“Dancing is an organic, beautiful, therapeutic, and raw expression…one that requires daily, mental and physical discipline to perfect.”
Who introduced you to dance?
My mother (Judy Prescott-Hale) introduced my sister, Cynthia, and I to the world of dance in Amarillo, Texas, where she was deeply involved with the theatre. She performed in the Dallas Summer Musicals in the 1960’s and spent years training in vocal performance in Altus, Oklahoma. She found a little red schoolhouse-looking building named “Hess School of Dance”. Neil and Camille Hess were our teachers. Both had been professional dancers in their own right and had a legacy of well-known teachers behind them. Mrs. Hess taught Ballet and Mr. Hess taught Jazz. I still remember the creaky, wooden floors, slightly cracked mirrors, that wonderful musty-hard work smell in the air, and watching Mrs. Hess walk over to place the needle on the record before each Barre exercise. Performing ballet barre to the crackling sounds from a record player are forever etched in my memory.
Why did you decide to pursue a career in dance?
My reasoning behind choosing a career in dance is complex, and often lacked any kind of “reason” at all. I played many sports as a young person (soccer, volleyball, track, basketball, tennis, softball), took piano lessons for several years, and played the violin and French horn at school. I even traveled to Tokyo, Japan for modeling work in 1991, at the age of 19. The cultural immersion and adapting to a foreign language in a massive city, both high-tech and ancient, was thrilling for me, but the feeling of truly being “alive” in my body that came only from the beauty, discipline and routine of dance was missing. After acknowledging my natural affinity for deeply physical movement paired with the flow of rhythm and music, I ultimately decided to pursue dance. I recognized there was an innate mental drive to push myself, to find my limits and go beyond them. I loved being challenged daily to discover new things I hadn’t felt before, the constant self-critique one must have to be a serious dancer, and the unique community of performing artists who surrounded, supported and understood me better than anyone else. I always say that “Dance chose me. I didn’t choose Dance.”
Tell us about your dance education.
My dance education began at the age of five, under Neil and Camille Hess in Amarillo, Texas. We performed annual recitals where my mom would sew sequins onto white knee socks with elastic around the finger to use as gloves, matching our colorful, 1970’s-80’s costumes, and danced in the Lone Star Ballet’s production of The Nutcracker every year. It was an experience like no other, full of inspiring music, dramatic choreography, and a cast full of amazing, talented, and dedicated performers. Our Nutcracker included the most magical scenery, costumes, and props, like a Christmas that grew up out of the floor, filled with real ornaments, and even a live orchestra and a chorus for the Snow Scene. Mrs. Hess gave a very strict ballet technique class. I looked up to the advanced dancers, as well as her daughter, Lisa Hess, who was a principle dancer under George Balanchine for the New York City Ballet. After 7 years with the Hess’s, I danced briefly at Amarillo Community College where I was introduced to Lyrical and Liturgical dance. I then transferred West Texas A&M and trained under Mr. Hess again, soon performing in the outdoor musical drama, Texas, set inside the Palo Duro Canyon amphitheater. For a few summers, my entire family was either performing in, or part of, the tech crew for Texas. I transferred again to the University of Oklahoma (OU), where I took a “recreational” modern dance class, but was quickly inspired to shift my major from Letters/Linguistics to Fine Arts after my Martha Graham instructor, Denise Vale, began teaching me the historically significant and complex technique.
At OU, I was privileged to train under many high caliber artists who had performed in the modern dance genre from its inception through the 1990’s: people like Therese Capucilli and Christine Dakin, who had performed under M. Graham herself, and stars of the Alvin Ailey Company, like Dudley Williams and Earl Mosley. I spent a summer studying Modern Dance, Ballet, Katherine Dunham (West African), and Horton techniques at the Ailey School in NYC in 1997, while Judith Jamison was still the Artistic Director (she was Ailey’s original muse for renowned pieces like Revelations). I recall walking down the empty hallway at the Ailey School right after the placement audition, where I deliberately stood in the front row, to be sure I was seen and properly critiqued by all of the instructors. As I was walking, I looked up and saw Ms. Jamison walking towards me. She looked at me and said quietly, “Nice audition!” I was simultaneously both thrilled and humbled. It was a moment I’ll never forget, one that inspired even more drive to be an excellent dancer forever.
