Blackberry, 33% Microsoft Windows Mobile, and 33% Palm.  Today, the market is 33% RIM Blackberry, 20% Apple iPhone, and 10% Android.

4. What are the features of the app? (Phillip)

About the app:  The majority of kids prefer to play games on their devices, but I see an opportunity to create fun-to-use educational applications.  The SayBallet application was originally conceived as a flash card application for learning the French ballet terms.  I had spoken with ballet instructors and repeated heard that they wished their students would learn the ballet terms outside of class, so that they could focus dance inside of class.  During the course of our development, the app morphed more into a multimedia reference glossary of ballet terms. Students can:

- Search for a ballet term

- Read a description

- See a video or picture of the movement or position

- Hear the term properly pronounced

- Practice saying the term (with voice recognition)

- Take a quiz to test their knowledge of the terms

5. How difficult was it to develop the app? (Phillip)

I have 20 years of computer software development experience.  For me it is not that difficult, but there is a learning curve – I had spent a year (part-time) learning to develop applications for the iPhone.  The actual application took about 6 months to develop (again, I did this in my spare time).  Our follow-on apps, SayTap and SayJazz will probably take around 3 months to complete (one month if I could afford to work full time on the projects).  To be successful as an app, the software must not only be functional, but also look fantastic – a lot of time and effort must be invested in design.  There are over 150,00 apps now available in the iTunes App Store – in order to be noticed by consumers, the app must be designed very well.

The international market for apps created by Apple, is also unique.  From the beginning, I designed the app to be used by international users.  I translated the app into 10 languages.  To-date, we have had sales in 31 countries.  Prior to the iPhone and the iTunes App Store, it was inconceivable for me, as an independent software developer, to be able to independently publish a software application and have sales in 31 countries within the first 3 months.

Carol & Phillip

6. Are you planning other apps in the future for dance, and if so, what are they?

We are currently in production for SayTap, SayJazz, SayHipHop and all 10 of the ballroom dances. 

7. Do you work with others who have ideas for dance apps, and if so, what are you looking for? 

It would be of great interest to work with others with ideas we have not yet approached.  Both Phillip and I are open to interest and look forward to other opportunities to create teaching tools for educational dance/music products.

8. How has this app been received thus far? 

The app has been a huge success, with sales in 31 countries.  We expect our follow-on dance application to experience similar sales.  Our big challenge is marketing – with over 150,000 applications available in the iTunes app store, it is difficult to get noticed.  But with the email flyers that we send out, we are experiencing constant daily sales.  With more dance apps in our portfolio, we expect to eventually grow brand awareness.  Additionally, every year a new group of students start dance instruction.  And every year the adoption of the iPhone in this market demographic increases.

9. How long did it take to develop the app from the idea to the finished product? (Phillip)

It will probably take around 3 months to finish SayTap and SayJazz.  We also have SayHipHop and the ballroom dances lined up as well. I’m trying to also add new features to the application so that users will be attracted to using it more often.  Currently, I hear that very young children love watch the videos over and over again.  Older students probably only use the application occasionally. Experienced students may look at the application once or twice.  I’m trying to design features and learning tools that will attract students to use the application more frequently.  I’m also investigating adding social networking features into the app.

10. What has been the best part of the process for you both?

Carol:

The best part for me is the knowledge that this app can create another avenue of learning for young people interested in dance.  I believe in a solid, technical base of study, terminology, and understanding the basics is vital to the 2010 dancer that must be well versed in not only ballet but all of the other styles of dance and music.
It has also allowed me to grow as a teacher and mentor to young dancers.  Phillip has created an opportunity for me to learn (a little bit!) about an area I didn’t know anything about!  His “detail oriented” personality and my “big picture, let’s go for it” attitude seem to create a great product!

Phillip: 

For me the process is a lot of fun.  I enjoy working with our young dancers.  I learn a lot about different forms of dance.  My daughters and wife are all interested in dance, so they take an active roll in the design process.  Programming the iPhone (and iPad) is a challenge and a lot of fun.  I also find the business aspects of creating and marketing a product, building a business, and interacting with an international customer base very enjoyable.

The cost of this ap is $4.99

If you are into dance–and into poetry–this book is for you. An anthology of poems on dance, this book has noted authors such as Carl Sandburg, Lord Byron, Ezra Pound and Anne Sexton.

Famous dancers that are talked about in the poems include Gene Kelly, Anna Pavlova and Isadora Duncan, among others. There are 86 poems in all.

This book would make a great gift for a dance lover, or a nice addition to your own library of dance books.

