Artistry in Motion

When it comes to the dance world, expression is a full-body experience. But the precision, technique and discipline are just a part of this most emotive of artforms. We assembled some of Sioux Falls’ brightest talents for our Movement Issue to chat the state of dance and what brought them to this landscape that’s physically demanding and rewarding in equal measure.

Pictured: Emily Smith, grew up in Sioux Falls & proud mother of two, studied ballet, jazz, tap & pointe at BritZa Performing Arts Studio, where she’s now served as instructor in ballet, tap, musical theatre and early-childhood dance for past 12 years, SDSU graduate in music education, communication studies & theatre, choreographer for the Dakota Academy of Performing Arts, the Good Night Theatre Collective & Lincoln High School (Credit: Peter Chapman)

What have you found is the most important thing about dance as a form of expression?

Thomas Nguyen: Dance itself has transformed me. It’s helped me come from a little turtle in a shell, to a butterfly. I don’t know how that works, but yeah.

[Laughter]

TN: I was definitely more introverted. I didn’t really talk to a lot of people and kept to myself. I couldn’t wait to go home and play my video games. Dance has evolved that to the point where I love being around other people now. I love teaching children. I love the energy that it creates. I love that dance continues to evolve — you never really stay at one level… you always level up every year, every next step of your life.

Emily Smith: I think what I’ve found about dance is that it provides a safe place for so many people. We all have our own stories outside of the dance studio, but when we come to the studio we’re able to collaborate, work together, to be together and kind of leave behind whatever else is going on in your life. Just really focus on telling the story, creating the movements, finding that safety. Being in a place with others who have similar goals and who are working together to inspire. And it gives confidence to people — you start with something that might seem really hard at first, but the more you do it, you become confident, which also gives you confidence outside the studio to try new things, explore and express yourself.

Luke Anderson: I think for me, as a student of dance, the most inspiring teachers were the ones who took the structure, or the order, the technical aspect, and combined it with the artistic, the free-flowing, the spirited, the passionate aspect. In my experience I’ve had to ask myself how to reconcile those two things, because I think growing up a lot of it was very external. Looking in the mirror to see if you’re making that shape, making that line. And then when I went to college, and dance became much more internal, it almost connected the bridge between those two things for me. It’s that nature of breaking down to build up. We’ve all been there as dancers. When a teacher swoops in who can bring in the passion, that innateness of what dance is as the oldest artform, to incorporate that with the technique is important. When I was in middle school, I heard (Dance Gallery owner) Jackie Pederson-Kriens speak, and she said, “The dance world has a place for you, no matter what.” It’s really kind of cool to come full circle and work for her and be a part of that at her studio. That’s my goal as a teacher — to give that inspiration and hopefully bring those two aspects together.

Regan O’Connor: I think we’ve all been in a place with dance where we’re trying to figure out “who am I, and where do I belong?” Growing up, I remember being around dancers who had all this natural talent, natural flexibility, natural musicality, and it took me a while to figure out what made me special, besides my love for dance. Everybody can dance, and that’s what I love about it. It’s so open-ended. But the challenging part was finding out what it was that made me come back to the classroom — it was the passion, the performance. Going to college, it was really honing that skill and having almost a rebirth. The dancer that I thought I was all through my adolescent years, now I’m being told, “Strip it away, and start from scratch.” That was incredibly difficult, yet incredibly transformative. I became this new person, and I figured out that what I didn’t have naturally can work in my favor. I can work with what I do have, and that’s where I started to come into my own as a dancer. As a teacher, now, that’s what I’m trying to give to my students. Every single one of you has a place in this room, and we’re going to figure out what makes you light up. We’re going to find out what makes you feel safe, welcomed and warm, and we’re going to set it on fire and watch the whole room light up!

LA: You think, “I don’t have the perfect turnout. My hips are shaped in such a way that I can’t turn out in the ideal way.” But it’s so transformative to realize that these are your attributes, and you can work within them. It gives you so much confidence. Transformation — that’s what dance does, and that’s what life is.

Pictured: Thomas Nguyen, Sioux-Falls-based dancer, choreographer & coach, originally from Brandon, S.D., 2014 Dance Worlds title holder in hip-hop dance, dance minor & SDSU graduate, performer & instructor at Balleraena Dance Studio, original & longtime LiRa Dance Theatre Company member & performer, 2019-20 Sioux Falls Stage Award nominee for Best Performer in a Comedy, Variety or Dance Event or Series for LiRa’s Face Forward (Credit: Peter Chapman)

What do you find most valuable about dance education for young people?