After graduating from OU in 1999 with my BFA in Dance Pedagogy, I moved directly to New York. I received a student scholarship at the Martha Graham School and began training under several generations of Graham dancers from 1936 to the present, which was an incredible daily experience. I listened to the intentional voices of the “pioneers” of modern dance instruct original dance phrases and sensed the emotion behind each step, while observing and mimicking every nuance, accent and dramatic pause of the younger generation, only 8-10 years older than myself. It was truly a life-changing six years. I continued to study classical ballet and periodically dropped into classes at the Merce Cunningham School and Steps on Broadway to keep my body and mind as ready and adaptable as possible. There was never a lack of passionate, expressive, seasoned dance instructors to learn from in New York!
Who was your most influential dance instructor? Describe the impact they had on your life.
I had two most influential dance instructors, due to my Classical and Modern training:
Camille Hess – my first classical Ballet teacher in Amarillo, TX: Mrs. Hess was probably in her early 60’s when I started dancing at age 5. She often used a cane to help her walk, but could still embody the grace and power of a prima ballerina through her movements. She spoke with clarity and determination. Her unapologetically strict method of teaching was apparent in every instruction she gave. There was a special sentiment behind every “Demi plie… and stretch….” that alluded to the precision and mindfulness with which she expected us to execute the movement. Her age and disability did not undermine her innate drive to impart the technique perfectly. She always had a sparkle in her eyes when she smiled at you for doing a good job. Under Mrs. Hess I learned discipline, the absolute and constant need for practice, the importance of precision, timing, quality of movement, and of being acutely aware of time and space. She taught me about the humility one must have to be excellent, the value of self-critique, preparation for the moment, to strive for perfection and not settle for mediocrity, and to always realize that I can grow through curiosity, hard work, and new challenges.
Denise Vale – my first Graham teacher at OU: Denise was a fairly intimidating Martha Graham teacher. She wore all black to class every day: a long, black flowing skirt and a black top that hugged her shoulders just enough to exaggerate the dramatic lines and sharp angles of the back and shoulders as she demonstrated the floor-work. Her movements were very engaging, intentional, and organic. She presented this serious and structured, yet playful and exuberant technique in such a marvelous way because she honestly believed in every movement with grace and conviction. I was acutely aware of everything I did in her classroom, from the tiniest, most subtle movement to the largest, most expressive phrase of choreography. I wanted so badly to break out of boundaries and bad habits, to grow into what I knew I was capable of through dance. Denise Vale taught me about the nuance of artistry, and the finite steps to becoming a professional dancer in one’s own rite. By giving me the responsibility of difficult choreography and principle roles that seemed “impossible”, she ultimately helped me to discover the meaning of Integrity for the work I do, when do one else was watching me. I learned to follow through with whatever I set my mind on, and that giving up was simply not an option. Denise gave me a greater sense of drive, grit and tenacity to figure out how to achieve what it was I desired.
Which dancers did you look up to as a student and who inspired you the most?
As a student, I really looked up to the more advanced dancers at my school, and my teacher’s three prima ballerina daughters who made guest appearances in our Nutcracker. Growing up in the 1970’s and 80’s, there was no internet and we didn’t have computers. I had no access to famous performances, unless they happened to tour through West Texas. Rudolf Nureyev was one of the only internationally renowned dancers I ever saw, in 1992. His movements and expression were absolutely breathtaking. The inspiration I got from watching him perform has lasted throughout my entire life.
How has dance education changed throughout your career? What differences do you notice between students of different generations?
Dance education has been an evolving source of growth for me throughout my life. In the late 70’s we had hardwood floors, scratchy record players, nothing but lamb’s wool and thin tights between our toes, and the wooden toe of a pointe shoe. Many of our teachers were strict, as they let us know in a direct and unapologetic manner if we were executing a step in the wrong way and “placed” our bodies in the necessary positions. My teachers also periodically alluded to historical references in dance, so that we’d be aware of who came before us and how we ought to respect the tireless, passionate work from pioneers of dance. Over the years, I’ve observed many changes in dance studios and the students who take classes. I mainly began noticing these changes when I returned from my professional dance career in NYC, back in 2005 in North Texas. Apart from it being a “culture shock” to go from NY to Texas in the arts, I also noticed a more relaxed and laissez-faire attitude from many students here. I didn’t recognize this demeanor as something I practiced, or saw in my own peers in college or the professional dance world. I suppose dancing seems like a side job or hobby to many people, rather than a serious occupation. It is treated as something they must try and fit into their already busy and full lives. I just didn’t approach it that way, whether it was the way my parents trained me to devote myself to a project, or how my dance teachers taught me to focus like my life depended on it. When I danced professionally, everything else I did revolved around my daily practice, even jobs to earn more income. I do feel that today it is rarer to find an entire studio full of young dancers who have that laser focus and desire to strive for excellence. But I still believe in the power of being present in mind, body and spirit. If there is knowledge, experience and excitement present in the classroom, there will be learning.
