The Balancing Act

By Phillip Spaeth, CTFD dancer-client and Newhouse grant recipient

Ever since Phillip SpaethI was a little kid, I wanted to perform. At holiday functions, I would rally my cousins in the basement and throw together fully realized theatrical productions for the entire family. Each night, I’d stare up at the glow-in-the-dark stars stuck on my ceiling and dream of my future-life in Manhattan; as a Broadway star, the next Patrick Swayze, or Bob Fosse.

Straight from school, I ran to dance class or rehearsals at the local theater where I met other kids who accepted me and shared my passion. Performing was all I thought about and all I wanted to do. At fourteen, I landed my first big, professional opportunity to perform. I waved goodbye to my family and went on tour for a year. I did eight shows per week, bussed from city to city, and was tutored during the day. I got to follow my dreams, earn a living, and receive an education.

As I neared high school graduation, I was torn between pursuing my career or pursuing my education. I had always claimed to be the guy who didn’t believe in “back-up” plans; but since I was a good student, something told me to apply to college. Sure enough, I was accepted into an honors program at the first school to which I applied, and I started to get excited.

One week after high school graduation, I packed a bag and moved to Manhattan for the summer to hit some auditions. A month and a half later, I was cast in my first Broadway show, and I decided to put school on hold. The college allowed me to defer enrollment for a year and encouraged me to seize the opportunity. However, that year flew by, as I continued chasing my dreams and riding the wave. A decade later, I’m still riding the same wave and feel lucky to have been consistently working. However, I have to admit that each time I was sidelined by an injury, I would think back to that “back-up” plan I thought I’d never need.

So, last year I decided it was time to retrace my steps a bit and finally go to college. I’ve just completed my second semester at Hunter College, while continuing to perform on Broadway in Matilda; maintaining a schedule much like the one I had as a teenager.

I am now an adult, with a mortgage and a big life, and while I still love performing, I have new dreams and so many things I want to learn and explore. My plan is to pursue an education in mental health that will allow me to be of service to artists and creative people. I am very interested in the ways in which Buddhism and mindfulness can be integrated into contemporary perspectives of therapy.

This scholarship from Career Transition For Dancers is of great help to me as balancing life, a performing career, and school can be difficult. As tough as it sometimes is, I am determined to continue this one-man pas de trios— for as long as my body will allow. I am grateful that CTFD exists to support dancers who find themselves at this often-confusing fork in the road. As Alan Watts once said, “The only way to make sense out of change is to plunge into it, move with it, and join the dance.”

Skill, Passion, and Destiny

by Jason Herbert, CTFD dancer-client and Newhouse Grant Recipient

Jason Herbert

A decade ago, I embarked on a career in dance that I couldn’t have imagined in my wildest dreams.  Traveling the country and the world, I performed for thousands of people and worked with artists that inspired me.  It was during my time with The Philadelphia Dance Company aka Philadanco! that I was introduced to Career Transition For Dancers.  CTFD explained all of the possibilities for dancers transitioning into careers and how to utilize all of the skills that dancers possess.   Because they offer entrepreneurial and educational grants to artists who have worked in the field for a number of years, I recently applied for the Newhouse grant (and was awarded!) to jump start my career in video production.

I started a company with two friends that develops, produces, and manages artists in music, theater, and film.  I dove straight in as a Project Manager and an Artistic Consultant.  Some of my duties include recording, photo shoots, video shoots, social media, and video production.  In my travels as an artist, I noticed I had an eye for video editing upon returning from a tour of Europe.  My business partner encouraged me to pursue it on a higher level.  We both enrolled in an advanced course in digital editing at the New York Film Academy where I progressed quickly but didn’t have the equipment at home to practice or perfect my craft.  One thing I learned from dance is that your tools to success is just as important as your drive and determination.  A high-powered computer and up-to-date editing software is essential to starting a career in video production, two things I didn’t possess nor could afford.

