 |
Dancers Reap Benefits of the 'Rhodian' Approach By ELIZABETH KEEN
Isaac Newton stated, back in the 17th century, that for every action there is an equal and opposite reaction. In the 21st century, Lawrence Rhodes—in his second year as Dance Division director, after sharing his ideas and feedback with faculty and students—initiated a range of changes in class scheduling and requirements. What were these innovations, and how have they been received? Before going into detail, let me say that student and faculty reactions included far more hoorays than regrets. However, change is a complicated business with a mosaic of unanticipated as well as predictable responses. After almost a year of tryout, how has the new Rhodian approach worked? I questioned Larry about the rationale behind his initiative and made a sampling of views from faculty and students to see what I could learn.
 |
| Lawrence Rhodes (far right) teaches a class in the Juilliard dance studios in August 2002. (Photo by Nan Melville) |
|
First of all, ballet and modern technique classes now start at 10:45 instead of 9 a.m. While no one actually burst into a chorus of Irving Berlin's "Oh! How I Hate to Get Up in the Morning," cheering could be discerned. The 9 a.m. slot has since been filled with Humanities, L & M, Acting, and Anatomy, but the fact that bodies can awaken more gradually has won across-the-board approval. For dancers—like singers and actors—the player and the instrument are one and the same. Juniors and seniors are grateful for the one morning they are now free until 10:45. All students have the bonus of a 9:30 start on Wednesdays, plus two unscheduled periods in the course of the week, a novelty in the Dance Division's tightly packed daily regimen. According to Larry, "students need a life," and clearly this is a welcome step in that direction. Second- and third-year dancers commented favorably on the advantages of academic courses preceding the dance hours rather than creating a three-hour, sit-down-and-cool-off period in the afternoon between technique classes and rehearsals, as it used to be. (Some juniors and seniors miss out here, since they still have their elective academics in the afternoon.) Dancers also liked that all technique and partnering occurs before lunch. As one junior summarized, "I'm hungrier but much more alert."Perhaps the biggest change has to do with what Larry calls New Dances at Juilliard. Each fall, four outside choreographers are brought in, to create a piece for each year's class. The work might be double-cast or use all the dancers of that group, but every student in the division appears in the performances that are presented in the Juilliard Theater in December. This opportunity for all dancers to participate is especially important because the spring concerts are cast competitively, and not everyone gets to have the opportunity of performing then. New Dances clearly provides another performance experience, as well as exposure to a set of contemporary choreographers. Students were quick to point out these advantages and expressed their appreciation of the difference between having a work originated on their dancing bodies as opposed to learning what has already been completed. There is a sense of being a valuable part of the creative process, although that process may come with other anxieties: wondering if the creation will turn out well, adjusting to all those last-minute changes, and enduring choreographer angst.Larry also moved the Juilliard Dance Ensemble spring concert from February to the end of March, whereby he could consolidate its preparation to six weeks rather than having its rehearsals spread throughout the fall as well as the spring. This was all to the good, except an unforeseen consequence of a three-week, intensive learning period was to crowd studios with late-night rehearsals for students' creations as they struggled to complete assignments that had customarily been scheduled for the same time slot and hadn't yet caught up with the new order.
|
Dance Division Presentations
Juilliard Theater
Choreographic Honors 2003-04
Wednesday, Thursday, and Saturday, May 12, 13, and 15, 8 p.m.
Free, not tickets required.
Senior Dance Showcase
Monday, May 17, 8 p.m.
Limited free tickets available in the Juilliard Box Office.
|
|
|
Dissenting voices from student and faculty alike mostly revolve around the reduction of basic ballet classes from five to four times a week, and the innovation of assigning two of these slots to pointe and men's classes. This arrangement seems to work in the men's favor, as jumping and endurance skills are more greatly developed. However, pointe work was previously taught separately from ballet class; the new arrangement affects learning continuity. Especially given the demands of the ballet/modern fusion style currently prevalent, this loss of class time, as well as individual coaching time, is sorely felt by many. Additionally, students expressed a desire for the sanity of regularly scheduled rehearsal time for their own creative work, whether for Senior Production, Composers and Choreographers Workshop, sophomore projects, composition classes, or independently conceived dances. Greater regard for the sanctity of lunch and dinner hours was requested. Presently under discussion is how to address these concerns.Larry continues to muse over changes. He is pleased that the physical therapy department has observed far fewer injuries to the dancers this year, but in the same breath mentions his desire to include Pilates and yoga in the curriculum and his wish to open the door on occasion to guest teachers. (He has not yet received word from authorities about his request for a 36-hour day.)Meanwhile, the applause certainly outweighs the reservations expressed about the new regimen. Some things will require getting used to, and no doubt there will be revisions to the revisions. I suspect that the benefits of the Rhodes innovations will continue to be appreciated, all the more as some of the perceived drawbacks are reconsidered.Elizabeth Keen, who teaches dance composition, has been a faculty member since 1986.
|
