Tabitha and Napoleon D’umo may pull a goofy face from time to time—but only when appropriate! (by Jennifer Johnson)
You may have fierce hip-hop moves—but do you have the face to go with them? When it comes to hip hop, the right attitude can make or break your performance. Skilled dancers use their facial expressions to bring choreography to life, but sometimes figuring out exactly what to do with your face can be tricky. Should you glue on a goofy grin or go for a smug smirk? Can you pull off a classic “stank face”? Should you? We asked some of hip hop’s hottest dancers, teachers and choreographers for their tips on how to make powerful, effective expressions part of your dancing.
“Smiling is OK! Hip hop doesn’t have to be hard all the time. But whatever face you use, it needs to be confident. Weak doesn’t work in hip hop.” —Leslie Scott, hip-hop teacher at EDGE Performing Arts Center and Millennium Dance Complex in L.A.
“A ‘stank face’ is great if you’re in a crew—but it often doesn’t work in the commercial dance world. It can come across as mean or ugly if it’s not natural. Work on achieving that kind of intensity without sticking on a stank face.” —Tabitha D’umo, choreo-grapher on “So You Think You Can Dance”
“Don’t think about it too much. That can make your expressions seem contrived and stiff.” —Napoleon D’umo, choreographer on “SYTYCD”
“Don’t look like a deer in the headlights. Another look to avoid? The one that says, “I don’t want to be here!” That’s one of the worst things you can do.” —Bryan Tanaka, commercial dancer
“Have an intention when you dance. I’m usually really animated, but I don’t think specifically about my face as much as I think about the lyrics of the song I’m dancing to.” —LS
“There’s a fine line between feeling it and faking it. Hip hop is about letting go and connecting your whole body to the music, face included.” —TD
“Steer clear of overly sexy faces. That’s not what hip hop is about. I’d rather see a teen dancer smiling because she’s genuinely enjoying her performance than one who’s trying to look provocative.” —LS
“Remember that dance is an unspoken language. You need to tell a story with your face as well as your body. Pay attention to how other dancers use their expressions; then find what works for you.” —BT
“Be authentic. I have my students stare at their faces in the mirror while I ask questions that trigger memories, like, ‘How do you look when you’re heartbroken?’ or ‘How do you look on prom night?’ That way, they learn to connect their facial muscles to real emotion instead of just mimicking facial choreography.” —LS
“Film yourself during rehearsal. That’s the best way to really see what your face looks like while you dance. Cameras don’t lie.” —ND
“Your face can make or break your dancing. It’s what sets the professionals apart from the rookies. I’ve worked with some artists who may not be the best dancers but their performance faces are amazing and fun to watch.” —BT
What’s a “stank face”? Leslie Scott says: “The ‘stank face’ is an exaggerated frown, with the mouth turned down. So many people do nothing but that. It’s not always the best way to engage an audience.”
Last May, we told you about a special exhibition of the Mark Ryden artwork that sparked Alexei Ratmansky's sweet-treat of a ballet, Whipped Cream. Well, hold on to your tiaras, bunheads, because there's a brand-new exhibit featuring actual costumes from this megahit production. The Nutcracker's Land of Sweets has some serious competition!
Kyle Van Newkirk is a tap dancer you probably remember from the premiere season of NBC's World of Dance. In case you missed it, he is also one of Showstopper's incredible convention teachers. What makes Kyle stand apart from some of today's other incredible tappers? He isn't afraid to change what tap means to his audience and even himself. This modern view of tap dancing is important because it shows us that tap dancers are just as versatile and dynamic as dancers of any other genre. We sat down with Kyle to get his advice on bringing tap dancing into the 21st century.
Turnout—a combination of rotational flexibility and the strength to properly hold that rotation—is the foundation of ballet. But it's also a source of frustration for many dancers. After all, not everyone (actually, hardly anyone) is born with 180-degree rotation. “When I first started dancing, my hip flexors were strong, but I was forcing my turnout without using the right muscles," remembers Amanda Cobb, a former dancer with The Washington Ballet.
The good news is that it's possible to both improve your turnout and to dance beautifully with less-than-perfect rotation. But there's a lot of misinformation out there about how turnout works and why it's important. To help separate fact from fiction, DS asked the experts to disprove six turnout myths.
They say there's no "I" in "team"—and nowhere is that truer than the world of college dance teams, where precision reigns, uniformity is key, and a single misstep from any given "I" can cost a group a championship trophy. So it's unsurprising that securing a spot on one of the best dance teams in the country is no easy feat.
Members of these highly athletic teams rehearse for hours every week—on top of academic classes and commitments—and perform at football and basketball games, annual concerts, and nationally televised competitions (hi, ESPN). And "no I" rule notwithstanding, each of these top teams is made up of highly trained, highly technical, highly hard-core individuals, who come together to create a ready-for-victory pack.
These six teams aren't one-off success stories—they're consistently strong, and earn the top spots at major competitions like UDA and NDA nearly every year. Up for the challenge? Here's what to know before you go to auditions.
Picture this: You've scored tickets to Ellen DeGeneres' hit show, "Ellen." The day has come, the show is as hysterical as ever, Ellen is debating the biggest hot-button issue since the blue/black or white/gold dress, "Laurel vs. Yanny" (side note: it's LAUREL, people), and tWitch is killing it over at the DJ booth, as always. Ellen decides it's the perfect time to single out an audience member and, lo and behold, that person is "SYTYCD" champ ( and December 2017 cover star!) Lex Ishimoto.
The Glorya Kaufman International Dance Center is the 54,000 square foot home of the USC Glorya Kaufman School of Dance, one of the largest facilities dedicated to dance on a private university campus. Designed for their innovative new curriculum, that supports a range of dance styles, the school's staff designated Harlequin to provide wall-to-wall flooring for the large 3,500 square foot Performance Studio as well as five dance studios in their new state-of-the-art building.
If diamonds are a girl's best friend, it's safe to say that faux-diamond earrings are a dancer's best friend. A fixture onstage at just about every competition weekend, these blinged-out baubles are also the surest sign that recital season is upon us again. And what better way to get into the sparkly spirit than by drooling over these 5 diamonds in the rough? (Sorry not sorry!)
DancerPalooza, America's Largest Dance Festival, is moving to sunny SAN DIEGO, California from July 24-29, 2018.
Check out all of the NEW Intensives DancerPalooza has to offer this year!
You could say that a perk of dancing with Los Angeles Ballet is its proximity to Hollywood. It's no wonder, then, that when actor and comedian Kevin Hart was looking for someone to teach ballet lessons for his new "What the Fit" YouTube show, he reached out to the nearby company. The series follows Hart and his celebrity friends as they try different forms of exercise (such as sumo wrestling and goat yoga), with hilarious results. For his ballet episode, Hart brings along Hangover star Ken Jeong—and the dancers do their best to keep these madcap comedians under control.