From the stage to the screen, I will transfer all my knowledge and passion as a performer into my videos with skill and education behind me.  I am at a place to carve a new destiny with my experience in dance as my foundation.

www.facebook.com/WhoIsJasonHerbert

On a Different Stage

Sisha

by Sisha Stowell, Caroline H. Newhouse grant recipient

Dance has been a substantial part of my life for just about as far back as I can remember. I, like so many little girls, started dancing at a local studio at a very young age with my little knobby knees in pink tights and a frilly leotard, the frillier the better. Although I loved dance class from the very beginning, my reason for being there was not the same as all the other children. After a freak accident I suffered third degree burns over 75 percent of my body. It may seem hard to believe but luck was truly on my side as there was a state of the art burn institute in my city and I was a perfect candidate for a new medical treatment still in the trial stages. This treatment is now the standard by which burn victims are treated. My initial recovery went well but when it was time for physical therapy the doctors were leery of putting me in a traditional program. As I was so young my doctors thought I would have better results by taking dance and gymnastics classes. And so it all began.

Over the subsequent 28 years, dance heeled me physically, emotionally, even spiritually at times. Dance, which was originally prescribed as physical therapy alas, became the cause of additional physical therapy. When I was thirteen years old, I had my first serious dance injury. During a performance something went terribly wrong with my leg. I had no idea what happened but I knew I was in a lot of pain. Initially, the doctors said I had pulled my hamstring. I trusted their diagnoses and followed his suggested treatment; a week of rest and then back to regular activity. A few months later, I had yet to regain the flexibility that had come so naturally, I was still in pain and had lost all rotation in my hip socket. It was time to see a specialist. The doctor I was referred to happened to be the resident doctor for the Cincinnati Ballet; therefore, he was very familiar with a dancer’s body and the demands put upon it. After a few x-rays and a quick examination he told me I had in fact not simply pulled my hamstring but rather torn it, and in the process of doing so had pulled a piece of bone off of the femur and fractured my rotator cuff. Unfortunately, my body had already healed itself however not in the optimal fashion and it was now too late to do anything further. He believed this occurred because of a growth spurt; my bones had grown faster than my muscles could keep up, and warned that it would most likely happen to the other leg within the next year. He was right, I tore my left hamstring almost a year to the date later. If nothing else, at least this time I knew what happened and could take care of it with proper therapy, or so I thought.

There are many physical therapists who know how to work with athletes. There are also many physical therapists that are knowledgeable of the demands on a person of poor to average fitness. However, in my experience, there are few physical therapists who understand what is truly required of a dancer’s body. Unfortunately, I had a therapist who fell into the former, I repeatedly heard, “Don’t worry, that’s good enough,” or “You don’t need to be able to do that,” in regards to questions about flexibility and rotation. Needless to say that was less than ideal guidance in an already extremely scary situation.

Although that experience was incredibly frustrating and did not yield the results for which I was hoping, things would soon change. After an evaluation with a ballet company, I was referred to a woman who I believe saved my dance career. She was the first person to introduce me to Pilates as a form of physical therapy. After only a few sessions my strength, flexibility and rotation improved immensely. There have been other times I have used Pilates to save and extend the life of my career. In one particular case, it seemed surgery was imminent to repair a shoulder injury I incurred on stage. With the help of a renowned sports therapist and his incredibly knowledgeable Pilates therapists, I was not only able to fully recover without any invasive measures; through continued practice, I truly enjoyed a full body overhaul. Small issues that were beginning to affect not only my performance on stage but normal everyday activities simply went away. The practice of Pilates not only saved my career once again, but improved the overall health and dexterity of my entire body, not only improving me physically but also being mentally therapeutic.

With the help of the Caroline H. Newhouse Scholarship, I plan to receive certification in both Classical and Clinical Pilates in the hopes that one day I can help others as I have been helped. To not only fix the problem at hand, but improve the overall health and wellness of a person physically and potentially mentally as well. The love of dance that developed at a young age was not just for the pretty costumes and the person you could become while performing but also for the mechanics. The way in which the human body works, how each muscle works to create a beautiful movement or to simply hold a position. I look forward to delving even further into these intrigues and continuing to share my passion, it may be a different stage but will hopefully be just as rewarding.

