:ppNEWS

:pp Director’s on Their Training Experiences

April 2011

“No stranger to this stage is

Lauren Adams...”

:pushing progress top songs and videos

Noetic

Noetic:2

[noh-et-ik] –adjective 1. of or relating to mental activity or the intellect.Words from a :pushing progress Director

:pushing progress director’s were asked to write on their training experiences upon first moving to NYC:

As the New York audition date for next year’s 2011/2012 :pushing progress Contemporary Training Program is fast approaching, and the culminating Showcase Series performance of this year’s Contemporary Training Program is only weeks away, we (the directors of :pushing progress) have found ourselves slightly reminiscent of our past New York training experiences as young artists in the big city. It is with great respect and anticipation that we watch these emerging young artists grow within the shape of this year’s program, and with humble appreciation that we look back to the opportunities and struggles we encountered in our own training experiences.My own personal journey in dance began at the age of sixteen. I left my family in British Columbia, Canada my senior year to move to the province of Alberta and train more rigorously in dance. It was a true test of my self-discipline at such a young age to be on my own. Although I was living with the studio owner and her family, and so was not fully on my own, the freedom of all my choices were at the precipice of my life. I found myself at a constant struggle with all I wanted, and all the inherent responsibility for my artistic direction. That year, I learned quickly the difficulty of managing my wants and needs, and the constant expectations of life and my choices. I felt lucky however for the consistent schedule of my training, and guidance from my instructors. It was at that time that I first visited New York City and fell in love with the place I knew I would one day call home. Like all young dancers out of high school, all I wanted to do was audition and land my first job. But instead, I decided to take another year to train hard in preparation for my profes-sional career. I look back now and find it so comical how my life became a destination or a list of tasks. Move to Alberta: Check! Training: Check! Audition and get dance job: Check!!! I worked two years at Tokyo Disney to save money for the next destination: Check! The thrill of moving to New York City and my young independence gave me drive to survive the first year, but it truly was survival. It was a marathon to undertake the responsibility of my total independence, and to stay focused on my artistic purpose. Like any period in one’s life, distraction is constantly upon us, and that goes doubly for this city. Although in many aspects this city gives

any young artist the freedom of choice, artistic exploration, and an overwhelming plethora of styles and techniques to study under, it can also make finding all this for an individual artist outside of a conservatory setting extremely difficult. I am, however, thankful for this lesson myself. New York not only made me question my choices and responsibilities, it made me curious. Curious to want more, to ask questions, to seek answers, to question myself and my abilities, to understand my power as and individual, and then to command my future. Eight years later, I believe this is why I ask my students to question their journey and their choices, and I ask for their curiosity.

- Calen Kurka Director/ Founder of :pushing progress

Training in New York as a young dancer was a really great experience. Looking back, I see how dedicated I had to be in order to get what I needed out of class. There is a certain amount of self awareness that a dancer needs to have in order to train in a setting where class isn’t aimed at giving you individualized attention. Dancers have to learn how to assess one’s strengths and weaknesses and how to seek out the experiences that are going to push you toward the goals you are trying to achieve. I really thrived in the open studio setting and I was really fortunate to have teachers that gave me the personal attention I needed. I know how important individual attention is to everyone, especially young dancers. Growing up, we were all taught that you can graduate high school, move to the city, and start working. Well I did, but I also made sure I was still always in class. I knew that I wasn’t done learning just because I was 17 and done with school. Too many dancers take for granted the learning opportunities this city has to offer. There is so much to learn and is always a good idea to continue your education. I think it’s necessary, especially if you are auditioning. You have to keep your strength and stamina so that when you book a job, you are prepared to handle the rigorous demands of the rehearsal process. Over the years, I have come in and out of periods of study, and I know that this is a pattern that will persist throughout the rest of my life. I am so glad I put these habits into place when I was just starting out because the desire to learn has

shaped the person, dancer and educator I have become today.

- Chris Hale Associate Director/ Director of the CTP

When I first moved to New York City, I was excited by the free form access I had to so many different classes. I was excited to try new styles and to meet new teachers and choreographers. Most importantly, I was excited that no one was telling me what to do. Coming from training in the Royal Academy of Dancing tradition and preparing for major examina-tions, I was exhilarated to have the freedom to choose what I wanted to learn. But with that freedom came a tremendous responsibility -- responsibility for my own training, for seeking out and attending the right classes, and for learning the informa-tion that would lead me to be the dancer and professional that I aspired to be. I had sole autonomy and responsibility for the final result. This is the simultaneous strength and weakness of training as a pre-professional or professional dancer in New York City -- the strength: nobody is telling you what to do; the weakness: nobody is telling you what to do. Along the way, I found mentors and teachers with whom I consistently trained. Through this process, I learned one very vital thing: we all need someone to challenge who we are today, so that who we are tomorrow is something better. Our choice lies in our ability to seek out the right mentors to guide us and in the ability to choose what we do with the information we are given. This is the first test of the training process: to recognize that training in dance is not just a physical process, but rather is the simultaneous training of our minds, our everyday actions and our values. The true joy of training in NYC comes from the recognition that there are wise teachers and instructors everywhere waiting to give us direction, but it is up to us to open our eyes and ears so that we can recognize when we are experiencing the wisdom we need. And when we find it, it is up to us to make the choice to weave these experiences into a pattern of behavior so that we can mold ourselves into the dancer we want to be.

