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Michael and me

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Dear Debbie,
Although I hope this is not our final goodbye, I wanted to tell you how much it has meant to me to have you as a teacher and a mentor. You've set such a good example for me as someone who takes what they truly love and passes it down to younger generations. I want to thank you for introducing me to the magic of dance, and for supporting me through every obstacle I've encountered on my journey as a dancer. I wanted to thank you for being and providing us with such good teachers, and for giving us so many opportunities to expand our horizons with performances. I am so blessed to have found Deborah Mason School of Dance. A school that believes so much in their students and tries to provide the best training with legat ballet, and so many other styles to help us grow as dancers. I will always hold onto my Legat training anywhere I go, and I hope to take many more classes at the studio in the future.
Love Always,
Lizzy Goldsmith

Deb, one of my better students at the Boston Conservatory this summer Haley Grove, was sharing along with the rest of the class, examples of her (most exceptional) tap
education. I had to interrupt her and ask, what school is this? I should have known the answer!!! You have established such a standard for us all. Keep it up, missy!
xoxo
Julia Boynton

Dear Debby and Staff,
I want to thank you for a great season of Dance. Emma had such a good time with Marina as her teacher and really loved her classes. She is looking forward to taking 2 classes in the fall.
It was wonderful treat to watch you perform the other night. As many of the audience members stated during the show "YOU STILL HAVE IT"
I hope you and your staff have a wonderful summer and we will see you in September.
Denise DeJesus

Hi Deb, thanks for a great show! David's mom came to see the show for the firs time, and she was completely blown away by the talent, the variety and the professionalism. You're amazing!
Thanks for everything,
Sue Hall

Deborah
I wanted to thank you for an excellent show and for doing all the great things you do with youth in and around Cambridge. We were amazed by some of the numbers we saw last Friday night. And I could tell Felix was truly inspired.
Best
Adeline Sire

Hi Deborah,
I just wanted to let you know how impressed I was by the show this past weekend. As you know, it's our first time participating and I was just blown away by the standard and scale of the show. Thanks for providing such a wonderful opportunity for my girls to perform as well as to see how incredible the other dancers were.
Congratulations on a great, great show,
Angela

WOW such a terrific show. We can't thank you and your team enough for all of the hard work and commitment that goes into the show! Grace of course was Thrilled to be recognized and recieve her award. She continued dancing the evening away at our family cookout afterwards. We are so lucky to be part of such a special community
Thank you Deborah!
Susan

The Ethics of Show Business Kids:
Paul Petersen's Crusade and the Betrayal of Dakota Fanning

September 17, 2006

There is a difficult ethical dilemma inherent in the use of juveniles in show business. Drama on stage, screen and television often involves children, but the physical, mental, social and emotional demands of professional performing are perilous to them. The fact that many come through the experience undamaged doesn't mitigate the tragedies of the many who don't. The abused, exploited or emotionally warped child star has become a cultural cliché, made vivid be an uninterrupted parade that stretches from Jackie Coogan and Judy Garland to Tatum O'Neal and Jay North to Michael Jackson and Gary Coleman.

One could argue persuasively that minors should be banned from professional performing for their own protection. But the roles are there, the parents are eager, and the public enjoys watching juvenile stars perform more than it worries about what happens to them after the applause stops. In ethical terms, the non-ethical considerations---money, fame, career, entertainment, tradition, art---are just too numerous and powerful for ethical considerations to triumph. Child performers are here to stay.

And they need protection. For decades, a dedicated and selfless man named Paul Petersen has served as friend, advocate, advisor, spokesman, role model and champion for both current and former juvenile stars. Together with his wife, Petersen runs a unique organization called A Minor Consideration.

"A Minor Consideration" is a non-profit, tax-deductible organization formed to give aid and support to young performers---past, present and future. Children in the entertainment industry are subjected to unique pressures, and many times the images they create outlast the money and the fame. There are consequences to early fame, and several generations of former child stars have joined together to reorganize the structure that surrounds the most visible children in our society. Solid parenting can overcome most of the difficulties faced by young performers, but a child star must pick their parents with care. family education is the key ingredient and the members of A Minor Consideration are always "on call" to assist parents and their professional children on a no cost basis. By providing a strong emphasis on education and helping to preserve the money these children generate the members of A Minor Consideration are always available to help in the tricky transition issues that for many kid stars prove to be so troubling…"

Paul Petersen knows his mission well, for he is a former child star himself, the actor who played "Jeff Stone" on TV's long-running "The Donna Reed Show" co-starring with the late Carl Betz, Shelley Fabares and Reed herself. His task is a daunting and often painful one, as the ranks of those needing his help keep expanding, and the deaths of former stars too often remind him of how much still needs to be accomplished before the job of professional actor can truly be said to be fit for children.