How did your dance life change after the birth of your child?
The birth of my beautiful daughter Camille in 2016 had a wonderful effect on my life, both personally and professionally. I was already 42 years old when I had her. My performance career was over and I was a fully-time teacher. I got to expose Camille to all the wonders of dance, music, creativity and performance from our home, the studio, and the stage. She’s been dancing since the age of two, performed in three years of The Nutcracker, and accompanied me to countless classes, watching me teach from a blanket in the corner of the studio. She comes with me to dress rehearsals and watches from the wings as my original choreography is performed by my talented students. I believe I’ve infused Camille’s life with the joy, discipline, beauty, and mystery of dance.
Describe your teaching style. What key points do you want your students to take away from each lesson?
My teaching style has evolved quite a bit over the years. I really began to teach in 2005, upon returning to Texas from my professional career in New York. I only saw myself as a student/performer for over 20 years, and never even considered that I would be a serious or long-term dance instructor. Though after I returned, I realized that I had a great need to share my knowledge and experience with younger dancers. I started out just teaching the most recent steps and phrases that I remembered. Not too much creativity or development was put into my early teaching. Over the past 17 years, I’ve been digging more deeply into my own training, from the earliest years I can recall, to impart every lesson I learned along the way. I have been much more creative, deriving new movements from the older, more “classic” or traditional techniques I know, in order to be more inspired and reach my young students as well. In many ways I never teach exactly the same class twice. I enjoy switching up the exercises, variations and timing of phrases, using new music that may unlock a feeling in myself or in the dancers to make a new discovery. As I become a “seasoned” dance teacher, I find that I’m always learning right alongside my students, teaching them from a more confident place, while recognizing the endless uses of movement and metaphor.
The key points I would like for my students to take away from my class are:
a) Dancing is an organic, beautiful, therapeutic, and raw expression…one that requires daily, mental and physical discipline to perfect.
b) In order to break outside of the box, one has to master all the tiny pieces contained inside that box.
c) No matter how difficult a movement seems, through curiosity, a positive attitude and dedication, you CAN find a solution and achieve your goals…NEVER give up.
Do you have any regrets?
I don’t really regret anything I have done in my dance career. I feel I’ve been exceedingly fortunate to have had wonderful, knowledgeable, passionate, and generous teachers. I have also had rare opportunities, like studying at Alvin Ailey and dancing “Steps in the Street” with the Graham Company at Lincoln Center. I have met my opportunities with high energy, confidence, a sense of preparedness, and the humility to learn. If anything, I just regret not making the time to attend more auditions, trying out for Broadway productions, or Saturday Night Live. I’ve always loved singing and using my body and voice for physical comedy. I believe that if I’d have lived in New York City longer, I would’ve been able to experience musical theatre or live comedy, as well as live concert dance.
What are your goals for the next few years?
My goals for the next few years are: to be the very best Mom I can be to my amazing daughter… to help her learn, grow, play, create, laugh and dream; and to continue teaching young (and old) dancers, sharing all of the wonder, magic, beautiful hard work and privilege that comes with the grace and power of honest movement. I will always be learning while I grow as a teacher, keeping that humble, student mentality alongside the years of devoted practice and achievement. I will never become complacent; curiosity and a sense of urgency will always accompany my teaching and performance style. I hope to be capable of adapting to the present, without losing imperative lessons of the past, as I reach younger generations the way my teachers reached me. They will carry on the discoveries made by the original artists, movers and thinkers who could not be contained and needed to uniquely express themselves.
What advice would you give to young and upcoming dancers interested in pursuing dance professionally?
To young and upcoming dancers who wish to pursue a career in the fine and performing arts, I say to seek out the very best teacher(s) you can and be open and adaptable to learning the “ancient ways” of technique so that you can eventually free yourself and find your own highest potential as a performer. Watch and mimic the more advanced dancers, not to compare yourself, but to learn and develop your practice, then move on. Have a keen eye for self-critique, change something small each day to continue growing. Challenge yourself so that the standards you set for yourself are ultimately higher than those others expect you to have. Learn the value of discipline and make it your best friend so that you can always rely on it to be there. Enjoy your dancing!!!