Sisha

The Business of Transition

By Elyssa Dole, Sono Osato Scholarship for Graduate Studies award recipient

Elyssa DoleI remember the feeling of taking class at age 13. Charging across the room, the piano music surging, I would lose myself in an imaginary world thick with texture, sounds and sensation that had no words. I enrolled at the San Francisco Ballet School where I began studying Vaganova technique. At age 16, I auditioned for the Vaganova Ballet Academy in St. Petersburg, Russia and was granted a rare opportunity to experience Russian culture through ballet during the Yeltsin era and during the infancy of the Internet age. Curious about how culture and tradition meets social change through art, I moved to New York where I continued studying modern and contemporary techniques, African and Indian dance, Flamenco and the martial art of Capoeira.

After graduating Barnard College, I searched to find my place in the dance world. During my 10 years as a professional dancer, two pieces stand out as particularly significant to me. The first one, titled 2 Kilos of Sea with Deganit Shemy and Company was performed at Baryshnikov Arts Center. The work was influenced by Ms. Shemy’s childhood growing up on an Israeli kibbutz. Rehearsals were deep yet playful investigative journeys with the excellent dancers in the cast—Rebecca Warner, Denisa Musilova and Savina Theodorou. I was constantly surprised and delighted by our strange and beautiful discoveries.

Another exciting project was a theatrical production of Pierrot Lunaire with Grammy-winning chamber music group eighth blackbird. I was the only dancer in this interdisciplinary work. This piece brought movement into the chamber music form, using dance, a set and staging to convey a story within Schoenberg’s 1913 creation. I also met my husband in this production!

As I became increasingly invested in the works I was a part of, I began taking on managerial roles within projects. I organized rehearsals, sought out new performing opportunities on behalf of the group, negotiated contracts, wrote grants and created marketing and fundraising strategies. I applied to business schools with a goal to better support creative pursuits and improve the business models for the causes I cared about.

I was accepted to NYU Stern School of Business, had a brief moment of celebration and then the hard work really began. InElyssa Dole my first year, I took statistics, accounting, microeconomics, and finance among other basic business courses. In my second year, I focused on innovation for social impact and I am an Innovation Fellow at Nike Foundation.

The MBA is making it possible to achieve my transition and I encourage other dancers to use graduate study as a way to discover, translate and develop their skills and talents. Already, in my fellowship with Nike Foundation, my degree is serving me as I am analyzing business models, imagining new ones, and making recommendations to my team based on principles I learned from my strategy courses. In the social impact space, I hope to be able to better measure and evaluate the outcomes of humanitarian and development efforts in order to help make the business case for investing in social causes.

I am not sure which has been more challenging, starting a dance career or transitioning out of it! I definitely learned so much from the arts and from other artists about the creative process, collaboration and discipline—this awareness has given me a unique way to contribute to business. I am more than happy to talk about the business degree and about NYU Stern to any prospective students. Please feel free to reach out! Ead235@stern.nyu.edu

Journey to Well-being

By Laura E. Taylor, Sono Osato Scholarship Recipient

LauraETaylorHeadshot         I donned my first pair of ballet shoes at three, wrote a poem about becoming a ballerina at six, and danced my way through childhood. Dance became my means of communication. At sixteen, I attended Interlochen Arts Academy for premier pre-professional dance training. At eighteen, I began a BFA in Dance at Fordham University with Alvin Ailey American Dance Center. I danced six hours a day, six days a week and loved every minute of it.

Suddenly, everything changed. At the beginning of my sophomore year, I fell in class. I needed bilateral knee surgery to repair the damage. I was dedicated to recovery and back dancing in the BFA program the following summer. Unfortunately, I fell again a year later and “totaled” my left knee. Again, my prospects of returning to dance were slim. Thankfully, I found a tremendous doctor who tried a new approach. Rather than fixing the symptom (joint damage), he recommended a distal realignment to treat the underlying structural problem. I underwent two massive reconstructive surgeries, one on each knee, that were performed six months apart. I spent a full year in a wheelchair.