RO: I think it’s the confidence to stand in a room, feel safe and know that you can be anything you want. Working hard and learning self-awareness and spatial awareness. My favorite part is seeing a girl who has been working and working, and it hasn’t clicked yet. When they finally figure it out, and they’re coming into their own and becoming this artist — to see them bloom, this metamorphosis, it’s radiant. The idea that you can rock whatever situation you go into and have the confidence to be there and be your true self. That’s the coolest part of helping our students – helping them figure out who they are and who they want to be, whether they continue on with dance or not.

TN: For me, the most important thing would have to be to remember that, no matter who or where you are, you will be seen in the room. I see each and every one of you. Sometimes they may not recognize that. I love when I get a chance to call someone out who normally wouldn’t get a callout — you see them do something amazing and shout them out — they look around and say, “Who me?” And I feel like the more we can create that for them, it helps build them up and evolve. A movement from here to there.

ES: I work with students of all ages, so I have the teeny-tiny ones and I also work with the high-schoolers. I have two- and three-year-olds who come into the studio who are so excited to dance, but as soon as they have to leave their grown-ups, they’re deer in headlights. There are tears sometimes, and it breaks my heart. So I just let them know that I’ll be there with them and will take it at their pace. Sometimes I’m holding kids during class — just giving them this safe place. And week by week, they slowly get more confidence. By the end of it, they’re singing at the top of their lungs, doing all the moves and spinning in circles. It’s just amazing to me that, even in such a short amount of time, they start to feel safe in the routine and are able to know they can do the hard things and find joy in it. They start looking forward to it.

LA: It’s the student walking into the room and feeling accepted and seen. And then where the rubber meets the road — the hard work. Working toward something together. It’s so valuable for life, the whole idea of working toward a common goal. I also love to take videos and show them back to the students over time to show them their progress — I think sometimes for them it’s hard to recall or keep it in mind. They can be really hard on themselves. It’s about the progress. Along with several of the other life skills you get from dance — it’s so multi-faceted — at the end of the day It’s the growth journey. Having the tenacity to apply that everywhere.

Pictured: Regan O’Connor, originally from Sioux Falls, dance major at Minnesota State University, Mankato, original & longtime LiRa Dance Theatre Company member & performer, instructor & coach in contemporary, modern & ballet at Balleraena Dance Studio, 2021-22 Sioux Falls Stage Award nominee for Best Performer in a Comedy, Variety or Dance Event or Series for Conlin Choreography’s Blue Heaven (Credit: Peter Chapman)

What makes the Sioux Falls dance scene special?

ES: Comparing it to when I was growing up, the only dance performance opportunities I really had were our (BritZa) recitals. That was it. So now that there are so many more options — musical theatre programs with DAPA, school musicals, opportunities to take teams to Skyforce games. It’s not just competitions that we have to travel to — there are so many opportunities in Sioux Falls now. So many chances to collaborate with other teachers and students within the community, even if we’re not dancing at the same studios, like LiRa and Rise Up. It’s a really cool time to come together as performers and artists and recognize everything that’s happening in Sioux Falls. I love what’s happening now, and what’s coming next.

RO: Performance gigs were very rare and hard to come by, and when I left for school and came back there were all these programs happening — DAPA, LiRa… it is so cool that Sioux Falls is booming with the arts. Because it wasn’t around when I was growing up. I think our community needed people to jumpstart it and spearhead it to really start programs like that. And now that we have immersed Sioux Falls with performing arts, the community is so supportive of it. I love that they want to see our craft and support it. And to see Rise Up, getting artists with younger artists and really fostering that growth, it’s something I wish would’ve been around when we were growing up. That gentle guide of what to expect and what not to expect. That collaboration is great, and now we have it.

LA: Growing up on the west side of the state, there was this (probably not super accurate) idea that the east side — Sioux Falls in particular — was way more artsy than we were. Growing up in Custer, it felt very isolating to be in the arts. That was part of my initial draw to come to a Dance Gallery camp when I was younger. Being here now, I see my own students involved in so many different things beyond their studio. I’ve been a part of plenty of dance communities where there’s bitterness — a bad, toxic kind of rivalry — whereas here, among studios, there’s a mutual respect for one another. It’s truly something special and valuable about the dance community here.