You can find it at Dance Horizons for $18.95

CD Title: Under The Palms, Brazilian, Cuban, Creole and other Tropical Music For Ballet Class

By: Behind Barres Presents: Paul Lewis & Judy Rice 

I have to confess that I was a little frightened to see what this CD was all about when I heard the title. If done poorly, it could have been a disaster.

Luckily, I had no need to worry.

Under the Palms is a terrific CD for ballet class. If you are ever having a day where you need a little bit of inspiration, use this album and you’ll be in a better mood in no time. Recorded with a single stereo microphone, it gives the music the sound of live piano in the studio. I doubt that it’s possible to feel anything other than energetic when you hear these tracks. So many ballet class CDs sound the same that it was very refreshing to hear something so different–and so good.

Peppy without being campy, I was very impressed that the CD was filled with such thoughtfully arranged tracks. Carefully metered out by Lewis without losing heart and soul, the flow here is palpable. Although most of the music is upbeat, the slower tracks are also quite pretty.

The class was designed by Judy Rice, a professional with over 20 years of experience as an instructor, including time on faculty at the Joffrey Ballet School, Steps and the Broadway Dance Center. Pianist, Paul Lewis has 29 years of experience playing–and it shows. He is the company pianist for the Joffrey Ballet.

Don’t be afraid to take a chance on this CD–it’s better than many of the “regular” ones out there, yet it is truly different. Adding it to your lineup will give you a sunny pick for those days that you need one.

Buy this CD

Disclosure

After we interviewed  Ballerina, Violeta Angelova I thought it might be fun to talk a bit about her new venture, “The Vio Shop” as well. It has some unique items for sale that dancers might appreciate, such as posters, signed pointe shoes and even a children’s book.

One rather unusual item is the “Angel” Tutu, pictured here to the right. It comes in both white and pink, and it is decorated with crystals pearls and Swarovski elements. This is a professional grade tutu, that is half the price you generally find in the better class of costumes. Since it is custom-built, it fits each dancer perfectly. Designed by Violeta herself , the bodice to skirt proportions and the decorations were chosen with a professional dancer’s eye.

Another item that was created by Violeta is the Viotard.  This one-of-a-kind leotard has an extremely bold design, and it was based on the dancer’s own personal style. There are two different versions of the piece–one that is red with red mesh, and a second that is red with nude mesh. The Viotard Violeta came up with is made in the US by LOLAstretch, a company that is known for producing creative designs.

The item that perhaps most intrigued me was the perfume, “Violet Rose“. Rose oil is considered an aphrodisiac by many, and there is a bit of a story that goes along with this particular version, as it is 100% pure Bulgarian rose oil from the Rose Valley. What I found so interesting is that Violeta’s mom was born in that valley, making this a uniquely personal item to sell in the shop.

To learn more about current offerings, or to see when new things are added, take a look at the shop on Violeta’s website.

The CD: Musique Pour Le Cours De Danse Classique IV (Music for Ballet Class IV)

The Details: Piano Composition & Interpretation : Ellina Akimova (Bolchoï Dance Academy 1990-1995)

Exercises & Instructions : Franciska-Elisabeth de Mikhnevitch (Opéra of Paris 1960-1984)

Sold by: Mediaphorie

The Review: I have listened to this CD now over 30 times and am currently using it for my adult ballet class. I have found it to be very refreshing–the compositions are original and extremely well-played by Ms. Ellina Akimova. There is music here for an entire ballet class, and the barre tracks are all repeated for the convenience of the instructor.

Although the music is clear and measured, this is not a CD I would use for a beginning class. It is probably too complex for new students who do better when phrases are repeated often and the music is simple. For more advanced students, however, I found the tracks to be quite inspirational–especially those for the center work. The barre music is also a departure from the typical ballet class fare.

One of the best features of this CD is the fact that the tracks are lengthy. Some ballet class CDs have short tracks that necessitate pausing the exercise to re-start the music. This is extremely distracting to the students and teacher alike. More advanced classes have longer exercises both in the barre and the center, and this CD allows plenty of time for longer combinations.

There is also a nice mixture of music here so that you can get a lot of use out of the CD. There are tracks for pirouettes, petite variation, tours en l’air and adagio, among many others. This will allow you to mix and match exercises and create several different classes while still utilizing the same CD.

Ms. Akimova’s skill is considerable, and all of the music is completely measured and steady. I’ve always appreciated the difficulty that goes with playing ballet music for students. In order to do it well, you have to be able to play flawlessly, yet infuse some emotion into the pieces you are interpreting. This is no easy task, but it is done extraordinarly well here. The tracks for small jumps and tendus have a sprightly feel to them and the slower ones have an ebb and flow that encourage artistry.