- Maya Escueta Managing Director

The Buzz

:pushing progress is proud to announce it’s partnership with ASTEP for the 2011 Showcase Series! At this year’s event, :pushing progress will be holding a raffle to raise funds for ASTEP’s 2011 programs. To find out more about ASTEP, please read below:

ASTEP Artists Striving to End Poverty (ASTEP) uses the arts as a tool to empower underserved youth. Since 2003, ASTEP has partnered with over 15 community organizations and hundreds of volunteer artists around the world to pro-vide uplifting arts education programming that inspires young people to transcend their current social conditions, strengthen their academic and social abilities, and break the cycle of poverty. Through art, ASTEP gives youth the essential life skills, dedication to teamwork, capacity for self-expression, and confidence to build on their potential. ASTEP is currently accepting applications for artists who are interested in volunteering in any of our four locations: New York, New York; Homestead, Florida; Johannesburg, South Africa; Bangalore, India. For more information about our programs and how to apply to be a volunteer, please visit our website at

Fluid Fitness:pushing progress is featuring Fluid Fitness this month. Fluid Fitness owned and operated by Lisa Delsignore is a fully equipped GYROTONIC® studio located conveniently in midtown manhattan at 1026 Avenue of the Americas (6th Avenue) between 38th and 39th Streets in the 5th Floor. Workouts at Fluid Fitness use the GYROTONIC® and GYROKINESIS® systems, as well as ArtForm® and Power Plate® equipment. Fluid Fitness offers a NEW client special 2 private GYROTONIC® sessions and a 15-minute Migun Massage for $85 ($190 value) or 2 private Power Plate® sessions and a 15-minute Migun Massage for $60 ($150 value). Also in April you can enjoy the opportunity to train with an Apprentice for a reduced rate of $20 (subject to availability). For more information about Fluid Fitness go to

News from the Dance World

the buzz 3

www.asteponline.org

www.fluidfitnessny.com

The Showcase Series -- A Glimpse into the Choreographic Mind of Lauren AdamsEach year, :pushing progress brings together some of New York City’s most innovative and inspiring choreographers and dancers and lets them share their talents with each other and the world on one stage. No stranger to this stage is Lauren Adams, who will be presenting her work at our Showcase Series again this year in May.Lauren’s choreography is something to look forward to at this year’s Showcase, particularly because of the careful attention she pays her dancers when crafting pieces. Large amounts of her inspiration come from people watching, particularly in the studio with dancers she’s working with. “My intention for a new piece,” explains Lauren, “is always ‘how can I let this dancer shine? How can I help them get to a place where they feel comfortable, where they feel honest, where they feel themselves?’” While some directors do away with a dancer’s individual quirks, Lauren embraces them. “Maybe that [habit] is their trademark,” she laughs, “and that’s their thing and that’s how they want to move… I want the dancer to be bigger than the choreography.”The Showcase Series in particular focuses on building community in the dance world, something Lauren Adams

What’s Going On?also feels strongly about. She explains that “it’s important to get other people’s perspectives and see other people’s work… We’re here to converse. We’re here to give people a place to speak their voice and [the Showcase] is also a great place to go and be inspired… We’re here as a community. We’re here to build each other up and lift each other up and honor each other’s gifts.”This year’s Showcase Series will take place on May 21 and 22.We encourage you to come out and be captivated by the work of talented artists with a common passion. Updates will be posted on the :pushing progress website and on our Facebook fan page.

Help support the 2011 Showcase Series and use your voice to make dance education and performance accessible to the New York dance community! Become a backer for our Kickstarter project and support a cause that matters, while also getting the chance to earn cool rewards. Check out our project at:

Audition:pushing progress will be holding an audition for the 2011/12 Contemporary Training Program on May 1 from 12 noon-4:00 pm at DANY Studios. To register, download application form and mail to :pushing progress c/o Con-temporary Training Program, 2303 31st Ave Apt 3A. Astoria NY, 11106 by April 20, 2011. For more information on the content of the audition and what to bring please visit us at

:pp CommunityKristen’s Corner

Each time I write about my experience in the Contemporary Training Program, I try to be as honest as possible with how I am feeling and what I am learning. Below is a glimpse into what goes through my mind while in class. The coaching, the nervousness, the doubt, and the determination are truly felt on a daily basis. It’s over-whelming at times. But through all of that is one of my greatest passions and it is just to dance.

