CEO's Corner®-By K.L.P Entertainment™-"June 12th Edition"

CEO’S CORNER

Discipline and Heart

Ballet Tech's Kids Dance got its start on the subway, not in a dance studio. Eliot Feld, a choreographer, was on a train with primary school students in 1977. They appeared to be ordinary children, but Feld recognized something more in them: potential dancers. He established a training program that eventually evolved into an autonomous public school in collaboration with the New York City Department of Education. Dionne Figgins is currently in charge of the artistic direction of Kids Dance, which she founded in 1994 as Ballet Tech's performing division. The students, who are in sixth through eighth grades, have experienced a lot over the previous few years. The epidemic not only interfered with their academic work but also with their

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The group visited the Joyce Theater once more on Friday, stage with a winning blend of boldness and self-control as dance, tap, and jazz.

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They didn't crumble

turn out as they had wanted. They went on. They could see a good example right in front of them: On the program, Johnson Guo, a former student of Ballet Tech and a member of the Limón Dance Company, danced José Limón's "Chaconne" (1942). Feld's lovely 2015 play "A Yankee Doodle" served as the evening's opener, and he was a member of the original cast. The little dancers, decked up in white unitards with blue and red stars or a stripe down one leg, hopped on their feet before leaning forward and performing. return to the energizing beat. They shone when they were alone. They gave a graceful bow. And if these young dancers decide to follow it, Guo, with her grace and capacity to carve places in space expansively in Limón's solo, was a sign of the future. There were also brand-new dances, including Figgins' debuts and pieces by faculty members including Men Ca and a collaboration between Robert La Fosse and Brian Reeder, who were both former

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dancers with the American Ballet Theater and the New York City Ballet. The most evident nod to Alvin Ailey's "Revelations" was a billowing piece of fabric at the rear of the stage. Ca combined contemporary dance with John Coltrane's "Blue World" in his earthy "Embers Of."

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There were stern, upright arms, and the Dancers hunched their torsos over while holding up and bending at the elbows. What were the fires that the dancers were pining for, despite their somber demeanor? Never was it quite evident. With La Fosse and Reeder's "Ad Lib City," the evening's best brand-new work, set to Duke Ellington, there was more jazz. The dancers were given opportunities to be playful as the choreographers sprinkled the stage with exercises from their training, including a potpourri of tiny hops and twists. They eventually stood still, crossed their arms, and stared out. With a snap, they disarmed an arm. The dance included vintage-style black tights and tops by Vernon Ross that were influenced by Mondrian. The movement was bouncy and melodious, sending the dancers through the air.

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darting over the stage in rearranged clusters, little motion and color kaleidoscopes. You could tell that the cast had grown as they soared into the wings and then back out again. The kids had become used to their moves and the enjoyment of dancing with one another by this time in the show. The Figgins's two new compositions, "1956," set to the Gershwins' "They Can't Take That Away From Me," featuring Louis Armstrong and Ella Fitzgerald, showed that in each of the two collaborations.

A fun dance competition was established by Figgins and Ballet Tech tap instructor Curtis Holland. The dancers were divided into two groups, one for tap and the other for jazz. Dressed dressed in costumes from the 1950s and 1960s, The dancers mimicked the lyrics with gestures, once more by Ross. They swung their arm out menacingly in response to "The way you hold your knife," and "The way you sing off key" was followed with a finger placed over the mouth, as in "shh." It was so cute. Ludovico Einaudi's music served as the soundtrack for the conclusion, "Achoo, Adieu," for which Figgins and the class of 2023 shared choreographic credit. It was initially set in a dancing studio, and the dancers moved through their daily routines while wearing practice attire, including leotards, tights, and T-shirts. The picture changed when there was a blackout, and a voiceover in the manner of a news report announced that the mayor would be closing the New York City public schools "to stop the spread of coronavirus."

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“Write quickly and you will never

To perform a live keyboard excerpt from Einaudi's score, Aiden Concepcion paused the dance performance. It had become more somber. Before the dancers finally formed a circle and split offstage into two lines, masks briefly appeared. Graduation caps and gowns were slung over their arms when they came back. For the grand finale—a class photo —they put them on and sprinted to the front of the stage while grinning and being silly. They succeeded!

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“Write quickly and you will never