I have not heard the other CDs in this series (I, II, III), but based on my experience with this one, I would definitely say they would be worth investigating. I’ve been very pleased with this one and recommend it without hesitation.

My students enjoy it too.

Buy this CD

Disclosure

Installation of the Seagull sculpture at the Hamburg Ballet Center, Hamburg, Germany, from left to right - Andrew DeVries, Heather Jurgensen, Principal Dancer, John Neumieir, Artistic Director

Sculptor Andrew DeVries

Gallery location: 62 Church Street, Lenox, Massachusetts  studio/foundry location: 42 East River Road, Middlefield, Massachusetts

I have been sculpting and casting a series of bronze dancers for 30 years.  Currently in the dance series I have been commissioned to enlarge a work called Faerie Dance in a larger version, there are other new dance sculptures that I am working on and there will be an outdoor exhibition of my larger dance works installed in public spaces in the historic district of Lenox this year.

1. Can you tell me a bit about your background as an artist and how you came to be involved with dance sculpture?

My background as an artist began with dance.  The instinct and desire to be an artist was always there as a child – constantly drawing as a child. The 2 painters who were the greatest inspiration were Monet and Degas – Degas especially because of his portrayal of dancers.  I first discovered dance through PBS.  Leaving school at age 15 I made an agreement with my father to work with him on the farm for 5 years and then I would be free to go off and become an artist (thinking I would become a painter).  In 1997 I did  leave and what happened by great fortune/ fate or destiny I struck up a conversation with a dancer, Clarissa Sylvia Love who invited me to draw in her mothers Ballet Studio. Rieke Maria Love was her name; Ballet Denver was the company – a small concert ballet company that had pioneered bringing ballet to towns throughout Colorado. 

For the next 2 years I would draw the dancers everyday and shared their lives. Rieke became as much a mentor to me as she was to her dancers, and one night she suggested I try sculpture which set me on my career path. Having been immersed in the dance world gave me the desire to capture not only the physicality of the movement but as well the emotional and spiritual energy.

All the great works of art, whether in dance, music, painting, poetry or sculpture are based in the human heart, the human spirit. This was the greatest lesson of the ballet studio and is the foundation of my work.

Title: Moment of Grace, Medium: Bronze, Size: 27”h 22”w 22”d , © 2009, Edition 8

2. You have said, “Dance moves through time whereas sculpture captures a moment.” Can you tell me how you select the moment that you will take into the studio as inspiration?

I see all the sculptures complete in my minds eye – what I call my visions and they are as real as any person.  So you see; the sculptures are already complete.  They can come at any time – perhaps a piece of music will spark them or a cloud in the sky or a question in my heart.  I do not consider myself the “creator,” only the door through which they come.  The sculptures lead me and not the other way around.

There was a very specific moment in the ballet studio when I became aware of that vision.  A male dancer was doing the Grande jete exercises on the diagonal – on the last one he slammed into the wall – but I saw him pass through the wall.  That vision became The Other Side of Eden. From that moment on, this vision became my guide.

3. Why did you choose dancers?

Beauty and Truth – I guess you would say that Dance chose me.

Title: Pleiades, Medium: Bronze, Size: 27”h 22”w 22”d , © 2009, Edition 8

4. How do you infuse emotion into your sculpture?

It is both the magic of the muse (that vision) and the knowledge of ones craft – as with any artist.

5. Do you have a routine in terms of how you work best?

Not really.  The demands of the artistic side and the business side of the art are such that I must remain fluid in how each day goes.  Unlike most sculptors I not only create the original model but also do the entire mold and casting of each work.  Then I also maintain my own gallery in Lenox – between scheduling receptions, public relations, ads, invitations, responding to patrons requests, contracts etc.  – all these different elements take a tremendous amount of time, energy and skill.  I do hire contract labor to help with graphic and computer work and part time gallery help. So remaining fluid in all those areas takes a sense of discipline, and looks much like a grand balancing act.

6. How did you come to understand the proper positioning of the body for dance?

Those first 2 years of doing nothing but drawing dancers and subsequent times when I still go into a dance studio to draw (not as often as I would like).  When Jacob’s Pillow classes start I will go there.  JR Glover who is the Director of Education has allowed me the privilege to come and draw and Milton Myers who teaches the Modern classes there, and has done the same with his senior class at Julliard. 

It is always like going home for me to draw in a dance studio.  When there is a specific commission I will then employ a dance professional for anatomical purposes.