Laura E. Taylor performing in A Chorus Line at the Paramount Theatre in Aurora, IL
Laura E. Taylor performing in A Chorus Line at the Paramount Theatre in Aurora, IL

Without dance for the first time, I needed direction and a means of artistic communication. I dove into psychology courses at Fordham and a passion for psychological well-being was sparked. Simultaneously, I began to study voice more intensively and my vocal coach suggested that I combine my voice and dance skills to transition into musical theatre where I could dance in a way that was not as challenging for my knees. Healed, I auditioned for my first professional musical, booked it and went out on the road! Musical theatre has given me eleven years of incredible experiences on stage where I continue to dance and grow as an artist.

In the winter of 2012, I herniated two disks during A Chorus Line. Thirty-two years old, I sat on stage and sobbed through ‘What I Did For Love,’ determined to finish the show. I knew my body had limited ability to continue as a dancer and transition arrived sooner than I hoped.

I decided to return to school to gain additional knowledge and skills to use in arts education. I chose the unique Masters of Applied Positive Psychology (MAPP) at the University of Pennsylvania and began in September, 2013. My focus was to examine the connections between positive psychology and the arts. I graduated in August, after one short year and three packed semesters! MAPP has been the gift of a lifetime – a unique cross-roads for my passions and an opportunity to give back.

Laura presenting her capstone Acting Strengths in a cave - Rio Secreto - in Mexico
Laura presenting her capstone Acting Strengths in a cave – Rio Secreto – in Mexico

My capstone focused on research that supports the development of resilience to increase well-being. Currently, I am designing a workshop that customizes positive psychology tools for performers. The workshop, Acting Strengths, bridges the gap between artistic preparation and the daunting realities of a difficult business. It enables performers to cultivate resilience though strengths identification and development. By equipping artists with resilience, it is my hope to help them persevere and flourish. Ultimately, Acting Strengths will be a series of workshops and a springboard for the development of a course in positive psychology for pre-professional artists.

My experience and education empower me to serve the artistic community that has so generously supported me. My deepest gratitude goes to Career Transition for Dancers, the Caroline H. Newhouse Scholarship, and the Sono Osato Scholarship as they were instrumental in making this new venture possible! I am dedicated to applying positive psychology to arts education and confident that my new degree will help me achieve this goal!

Permission to be Lost

Photo by Alethia Williams
Photo by Alethia Williams

By Julie A. Blume, CTFD Dancer-Client and Caroline H. Newhouse Grant Recipient

I heard about Career Transitions for Dancers nine years ago while I was dancing with David Parsons and his lively troupe. I was immediately impressed by the concept of CTFD—a nonprofit dedicated solely to providing support and resources to dancers, a population who often feel a lack of those two fundamental needs. Though I had an idea about the richness of the services offered by CTFD, I only recently learned of their necessity. A few years ago, I began living the idea of career transitioning. I was working at the Metropolitan Opera and enjoying my daily dance classes and evening performances, but in every non-performance moment I was seeking: what’s next? Though I would not admit it at the time, I was thoroughly lost. I received immeasurable support from Lauren Gordon in CTFD’s New York office and explored options beyond (and way beyond) the scope of my dance training.

I left New York for Boston in 2012 aiming to work toward a graduate degree in Public Policy. I knew I wanted to make a difference, and policy seemed the correct route to do so on the grandest possible scale. But I soon discovered that lobbying was draining to me and did not make best use of my talents – this even when doing so in support of causes I care deeply about, like securing funding for the arts or finding healthcare for those in need. After one semester in the policy program, I decided to cut my losses and I returned to my dancing and seeking. I had always loved yoga and during this time the practice brought me much needed solace. I amped up my practice and eventually transitioned from yoga student to yoga teacher. I started as a substitute at various Boston studios and soon acquired my own classes and even private clients. Thanks to this work, I became fascinated with various energetic healing modalities and discovered that I long to heal people, not populations. Thus, my studies of yoga and my desire to help others in their process of healing and self-understanding shuttled me toward a career in acupuncture and herbal medicine.