It certainly isn't now. A shocking article Petersen posted on his website alerted The Ethics Scoreboard to a recent horrendous incident involving talented young actress Dakota Fanning, who has rapidly progressed through the standard dog and horse movies and big-budget kid films like "The Cat in the Hat" to flashy dramatic roles in movies like "Hide and Seek" and "War of the Worlds." Such is her ability and screen presence that most critics expect Fanning to make a smooth transition from child star to adult superstar, in the tradition of Elizabeth Taylor, Natalie Wood, Diane Lane and Reese Witherspoon. Now 12, she is starring in an upcoming film called "Hounddog." The story involves the journey of a young girl who is violently raped as at the age of nine. The rape scene isn't merely implied, suggested or discussed; it is shown on screen. And twelve year-old Fanning was not replaced for the filming of the rape with an adult double, as William Friedkin replaced 13 year-old Linda Blair in "The Exorcist" for the infamous crucifix scene as well as others. No, the director of "Hounddog" had Fanning act the rape scene herself.

With her mother watching. And her agent.

For ethical analysis purposes, let's make the situation clear. Fanning, at 12, cannot decide whether doing such a scene is appropriate for her. It is not the first time she has portrayed the victim of sexual abuse; before her film career began, "CSI" cast Dakota as a seven year-old offspring of incest who was being abused by her father. She is a precocious film veteran, and probably has already absorbed the professional actor's ethic that it is her job to perform any role, no matter how strenuous or disagreeable. But she is a child first; her judgement is still the judgement of a child, and the adults around her owe her a duty of care. They are ethically obligated to consider her emotional health and mental development as higher priorities than artistic achievement, critical acclaim or career advancement.

The Scoreboard assumes that it does not have to make the argument that an adult asking, telling, ordering, paying, encouraging or allowing a twelve year-old girl to participate in the portrayal of a simulated rape is unethical and wrong. Or that doing so is infinitely more unethical when the adult is the girl's parent, a figure of trust.

Is it criminal as well? The artistic community has thoroughly cowed law enforcement officials when it comes to enforcing laws violated in the name of art, and non-ethical considerations come into play with steroids. Millions of dollars can swell a city's coffers if it becomes a popular venue. So far, although Wilmington, North Carolina officials are aware of the controversial child rape scene that was filmed in their back yard, there has been no complaint and no investigation.

Whether it is illegal or not, however, the likelihood of legal consequences should not have to enter into the decision-making process of any responsible adult in the position of Fanning's mother, agent or director. A local radio show called The Blue Line, hosted by Mark Benson, reported that the filming was so graphic and disturbing that the film crew walked off the set, unable to watch. Interestingly, Fanning's mother didn't have such qualms, and she has been quoted as saying that she is excited about the prospect of her daughter getting an Oscar for her work in "Hounddog".

Perhaps no statement better illustrates the reason why Paul Petersen's work is so important, and why child performers are in such peril. Their talents can hold the potential for so many rewards that even a parent may become obsessed with mining those treasures, ignoring the vulnerabilities and needs of their own developing child. The law has to be responsive, but if children have to rely on the law to persuade parents not to exchange their offspring's emotional health for the most attractive offer, their safety is an illusion. Our culture, the entertainment industry, the media and the public have to understand and believe that such treatment is wrong, and refuse to tolerate it…not in the name of art, not in the name of "personal freedom," not in the name of commerce, not for anything.

Charles River Fest
Dance Complex
Cambridge, MA
March 1-4th, 2007
Senior Tap – Woodpeckers/A’capella
Lonnie Bass, Marina Chiesa, Kayla Coleman, Ashleigh Davila, Melissa Dutra,
Jaye Giglio, Haley Grove, Cassie McIssac, Melissa Norgaisse

CYDP Auction
March 25th, 2007
11-2pm
Rialto
Harvard Square
Cambridge, MA

Vogue - Marina Chiesa, Michelle and Lauren Fleming, Deveney Williams,
Renata Kleiflen, Melissa Dutra, Brianna Frazier, Nina Krane, Alex Bonannno,
May Petrov, Katy Anderka. Michael Kim aka Onion, Jed Foreman aka Jedi,
Frandy aka Flow, Wipson aka Silent Soldier.