Pictured: Luke Anderson, originally from Custer, S.D., trained in ballet, musical theatre & competitive dance in Rapid City, dance pedagogy major from Oklahoma City University, performed with Texas Outdoor Musical in Canyon, Texas, instructor at Dance Gallery in ballet, tap, jazz, musical theatre & mens classes, choreographed for Oklahoma City University campus productions, Dance Gallery’s competition team & in the Sioux Falls School District (Credit: Peter Chapman)

How can dancers combat the narrative of negative self-image toward the body?

RO: I’ll be honest — it’s not a set formula. Every dancer is different. I think social media plays a big hand in that. Dancers on social media can all look like carbon copies of each other — Worlds of Dance, So You Think You Can Dance, TikTok, Instagram… I try to be real with my dancers about not seeing the other side of that. You might see this tall, leggy dancer with 18 billion pirouettes, but there’s another side. Looking at my girls, you can see, we’re all different — but that’s what makes us unique and beautiful. It’s constantly reassuring them that you don’t have to look like the person next to you and have the same abilities as her either. You matter just as much. There’s no class system in the studio. There’s no scale system here. You have a place. What you bring to the table can inspire another dancer — it’s a chain. I coach “tweenagers” in that 10-13 range, and it’s really hard. They’re trying to figure out who they are. We have to hype each other up — to say, “You are beautiful. You are talented in so many ways that have nothing to do with your body. You’re walking stardust.”

LA: In the dance world, I think we’re kind of shifting eras. That forceful, “you must fit this mold” mentality is going away. It starts out when they’re young, and it’s so important to make sure they feel accepted. That they can do this. It’s not a one-size-fits-all — it’s a lot of getting to know a particular student and what they need and what lifts them up. If I know a student who’s particularly hard on themselves, if I can notice even one tiny thing and call it out in class, that can sometimes make a lot of difference. Finding opportunities to showcase them positively is important. It’s very individual, and it takes time, but that’s the beautiful thing we get to do as teachers.

TN: It’s also lifestyles, too — everybody has their own. But I think it’s a good reminder to let them know that there is a nutritional part to dance. You need your energy, so you have to make sure you’re getting it the right way, consuming the rights amounts of water. It’s something we don’t really talk about — it’s almost assumed — but I think we need to remind them. They’re kids. They forget. Not one size fits all — we all have our own needs. So however that works for you, just reminding them that eating and drinking is important to dancing in a healthy way.

ES: I’ve noticed with my older dancers especially we’re starting to have more of those conversations. I like to start my classes with a question of the day, and that’ll sometimes lead into conversations about feeling tired or down or maybe having a headache. It’s an opportunity to talk about sleep habits and hydration and leading by example. Making sure I’m making healthy choices during class and modeling that.

RO: I remember having instructors that would say things like, “Ugh, I just need to lose 10 pounds. Look how I look in this leotard!” And that sticks with you. You don’t realize the impact that can have on a student in your class that has been scrutinizing themselves in the mirror. I’ll be honest — in college, I had a tough time looking in the mirror at one point. An instructor told me, “It’s a tool in your toolbox. It’s not supposed to torture you.” It took a long time to flip that script. Around my students, if I’m feeling an off day, I don’t let them see me talking negative about myself. Because that has an impact. I want them to start processing positive affirmations about themselves, instead of the negative.

LA: We’re in a sense starting to break a generational trauma in the dance world, so to speak. There’s been a lot of forceful, unhealthy things happening, and leading by example is the best way to do it.

What do you hope for the future of dance here?

TN: Let’s get a performing arts school. Let’s go! You guys want to start it?

[Laughter]

TN: But that would be so cool — to have a school dedicated to performing arts. I feel like we kind of need that.

RO: I 1,000 percent agree. One of my goals is to maybe go back to school for academia, get my master’s in dance. Thomas, maybe we can make that dream a reality, babe!

[Laughter]

LA: I think more opportunities, more growth, more networking of what’s already happening right now between the studios and also to the dance world as a whole. As an outside spectator from the other side of the state, I definitely saw that growing up. At Dance Gallery, we have a growing adult program, and I think that’s something very valuable too. The idea of dancing until you’re 18 and then graduating into a job doesn’t need to be the case. Movement is for everybody. Dance is for everybody. I think that’s another area I hope to see a lot of growth in.

ES: I love all of the collaborations that have begun, and I want to see more of that. I know we’re all so busy within our own studios, but it would be really great to find more ways to support and collaborate and get to know each other more as creators and developers. I know I learn so much when I take a class from another teacher. I’m able to put things into perspective in a different way. So finding little ways to do that would be great, because sometimes you get stuck in your little box. You just need somebody else to light a spark.