Being in the presence of an instructor allows for immediate
feedback. Additionally, it is easier to watch and emulate in
person.
A tight-knit group, dancers form an immediate bond and look
out for each other. Friendships formed are
lasting. There is great respect in the field,
and if you do not know the dancer directly,
you know someone who knows them.
Students gravitate to instructors based on
the investment the teacher places in the in-
dividual student. “It’s the devotion to dance
that keeps you going.” Greene enjoys mak-
ing dance happen for others and watching
his students find their place. A mentor, he
carries the great tradition to pass on to the
next generation.
Instruction in dance has metamorphosed
over the past 60 years. Evolution in advising
methods has transformed to fit the times.
Current training and concepts have to move
with technology in a versatile world.
A revolutionary experiment in the
1950s changed the way dancers
practiced. The Merce Cunningham
Technique de-emotionalized dance,
allowing the audience to draw their
own conclusions. Known for collaboration
with visual artists, designers, and musi-
cians, he and John Cage examined dance
not coordinated to music. Dancers worked
with a rhythm and movement while musi-
cians practiced separately only to come
together at the event and create an experi-
ence for the audience.
More recent challenges for educators
entail navigating the world of social media. Viral
videos have prompted a larger interest in dance,
but their downside is the temptation to set a goal
for instant success determined by the number of hits
and likes. Greene cautions, “Don’t let yourself be set
on cruise control; don’t take the easy way; don’t skip
the steps that will make you learn and grow.”
10 ART CHOWDER MAGAZINE
“Don’t let
yourself be
set on cruise
control; don’t
take the easy way;
don’t skip the steps
that will make you
learn and grow.”