Currently, I am one year into a four-year Masters degree in Acupuncture and Oriental Medicine. During my first year of classes, it became apparent just how much my dance training serves me in this discipline. I have a powerful memory, strong spatial awareness, and a heightened sense of my physical body. Furthermore, dance training has been teaching me how to cultivate Qi all of my life. I realize now that all those years I thought I was training specifically for a career as a performer, I was also priming myself to excel in a multitude of avenues.

Photo by Lois Greenfield
Photo by Lois Greenfield

My route from dance to acupuncture was circuitous and at times trying. For so long I had been able to describe myself in four concise words: “I am a dancer.” At this people would nod in seeming understanding and admiration, and I felt both settled and proud of my projection. We live in a culture that likes clear titles and articulated goals. Transitioning from “I am a dancer” to “I was a dancer and don’t yet know what I presently am” left me emotionally vulnerable and aimless for the first time in my life. It took some time before I found a sense of pride in declaring ‘I am’ again. By embracing yoga, I followed the path that brought me the most peace. Thankfully, this proved an effective route, leading me to acupuncture—a career that excites me, challenges me, and leaves me once again feeling strongly with purpose.

To transition on from a career as a dancer is – much like they say of aging – not for the fainthearted. For me, the most difficult thing was figuring out how to find comfort in the chaos. I struggled against the confusion I felt, and pushed myself toward Public Policy because, more than anything, I longed for a sense of direction. If I were to do it over again, I would grant myself permission to be lost. I would allow myself the space and time to simply float and to not care what others think of my indirection. If any of you reading this page feel confused about where to go or what to do next, my best advice is to take a moment to fully appreciate where you are and all you have achieved through the majesty of your career thus far. From there, follow your bliss: whatever feels right and authentic in the present moment. Whether you transition with big strides or small shuffles, honor your journey with unswerving patience. Grant yourself permission to dream (and dream big), and your path will undoubtedly appear.

www.julieblume.com

Round Three

CamilleMBrown
Photo by Lois Greenfield

 

By Camille M. Brown

When I was still in grammar school, I fell in love. The moment I saw Maya Plisetskaya perform with the Bolshoi Ballet I knew I wanted to be a dancer. I scrawled manifest destiny across my bedroom wall with an arrow pointing to a picture of red point shoes. My parents thought my love for dance would wane, but that passion became the driving force focusing my college career. After transferring from San Francisco State to U.C. Berkeley, I changed my major to Dance. I held my mother hostage by threatening to drop out if she demanded I double major. I graduated with a B.A. in Dramatic Arts /Dance after receiving both the Horence Schwimely Scholarship and the Eisner Prize for creativity in the highest order. I immediately moved to New York City. My dream became a reality when I joined the Martha Graham Dance Company. Eventually, I became a soloist and rendered many roles, worked with guest choreographer Twyla Tharp, and toured the world with the company for 6 years. In 1995, I was invited to audition for the Broadway revival of the King and I. As an ensemble member, Gold Ballet soloist, and understudy, it was my privilege to work with Lar Lubovitch on that production. And I am proud that I was an original company member of The Lion King.

But a dance career is ephemeral. So, I began to explore new avenues with Career Transition For Dancers. I wanted to spark that same tinderbox of passion and have that same feeling of certainty. But in truth, I was also paralyzed by fear. Even with the help and resources at CTFD, it took a long time to find the right path. I received the Caroline H. Newhouse Scholarship and used part of those funds to become a licensed real estate sales person. I began working with Weichert Realtors while still performing at The Lion King. Real estate was not a fit. What I finally realized was that my transition was right under my nose. A pattern of interest in both TV production and writing was clear. That interest drove me. I sought an internship with casting director, Ellen Parks. As her office assistant, I witnessed the pre-production of Flirting With Disaster. At Harvestworks Digital Media Center, I studied editing. And I begged my way into a PA position on set at The Insider filmed from the lobby of The Lion King. Similarly, I’ve been writing as long as I’ve been dancing. Through continuing education at NYU, I explored playwriting with Academy Award winner, James Lecesne. With Matt Hoverman, I mastered the one-person show form. At the People’s Improv Theater, I learned sitcom writing from Sarit Catz.

