Shop right: trying to choose a summer study program? The more you learn, the better you can gauge the fit. DM talked to the celebrated dance artists in charge of six programs about the distinctive features they offer

Dance Magazine, Jan, 2005 by Kate Lydon

SUZANNE FARRELL

Exploring Ballet really does explore the many different aspects of ballet, not just technique in class. I try to help students become more themselves as artists--develop their own identity. It's easy to masquerade behind technique and not reveal anything of yourself, but I believe the more you reveal the more mysterious you become. I also try to get them to move more, inhabit space differently--dance space and musical space.

The students see several performances here at The Kennedy Center, and I always take them to the National Gallery to see some of my favorite paintings--Renaissance paintings and sculptures, Monet, and of course Degas. Then sometimes back at the studio I will give them several phrases of a waltz or march to choreograph a dance using the images, color, texture, and perspective that they saw in the museum.

I believe Diaghilev took Mr. Balanchine to museums when they were working in the early part of the century. And Mr. B took me to museums in Paris--to the Cluny Museum to see the tapestries of The Lady and the Unicorn. It sometimes opens students' eyes to something they wouldn't see if they were only focusing on technique in class. It also gives their feet a break from being on pointe a lot.

SUZANNE FARRELL

Balanchine's last muse and living legend.

Program: Exploring Ballet with Suzanne Farrell

Location: Washington, D.C.

Focus: Ballet

Number of students accepted: 33

Ages: 14 to 18 with at least five years ballet training.

Dates: July 26-August 13, 2005

For more information: www.kennedycenter.org/education/farrell

Special Opportunity: Museum-hopping with Suzanne Farrell

DAN KARATY

As far as picking a program, kids like what they're good at, but while you're still young it's important to taste every style. Don't say, 'Oh well I'm a hip hop dancer so I'll go to a hip hop program,' or 'I'm a jazz dancer so I'll take jazz classes.' Try a style you don't always do. You might fall in love with it or at least get some sort of background in it for the future.

The thing that makes Shake the Floor so great is that you get all the benefits of taking classes--we have the best teachers in jazz, hip hop, ballet, everything--but yon also get the opportunity to perform. Nothing's worse than a kid who is the best classroom dancer but cannot dance on stage.

At Shake the Floor, kids come from all over the country to take classes from 8:30 in the morning until about 2:00 and then rehearse. We put together a show in five days. At the end, each kid gets to perform three, usually sold-out, shows in an off-Broadway theatre like the Variety Arts.

It's good for your training to see what else is out there and what other kids are doing. It's good to push yourself to dance up to the level of kids around the country. But the most important thing is to have a good time.

DAN KARATY

dancer, choreographer, artistic director. His clients include Janet Jackson, Britney Spears, * NSYNC, and Jessica Simpson.

Program: Shake the Floor

Location: New York City

Focus: Hip hop, jazz, lyrical

Number of students accepted: 150

Ages: 8-adult

Dates: Summer '05

For more information: www.breakthefloor.com, www.dankaraty.com

Special Opportunity: Perform in an off-Broadway theatre.

EILEEN GRACE

Students learn everything from the Rockette repertory--things you see in the Christmas Spectacular and bits and pieces of developing choreography. We work on precision dancing and of course on the world-famous eye-high kicks. We even have a kick clinic where we teach the technique of a proper kick and how to do many in a row without touching each other and knocking each other over.

Summer students also take classes in auditioning, so they get a sense of what they need to work on if they want to try out in the future. I tell them that the most important thing to remember when auditioning is confidence. The people sitting on the other side of the table want to hire you--they want you to be good. Some of the Rockette auditions last all day, so I tell them to be prepared, dress properly, and make sure they have water and a Power Bar. A couple of girls became Rockettes after doing the summer intensive, and many have been very close, so we're hoping they get in soon.

EILEEN GRACE

director/choreographer and former dancer for the Radio City Rockettes.

Program: The Rockette Summer Intensive

Location: Across America (see dates below)

Focus: Rockette style

Number of students accepted: 300 females

Ages: 14 and up

Dates:June 12-27 TX, June 19-25 PA, July 17-22, 24-29 NY, CA dates TBD.

For more information: www.radiocity.com

Special Opportunity: Get prepped for a future Rockette audition.

STEPHANIE SKURA

What's different about Skinner Releasing Technique is that it integrates the imagination and creative process with technical study. It helps you practice letting go of habitual holding patterns and habitual ways of thinking so you can let something new happen with your dancing. Often, after taking a workshop, dancers experience new freedom, openness, availability, efficiency, and strength that's based on connections rather than on repetitive muscle use. It's a redistribution of effort, an ability to be moved by the dance and transcend the ego.