Let’s look at the key differences between stretching and pandiculation. Pandiculation is used extensively in Clinical Somatic Education to regain the brain’s control of tight painful mu…
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Let’s look at the key differences between stretching and pandiculation. Pandiculation is used extensively in Clinical Somatic Education to regain the brain’s control of tight painful mu…

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Thanks to my nutritionist, I've started eating right. Now I desperately want to improve my negative body image. My friends tell me I look good, but I don't believe them. I obsess over every flaw and find class depressing. What should I do?—Crappy Body Image, Hoboken, NJThe best remedy is to shift yo...
It's not uncommon to hear dancers planning for their "second act": what they will do after their performance career ends. Wrapped into this term is an assumption that the skills a dancer has developed are valueless in other work environments.But as the rest of the world panics to create a workforce ...

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An Interview with Rachel Slater
How would you define contemporary dance to someone without a background in dance?
“It’s always a tricky question. I recently took a job teaching dance at a public high school. While some of my students are highly trained, others are new to dance. When I explain contemporary dance, I often tell them it’s a dance form that prioritizes expression, but it’s tough to define what it looks like because it can be presented in so many ways. It can be done to any sound score: pop music, spoken word, classical music, silence. There’s a range of performance spaces, from a proscenium to a warehouse, from site specific to film. As far as choreographic creation, contemporary dance can run the gamut. There’s a lot of freedom and variety in the way choreography is generated, more than what is often found in a traditional or classical setting. There’s often a focus on research and improvisation to generate material. What I end up saying to my students is that contemporary dance can look like almost anything, and is largely defined by its intention to be contemporary dance.”
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What do you perceive is your own contribution to the field of contemporary dance?
“As a choreographer, I’m interested in people. When I start to develop a new work, I’m interested in my dancers bringing their own perspectives, which I think is a distinguishing feature between classical and contemporary. I don’t want dancers who are blank slates waiting to be imprinted upon by a choreographer. If you go into a rehearsal process in a contemporary scene, you will often be asked to improvise, speak, write. As a choreographer, I’m interested in having real people in the room with me, not just someone who will nod their head and say, “Whatever you want.” I believe my work reflects that. I want to make work about a conversation relatable to the audience. Dance can often be elitist and obscure, but making dance about what’s personal can solve that.”
Remember, dancers are more than what they look like, and what body parts you like! Dancers are not objects. They are humans & artists. Dancers dance for you!
Do you have any compliments for a dancer about:
Artistry?Â
Thoughtfulness?Â
Expression?Â
How does their dance make you feel?Â
How can dances/dancers be vehicles for you to feel empowered and connected to your own body?Â