In the fall of 2013, I drew down the remainder of the grant after being accepted into the MFA Program for TV Production at Brooklyn College. This summer I was thrilled to receive the Sono Osato Scholarship Program for Graduate Studies. The scholarship will be applied toward my final year at Brooklyn College. The MFA in TV Production is a two-year TV production boot camp. This past semester I conceived content, filmed, edited, and wrote a lot of papers. In the fall term, I will be tackling multi-camera production, writing for TV, and documentary.

Oddly, I felt ready to move on because of the assistance from CTFD. At my age, most people might be thinking about retirement. But I feel that I’m just warming up for round three.

The Ability to be Moved

by Mary Nesvadba

MaryI started dancing at age 3 and knew from that moment on, dance would be my career choice.  I was truly fortunate to have danced professionally with the Fort Worth Ballet, The Houston Ballet, Hubbard Street Dance Chicago, The First National Tour of Movin’ Out, and also, on Broadway with Movin’ Out.

After having a long career as a professional dancer, I decided to retire, which ended up being the hardest and most difficult time in my life. So for a few years, I lived life as a non-dancer and although I had found a good job, I felt as though I had truly lost myself.

I went to Chicago a couple of years ago to dance in a surprise performance for a dear friend/choreographer and was reunited with my beautiful Chicago dance family!  During that weekend, I found out about this new dance fitness class called BeMoved via my post-professional dancer friends who were BeMoved Instructors.  I spoke to Sherry Zunker, Founder and Creator of BeMoved®, and after that conversation, I decided I had to be a part of this amazing new dance experience.

CTFD allowed me the opportunity to pursue this exciting instructor Mary2career with BeMoved by awarding me with the Caroline H. Newhouse Scholarship. BeMoved has brought me back to my love for dance and music and has allowed me to teach and share this wonderful dance experience with others in NYC! I am thrilled for this exciting new chapter in my dance career!!!

 

Cable Man

Nathan Vander Stoep, Caroline H. Newhouse Business Grant Recipient

Nathan_the1too

I first met CTFD in a centerfold of Dance Magazine while flipping to an article written about the principals in my company, Colorado Ballet. I was young and it didn’t feel relevant at the time, but the grant money caught my attention for the future. A few years later as I was becoming less enchanted with my career, and was beginning to think about moving on, I remembered the advertisement. I made my first call to the counselors in 2006, and as we began delving into options, it actually renewed my passion for dance while simultaneously highlighting the importance of thinking about life after dance. I ended up performing another three years while expanding my extracurricular activities.

ImageI had played trombone from an early age and started taking amateur gigs. As I improved, I began getting professional gigs. However, I needed to know the music perfectly without rehearsals, so a good stereo system became imperative. As I put together the system, I realized the incredible difference that the wiring could make in the clarity and detail of what I could hear in the recordings. I did some research online and started building my own cables based on some ideas I formed from the information I had found. The results were fascinating, which became a topic in my next conversation with CTFD. The counselor mentioned that it could become a business, which hadn’t entered my mind at all. It was at this point when my relationship with CTFD became much more serious and instrumental in my future.

In general, I had never thought much of counseling; even in preliminary conversations with CTFD, I felt like the conversation wandered around a bit. That all changed now that I was interested in a specific topic. As a dancer, I knew nothing about business and suddenly I had a lot to learn. CTFD recommended finding a mentor through various channels, and this is probably the single most valuable prodding that I received. My counselor sent me a few websites to view, four of which were for local businesses and I could visit in-person. I had developed networking skills in the ballet world, so it was easy for me to start making connections with other business owners. I landed a mentorship in the HiFi Stereo industry while building my own business of designing cable products for home stereos, and over three years I learned the essential business practices particular to the industry. This was an absolutely invaluable experience and would not have happened without the guidance of the CTFD counselors.

During the counseling sessions, a frequent topic of discussion was how best to use the grant money. Education seemed like an enticing idea, especially since electricity was not something that I had ever studied beyond the university of Google. As my counselor and I discussed options, I also discussed it with my mentor, who ultimately made a suggestion with a result that still ceases to amaze me.