7. Can you tell me a little about a dance piece that has special meaning to you?

Title: Seagull, Medium: Bronze, Size: 35”h 27”w 12”d , © 2004, Edition 12

Well, they all do, but if I were to choose just one it would be the Seagull because of the experience of working with Heather Jurgensen.  The Seagull is a dance portrait of Heather who at that time was a principal dancer with the Hamburg Ballet (she retired 3 years ago). One edition was installed at the Hamburg Ballet. 

John Neumieir is a genius, and the energy in his presence and in his ballets is beyond the description of words.  Heather herself is an exemplar of dance. To know that the sculpture is there – inspiring other dancers to become all that they can gives great personal satisfaction – a way to give back to the dancers a little bit of the beauty that they have given me.  I wish I could have a work in each major dance studio.

8. Do you find that certain dancers inspire you more than others? If so, how does that work?

Certain choreographers and dancers do of course.  It would be hard to explain which and why – any great work in any medium – Rieke stressed that you must absorb from all the arts – it is the only way to feed your muse, and at the same time you must always strive higher in the craft of your art.

9. Can you talk a little about the materials you use and the process itself?

It is a very complicated process – it would be best to point people to the website, or if they are nearby to come to an open studio to learn a little more – there is just too much involved even to explain the basic facts.

10. What do you think dancers might be interested to know about your work?

The greatest compliment is that so many dancers have remarked, “finally, a sculptor has gotten it right”.  The important thing is to stay true to the vision – to follow the noble heart.  What happens in the sculpture is of the same communication that they give to us as an audience – a different medium perhaps but we are all on the road together.  I have been so very blessed to be part of their world.

This is the first in our series, “10 Questions With…” which we will be doing throughout 2010….hope you enjoy taking a closer look at Stacey Pepper Schwartz…

Please tell me your name, your position and a little bit about your
background.

Hi. My name is Stacey Pepper Schwartz and I am the Founder and Director of Leaping Legs Creative Movement Programs.   The focus of Leaping Legs 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 its original Up Down & All Around DVD, teacher training, and school and community workshops. 

I started my dance journey studying to be a modern dancer and choreographer. I graduated from Montclair State University with a BFA in dance performance and six months later I was the choreographer’s intern on the Broadway show Titanic.  After Titanic, I assisted Lynne Taylor-Corbett on several other projects. One of the highlights was being the assistant choreographer for the Broadway show Jackie: An American Dream. I was also the Dance Captain for the Broadway Workshop Swing!   Unfortunately, after the workshop I had to have back surgery. I went back to school and I received my Masters in Art at Teachers College, Columbia University in dance education.

After earning my masters, I choreographed Jacques Brel is Alive and Well and Living in Paris and The Song of Singapore at Capital Repertory Theatre, NY. I also worked in the Education Department of Capital Repertory Theatre as the Program Coordinator for various multi-disciplined arts programs for kids ranging in age from 7-13. I was a teaching artist as part of Capital Repertory Theatre’s Community Partnership, facilitating the integration of the arts into the curriculum as well as addressing the NY State Standards. 

1. How did you get the idea for this DVD?

That is a great question. When my daughter was four years old I developed a creative movement program for her preschool. I loved teaching the kids at the school but what I discovered was I loved just as much teaching the teachers how they could incorporate more movement into the children’s school day. I felt that there was a stigma regarding dance. The teachers did not understand the elements of movement or even how to begin making the connections between movement and their curriculum. And further more, the teachers were not comfortable moving and felt they could only move with the kids if they were “good” dancers.

At this time, many of the parents were asking me where else I taught. I looked into teaching at a few of the studios near where I lived but was disappointed that the schools were so heavily focused on performing instead of dancing. I felt that teaching steps without the understanding and delving into the elements of movement was leaving so much out.  It’s like teaching a musician to play an instrument by only teaching the notes.

So, I decided that I was going to give teachers and parents the permission, understanding and tools to bring more movement into their lives and their children’s lives.  (It also didn’t hurt that one of my dearest friends is a professional videographer that was eager to help!) 

2. What motivated you to do all this work?

What motivated me was that I saw a real need for kids and adults to move more and to interact more. I deliberately created the exercises to be interactive and for the program to be accessible for all kids and all movers. When I worked at the preschool, I saw children ages 2-6, with various levels of movement experience and ability. Everyone has the potential to move. You just need a body and willing spirit. I think so many people think of dance and movement as this outward experience (what we are presenting) instead of the inward experience (what we are feeling, understanding, incorporating and processing.)  It is so important to me for every child to have a movement experience, no matter the ability, or experience.    

