Spring is here, and we are back at work in the studio. There is a lot on deck for the semester, but there is so much to be excited about. 
 
We are thrilled to welcome back renowned international b-boy and hip-hop artist, Anthony Denaro, aka YNOT, this semester to teach hip-hop and improvisation. Having our students learn about the movement and history of hip-hop from someone who grew up learning from some of the paramount hip-hop pioneers is a once-in-a-lifetime opportunity. Our students are excited to have the chance to work with him for an entire semester. And, becuase the pandemic kept him from working actively in the studio, he is happy to be back working with students. 
 
We also welcomed guest artist, Amanda K. Miller, for a six-day residency. She taught a few classes, gave an artist talk, and created a new work with sixof our students. Amanda K. Miller was the Founder, Artistic Director, and choreographer of Pretty Ugly Dance Company from 1992 until 2009. Based in Germany, Pretty Ugly toured internationally and won an array of awards and acclaim for unique artistic and social collaborations. Prior to starting her own company, Amanda was a founding member, principal dancer and resident choreographer of Ballett Frankfurt under the direction of William Forsythe from 1984 to 1992. 
 
Sitting in on her artist talk, I listened to her describe her exceptional career which began with her moving to NYC at the age of 16 to pursue dance professionally. She was roommates with Melissa Hayden, one of Balanchine's favorite principal dancers at New York City Ballet who regularly danced with Jacques d'Amboise. Amanda recounted stories of going to CBGB, the famed NYC music club in Manhattan's East Village and feeling inspired by young music artists like Patti Smith and David Byrne. She felt that she did not fit into the conservatory dance scene in New York and took a job with the Berlin Ballet. But after a while, she didn't feel like she fit in there because of her movement style and was encouraged to explore the underground Berlin scene. She was in a basement studio late one night, moving around and jumping off of chairs. She felt someone watching her. She looked up to find a young William Forsythe (“Billy” as she referred to him), watching her. He could see something in her that was unique, and he knew he wanted to work with her. That began a long collaboration between the two. Forsythe needed her “rebellious attitude” when he took over Ballett Frankfurt, calling Miller the “anarchist that works.” 
 
Amanda's approach to movement and improvisation is distinctive. She urges dancers to be present and vulnerable, encouraging the stripping of layers of the skin to the bones to expose one's true self. Miller asks to surrender to the movement, but to not throw it away – “see the music; hear the dance.” She asks her students to have the courage to unlearn things, to recognize and then overcome the prejudices they may hold against themselves. Amanda says to “live in,” allowing things to expand and shift. Her approach challenged our students in the best way possible. Her work, featured in DanceTech this March, exemplifies these tenets, and audiences are in for a real treat.