A Rose That Grew From Concrete - Cyrus Brooks, Frandy/Flow, Nina Krane, Jennifer.

Ballet Variation - Marina, Michelle, Jen Markham

Hot Chocolate - Brianna, Roxanne, Lizzie Goldsmith, Julia Leonardos, Micaela Woskie, Thandi Nyambose,
kaitlyn Noonan


Dance Festival 2007
Hosted by the Boston Ballet Center for Dance Education
Sunday, May 6 12-6 PM
Boston Ballet
19 Clarendon Street
Boston, MA
A Rose That Grew From Concrete
Cyrus Brooks, Flow, Nina Krane, Jennifer

Seeking Dancers for 2007 SEASON

Auditions now being held on a weekly basis for company openings. Seeking dancers, male/female ages 15-22 years for upcoming season.
Call studio 617-497-1448

PerformancesUnder the artistic direction of Deborah Mason, Cambridge Youth Dance is a fresh, innovative, performance-oriented, teen dance company. Featuring an eclectic repertoire of work the company's genre of dance incorporates ballet, jazz, tap, modern, funk, hiphop. CYDP has performed at a variety of functions in its short history. Venues have included major attractions in the Greater Boston area, fairs and festivals, corporate events and upcoming trade shows, conventions, regional malls, special events and charity galas. CYDP also donates performances several times a year for charitable institutions and community oriented programs.
CYDP continues to create new dance works each year, adding to the repertoire.
Audiences respond with enthusiasm, finding themselves caught up by this multi-talented group.


September 30th-Danehy Park Cambridge, MA
October 8th-Harvard Square Cambridge, MA
November 1st
Cambridge Arts Council Dedication

This was a very busy year, the accomplishments and the recognition were amazing.
We had our first auction which raised $10,000,
We gave $10,000 in scholarships and financial assistance to our dancers,
We are in this months Dance Magazine,
Voted 2006 Readers Choice for best studio,
Nominated for Coca Cola's Distinguished Teacher in the Arts Award,
What more can we ask for?
To have the Art Center that we really deserve.
See you there....

By Sarah Andrews/ Chronicle Staff Thursday, January 12, 2006 This Sunday, ballet lovers and Red Sox fans may find one event of mutual interest. Deborah Mason, who has run Cambridge’s Deborah Mason School of Dance for 30 years, will host her first-ever fund-raiser, a brunch and silent auction, for the recently launched nonprofit Cambridge Youth Dance Program. Founded last year, the program aims to provide scholarships to young people so they can attend Mason’s North Cambridge Dance School. On Sunday, Mason will team up with chef Jody Adams of Rialto to host the event, which she hopes will become a seasonal happening, at the Regattabar in Harvard Square. Among the food and art items up for auction, bidders can vie for a baseball autographed by Red Sox relief pitcher Mike Timlin and a grandfather clock. Over only six months, the program has shown tremendous growth. Last summer, Mason counted only eight students in the program. It now has 75. The program awards scholarships in amounts from $500 to $1,500, said Mason, and the grants cover part of a student’s costs for the program, which runs from September to June and teaches dance genres such as ballet, tap, modern and jazz. Mason said the studio could handle "many more" students. "My teachers are just phenomenal," she said. Mason hopes Sunday’s auction will net $10,000. Along with boosting the number of scholarships she gives, she also has a second fund-raising goal: to build her own arts center. Over the past three decades, Mason’s studio has had five different homes in Cambridge after being pushed out of leases by other businesses. The Cottage Park Avenue studio, she said, is in less-than-desirable condition. "I would love to have my own arts center," she said. "So I can leave something behind when I am gone." Tickets for Sunday’s brunch and silent auction are $40 per person or $75 per couple. The brunch will be held from 11 a.m. to 2 p.m. in the Regattabar of the Charles Hotel. For information and reservations, call the Deborah Mason School of Dance at 617-497-1448 or e-mail deborah@deborahmasonschoolofdance.com.