Intention. Sweats. Food & Water. Stretch. Toes crack. Knees crack. Eyes Closed. Focus. Eyes Open. Focus. Neck. Serratus. Abdominals. Pelvis. Right. Crazy Fish. Trunk Stabilization. Sphinx. Dreaded Sphinx. Arch. Extend. Arms. Back. Arch. Extend. Breathe, Kristen. Arm Strengthening. Leg

Strengthening. Left. Crazy Fish. Trunk Stabilization. Sphinx. Arm Strengthening. Leg Strengthening. Rest. Breathe. Eyes Closed. Focus. Breathe. Eyes Open. Chair Position. Single Leg Stretch. Abdominals. Double Leg Stretch. More Abdominals. Shoulders Down. Breathe. The Hundred. Abdominals Roll Back. Sweat. Breathe. Relax. Sweats Off. Spirals. Hips & Pubic Bone in Floor. Sphinx. (sigh) Sphinx. Arms Spiral. Shoulders Down. Arch. Extend. Arch. Extend. Push. Eyes. Focus. Lift. Around. Length. Control. Look. Lift. Twist. Breathe. Hip. Stretch. Around. Focus. Choreography. Strength. Balance. Spiral. Push. Sphinx. Now Left. Eyes. Breathe. Feet. Baby Feet. Strength. Circles. Domes. Extend. Pointe. Breathe. Water. Warmed. Con-ditioned.

Barre. Work. Pelvis Lift. Shoulders Down. Abdominals Back & Up. Rota-tors Engaged. First Position. Breathe. Demi. Grande. Plie. Port de bras. Shoulders. Spine. Focus. Look. Dance. Taller. Taller. Lift. Seconde. Fourth. Fifth. Connect. Tendu. Hips. Lift. Weight. Sit Bones. Hamstrings. Pointe. Strength. Stretch. Shoulders. Rotators. Breathe. Easy, Ha! Work. Other Side. Degage. Consistency. Rond de Jambe. Hips. Dance. Lift. Shoulders. Stretch. Fondu. Coordination. Frappe. Sharp. Abdomi-nals. Balance. Focus. Eyes. Stretch. Stretch. Sttttrrrreeeettttcccchhhh! Breathe. Developpe. Weakness. Work. Breathe. Look Effortless. Dance. Focus. Get There. Center. Adage. Pirou-ettes. Repeat. Petite Allegro. Breathe. Small Jumps. Waltz. Big Jumps. Left. Breathe. Water. Breathe. Preparation.

(continued on page 5)

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:pushing progress

Showcase Series

Kickstarter

:pushing progress Top Songs

:pp Tops

Anna1. The Leaving Song by Chris Garneau

Chris1. I found a boy by Adele

Maya1. Without You by Junip

Kathy1. Introduction by Apparat

2. Howl by Florence and The Machine

2. H in New England by Max Richter

3. Rolling in the Deep by adele

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Exploration. Combination. Centered. Balance. Focus. Work. Feeling. Accu-racy. Pelvis. Lift. Abdominals. Connec-tion. Continuous. Shoulders. Back. Spine. Breathe. Again. Learn. Absorb. Replicate. Personalize. Again. Cho-reography. Dance. Breathe. Details. Water. Focus. Again. Lost. Slow. Be-hind. Panic. Breathe. Breathe. Breathe. Focus. Step. Pirouette. Arabesque. Balance. Pelvis. Lift. Rotators. Spine. Ankle. Weak Ankle. Control. Let Go. Good. Bad. I Don’t Know. Mind

Full. Focus. Not Then. Now. Presence. Breathe. Again. Focus. Personalize. Vision. Eyes. Perform. Tell Their Story. Tell My Story. Dance. Let Go. Focus. Breathe. Strive. Work. Dance. Breathe. Live. Dance. Dance. Just Dance. Dance. More. Immerse. Emotional. Space. Energy. Dance. Breathe. Dance. Dance. Dance.

Again.

:pp tops 5

:pushing progress Top Videos

1. Dance Life TV - Male Voices Episode 1

3. :pushing progress Intern Class April 8, 2011

5. :pushing progress New Piece

2. :pushing progress Kickstarter Promotional Video

4. Brotsjór Combo

Watch Video

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:pp tops 6

Across________ used to work at a Fortune 500 company.

While ______, Thea broke her own nose and kneecap.

Driving an ice cream truck was this girl’s first job.

This CTP dancer was born with a Mohawk.

Hannah secretly loves this type of music.

This CTP dancer once played Pinoc-chio in a community theatre production.

This CTP dancer is a certified scuba diver.

:pppuzzle

DownKathleen speaks this second language _______.

Rachel and Hannah love to ________.

As a child, Annie broke her arm in a ________ pit.

Kristen is the only ________ in a house of educators and historians.

All About the CTP! (may be more than one word, spaces are not included)

Last Month’s Answers

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