Delivering diversity.

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How can an outdoor patio, a library, a gym, and two dormitory common rooms become a dance center for 120 students? Ask Fredrick Earl Mosley and the faculty at the Earl Mosley's Institute of the Arts. Located at the Marvelwood School in the hills of Kent, Connecticut, the monthlong summer program exposes kids to high caliber dance training in a no frills, rural setting. Even without a big city or prestigious school attached, the program has nearly doubled in size since 2006.

As a New York--based artist, Mosley choreographs for his own 10-year-old company, Diversity of Dance, and for Alvin Alley American Dance Theater, ABT II, and Dallas Black Dance Theatre. Named Teacher of the Year in 2005 by Dance Teacher Magazine, Mosley has taught throughout the world and is currently a Horton teacher at The Alley School and a guest teacher at Dance New Amsterdam.

Begun in 2003 under a different name, the institute has attracted dancers ages 13 and up from many countries as well as the U.S. However the majority of students come from urban Connecticut areas such as Waterbury, New Haven, and Bridgeport. "The enemy for these kids is a lack of opportunity and exposure, especially with kids of color," says Mosley. Thanks to the National Endowment for the Arts and the Connecticut State Department of Education grants, about 90 percent of students are on partial to full scholarships. The resulting student population is widely diverse in race, body type, age, and technical ability. "What I'm really good at is the people--that's what I consider to be the teaching, not the dancing. All the teachers here engage the class so everyone feels just as important, no matter what their talent or age."

Diversity is also visible within EMIA's dance aesthetic. Technique classes include modern, ballet, tap, hip hop, jazz, yoga, and African, along with percussion, composition, and repertory. Although the repertory the students learn for performances is primarily modern-based, Mosley says he wants dancers to "erase those labels--'I'm a ballet dancer' or 'I'm a Graham dancer.' I say, 'Can you dance?'" For many students used to taking one style or only two classes a week (and especially for the beginners), the EMIA schedule delivers a shocking jolt because they take several classes a day plus one or more rehearsals. Mosley challenges even the most advanced dancers, asking: "After you have the training, how do you become a person again?" To him, onstage personality and quality make a dancer unique, not technical proficiency.

In addition to the wide array of classes, Mosley created the Masters of Dance Series/Performances, which brings guest artists to set work on students. The 2007 roster included Christopher Huggins, Theresa Howard, Camille A. Brown, Alexandra Beller, Roger Jeffrey, with a performance by Alley dancer Clifton Brown and a master class with Ronald K. Brown. The dancers audition for each choreographer, and every student--beginner to advanced--is cast in at least one piece during the intensive. This series is a unique opportunity for both students and teachers to prepare a piece for performance in one week. Mosley says that by learning each style during a time constraint, the students "heighten their sensitivity to what they can achieve and are forced to come out of their comfort zone."

Unlike many other preprofessional summer programs, EMIA presents two student choreography shows in addition to the four end-of-week performances. Unscheduled studios are always open for students to experiment and work together to create what is, for many, their first piece. Michael McBride, a sophomore in the Fordham University/Ailey School BFA program, says, "I've done a lot of dancing here, had great networking opportunities, and an amazing chance to choreograph." After performing his own duet during the first two weeks, EMIA faculty member and artistic director of Florida Dance Theatre Carol Krajacic Erkes invited him to set his piece on her company. Mosley also chose McBride's duet to be performed when the students traveled to Jacob's Pillow for Community Day.

Outings to Middletown, CT, and New York City offer many students their first modern dance performance by companies such as Philadanco and Alvin Ailey American Dance Theater. Creative spirits run high during student-run competitions--EMIA's own So You Think You Can Dance and a runway fashion show--which have become annual events.

Within EMIA's hilly haven, students learn as much about life techniques as they do about dance techniques. Throughout the month a strong emphasis is placed on responsibilities, respect, dedication, and determination. Teachers enforce a strict attendance and tardiness policy. All 120 students work as a team, completing daily tasks like filling ice and water coolers, organizing ballet barres, and cleaning the studios and common areas. They also give two free performances in downtown Kent and teach free children's workshops, which encourage community members to get involved with the institute. Last year, over 150 local Kent residents came each week to enjoy the performances, and Mosley hopes the program will continue to grow within the community.

But perhaps the most outstanding area of growth is in a group of dancers that many programs struggle to attract: 35 young men, the majority African American, make up nearly a third of the student population. Mosley says one of his major goals is to be a positive role model and inspiration for these boys. "I looked around and asked, 'How many African American men are running dance programs?' I really felt this was something I needed to do." During rehearsal for his men's piece Running Spirits (choreographed on all 35 boys) each dancer in the room hung on his every word and movement. They clearly look up to him and rise to meet his challenges. Mosley hopes to pique young men's interest and give them an active outlet outside of sports.

Steffen Coleman, EMIA's program director, believes the root of the program's speedy success is Earl Mosley himself. "He's magic--very centered and strong in his demands for students. He builds a safe environment so they can reach their potential. He has an amazing generosity of spirit."