When I teach, some kids are shy at first and don’t want to participate. I point out to a child that is shrugging her shoulders that she is already moving! I guess the simplest answer to the question of what motivated me is ownership.  Everybody has the right to experience ownership of their bodies. And I was passionate about making a tool to help children and adults achieve this together.

3. How did your background help you to create the DVD?

My background, without my knowledge, really sparked the DVD. After my back surgery I never thought I would dance again. I saw what I was able to do before the injury as an impossibility after, so in my mind I couldn’t dance. Maybe my passion for sharing with other’s all the movement possibilities that are out there came from my own rediscovery.  I am a firm believer of teaching the elements of movement: space, time, energy and body. Understanding the tools, unlocks the toolbox.

My professional dance training and performing background of course helped. I had never worked in front of a camera before but I love performing for an audience. So, the camera was my audience, and I loved every minute of it!

Finally, my degree in dance education was priceless. It was like I had all the pieces of the puzzle and I just needed the right medium to put it all together. My friend provided me with the medium.

4. What makes this DVD unique?

I think a few things makes this DVD unique. First, I am the only dancer in the video. I wanted it to be accessible to everyone and wanted kids and adults doing the video to see other regular kids and adults doing it with them. Second, award winning children’s musician Steve Blunt performs all his original music on the DVD, which adds another element of fun, entertainment and user-friendly component. His music is fun for adults as well as kids which was very important to me, because if parents don’t like to listen to something they will not put it on for their kids. And finally, since the DVD was designed specifically to be utilized by educators and parents, a comprehensive movement guide is available to use in conjunction with the DVD. The guide explains how to do each section of the program in depth, what kinesthetic skills are being addressed as well as offers fun variations to the exercises. This is a comprehensive program that will help schools and communities meet the National Physical Education Standards as well as the 5210 program implemented in many schools.

  5. How long did the process take from start to finish?

My first unofficial meeting was with my friend, Deb Mendonca Cote, and our kids at a Friendly’s Restaurant in February 2008. I looked at her and asked her if she seriously thought we could pull it together. She said absolutely and took another bite of her french fry. We shot the DVD on April 20, 2008, finished editing at the end of September, sent the DVDs to distribution in October, had my website up in December and sold the first DVD before the New Year.  (This is how I work, once I have an idea I go all out.)

6. What advice would you have for anyone who is thinking about doing a DVD for teaching dance?

Do it if you are passionate about it. Do what ever you are passionate about, and listen to yourself. Really listen to what you want to do, not what you are supposed to do or what you can’t do, but what you can. Then do it.

7. What was your favorite part about the process of making the DVD?

Finding out about myself, finding out how much I enjoyed learning about what I didn’t know. Finding out that dance at 34 was more fun and rewarding because I was following my heart. Finding out collaborating with others who share the same vision is so rewarding and finding out that I wasn’t afraid to ask; that 9 times out of 10 people say yes.

8. What was the most difficult part of the process?

Hands down, the hardest part was the day of the shoot. Because of scheduling conflicts we only had one day to shoot the entire DVD.  We had four kids to keep occupied and engaged. And my daughter was in the DVD. That was the hardest because she did not want to listen to me. I never will shoot a video in one day ever again. 

9. Do you have anything else in the works?

Right now I am really focused on marketing and getting the DVD out there to parents, dance teachers, school teachers, community programs, etc. I am new to marketing and am learning something new everyday.  I also started my own dance blog called Letters From Leaping Legs , which I want to be an extension of my website. I want to continue to be a resource for parents and teachers to gain insight, ideas and movement activities that they can do with the kids in their lives. I want to keep everyone moving up down and all around.

10. What is the best feedback you have gotten about the DVD to date?

I have gotten some great reviews. The Up Down & All Around  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 including Dance Teacher and Dance Retailer News.  In its August 2009 issue, Dance Teacher called the DVD “an essential tool for teaching the fundamentals of movement with daily adult-child interactions.”  The review I got from 4dancers blew me away.  It was like you were sitting with me during the early pre-production meetings. One of my many favorite quotes from the review is “the program does as much to teach adults about how children learn and what they are capable of as it teaches the kids how to move.” 

The best feedback has been from the parents and teachers using the DVD. I was at a fair selling my DVD and I heard from across the room a mom yell to her two kids, “Look it’s Leaping Legs!” She ran up to me and told me how much her kids love the DVD. She has a son who is on the autistic spectrum and a daughter. They all do the DVD together. I don’t think the smile left my face for the rest of the day.