When I designed my products, I had focused on the quality of the product sonically as well as for durability. The results were a product that changed the sound of any system dramatically, and never failed, but they did not possess the jewelry-like cosmetics of my competitors. The cost of designing and manufacturing the parts needed were expensive and I didn’t see the point in extraneous parts that didn’t contribute to the sound. It was then that both my mentor and counselor pointed out my flawed logic.

My speaker cable sales were virtually dead; I had only sold three pairs over the previous year. I decided to design aluminum sleeves to cover the transition area on the cables. I used CTFD’s grant money, which covered enough parts for 30 cables, to get the parts into production.

That seed money completely changed the landscape of my business. Speaker cable sales increased immediately. As soon as the first sample cable was shown in the Japanese market, I had orders for 5 speaker cables within a week. At the end of a year’s time, I had sold over $26K in speaker cables alone, which allowed cosmetic development of the whole cable line. The company now has a distinctive look, and is growing rapidly.

With both the counseling and grants offered, CTFD has helped shape my life and formed a business that supports me in a way that I never imagined, and I am very thankful!

Visit my website (www.nvssound.com)

Connecting Life Sequences

cold color julio e  rivera  photo by erik alberg

By Julio Enrique Rivera, Caroline H. Newhouse Recipient

Transitions are the soul of the dance, connecting sequences of movement that allow for flow of clear and compelling expression. Transitions must have clarity, focus, and confidence for the fluidity and effortless connections. For a dancer, it is a joyous experience that makes the dance greater than the steps alone. And so it is with any transition in life.

I learned about effortless transitions early in life. Excelling in school, I always sought enriching opportunities by way of clubs, programs, and sports. I learned that discipline is key in any commitment and that focus and perseverance lead to success. I brought these tools from academic demands to the arts of theater and dance.

My most demanding transition was leaving to the vastness of Princeton University. Attending an Ivy League institution presented the expanse of a liberal arts education with great academic focus. Advance placement allowed me access to upper level courses forging a great course to exploring new horizons. I initially diminished my participation in the arts. I discovered new sports such as squash and tennis. My body longed to move as my mind was racing. I was transitioning once again. Then the arts returned! Women were now part of the student body and modern dance classes were offered with Ze’eva Cohen. Princeton also instituted a certificate program in theater and dance, and I was one of the first to enroll.

The next year, I was enjoying graduate courses in psychology and “jete-in” about campus. My first thesis melded these two loves, and it’s success jettisoned me into expanding it for my senior thesis; the perception of expression in movement.  My field work was: more dance classes at Princeton, the Princeton Ballet Society, and a scholarship at the Ailey school. I graduated with honors in 1976, I decided to postpone my interest in the Harvard clinical program to follow the more immediate call…DANCE!!!! I returned to Ailey’s and continue to dance knowing that one day I return to my interest in helping individuals realize a better situation through some kind of support.

By 1986 I had danced with myriad companies and choreographers. Early on I decided  to focus on traveling as guest performer, master teacher and choreographer. With support from Alvin Ailey, I founded Contemporary Motions as a venue to showcase my solo, duets and trio works. Fellow choreographers donated solo works I had performed, and I created a  new repertoire of solos, duets, and trios that I would present nationally and internationally until 2006.

In 2004, cancer presented yet another opportunity for transition in life. I returned to finish my contracts, then decided to retire with an excellent record to that transition in 1976. Nine years in full remission, and full of zest, I seek to return to my love of psychology as a life coach. Lynn Goldberg, a life coach for dancers introduced me to Coaching for Wellness certification program. It was the transition I had been waiting for. I enrolled and graduated in the Associate Level certificate program. With the assistance of the CTFD Caroline H. Newhouse Scholarship, I will be able to continue my certification at the Professional level which allows me to participate with the highest credentials possible and work various niches as well as mentor and teach in life coaching programs.

somewhat hopng i was dreaming 6 2  rivera  photo alberg

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