A Look Back: Gus Solomons jr
Today, we know Gus Solomons jr as a legendary dancer, distinguished professor, trusted dance critic, compelling choreographer, pioneering company director—the list could go on. But in June 1964, his story was just beginning.
That month, Solomons was highlighted in Dance Magazine's "Brief Biographies," which, in the 50s, 60s and 70s, was "a monthly series about the dancers you should know." (Other figures in the early years included icons such as Edward Villella, Bonnie Mathis, Yuriko, and Patricia Wilde, among many others.) Solomons had recently moved to New York from Boston, where he grew up. I love how biographer Saul Goodman opens the piece:
"Gus Solomons, Jr.'s instinct for performing first asserted itself during a Sunday school class in Boston when he was four. Responding to a hymn, he stepped into the aisle and did a jig. The impromptu debut earned him a spanking. Today, some twenty years later, the same individual, grown to six feet, four inches, is praised for his performing."
Solomons in Dance Magazine, June 1964
Photo by Zachary Freyman, DM Archives
At the time, the M.I.T. alum—he was an architecture major—was garnering critical acclaim for his performances with Donald McKayle, Pearl Lang, Joyce Trisler and Martha Graham. He was studying dance at the Graham School, and as Goodman writes, had just began taking classes with Merce Cunningham, "whose pure movement creations fascinate him and whose company he would like to appear with." Of course, we know that dream was realized—he performed with Cunningham from 1965–1968. Take a look at this video from the Mondays with Merce series, in which Solomons talks about joining Cunningham's company. You'll also see some amazing and rare archival footage of the two of them in rehearsal and performance.
Goodman also records Solomons' early interest in dance education: "Teaching is particularly valuable, Gus believes. He learns from it and at the same time it provides him with opportunities to experiment with choreographic ideas. So much the better that next month he will be teaching at the University of Colorado; in July at the University of California." Fast-forward forty years: Solomons received the prestigious American Dance Festival’s Balasaraswati/Joy Ann Dewey Beinecke Endowed Chair for Distinguished Teaching in 2004.
PARADIGM's Gus Solomons jr, Dudley Williams and Carmen deLavallade in A Thin Frost
Photo by TomCaravaglia in 1999, DM Archives
Close to fifty years later, Solomons continues to be a force in the field, choreographing and performing with PARADIGM, the company he founded in 1996 with Dudley Williams and Carmen deLavallade. (In fact, deLavallade was mentioned in Solomons' bio as a partner in McKayle's Reflections in the Park—it's been quite the professional partnership.) Earlier this month, Solomons co-hosted the 2013 Bessie Awards, also performing Paul Taylor's tableau Duet alongside Martine Van Hamel. And just this week, it was announced that Solomons is the latest dancer to take part in Keigwin + Company's #ShareTheMattress video campaign. It's quite the witty composition, check it out below:
It took two years of intense nutrition counseling and psychotherapy to pull me out of being anorexic. My problem now is that I've gained too much weight from eating normally. Is there no middle ground? I can't fit into my clothes, but I don't want to go back to being sick.
—Former Anorexic, Weston, CT
Whatever your feelings about Wayne McGregor's heady, hyper-physical choreography, we can all probably agree on one thing: We'd really, really love to pick his brain. And tomorrow, Dance Umbrella, a UK-based dance festival, is giving everyone the chance to do exactly that.
"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"
Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.
Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.
You know Les Ballets Trockadero de Monte Carlo as the men who parody your favorite ballet variations—and make it look good. But there's more to the iconic troupe than meets the eye.
A new documentary, Rebels on Pointe, goes behind the scenes of the company, and it's full of juicy tidbits about what it's like to be a Trock. These were some of our favorite moments:
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
Efficient movement is easy to recognize—we all know when we see a dancer whose every action seems essential and unmannered. Understanding how to create this effect, however, is far more elusive. From a practical perspective, dancing with efficiency helps you to conserve your energy and minimize wear and tear on the body; from an artistic point of view, it allows you to make big impressions out of little moments, and lasting memories for those watching.
So much struggle and determination goes into your training that it can be difficult for early-career dancers to recalibrate their priorities toward simplicity and ease, says Laurel Jenkins, freelance performer and Trisha Brown Dance Company staging artist. "Your aesthetic might shift, and you might have to find new things beautiful." Mastering the art of effortless movement requires a new perspective and a smart strategy—on- and offstage.
After 30 years of pioneering work in physically integrated dance, AXIS Dance Company co-founder Judith Smith has announced plans to retire from the Oakland, California, company. Throughout her tenure, she strived to get equal recognition for integrated dance and disabled dancers, commissioning work from high-profile choreographers like Bill T. Jones. Her efforts generated huge momentum for expanded training, choreography, education and advocacy for dancers with disabilities.
By phone from her home in Oakland, Smith reflected on how far the field has evolved since the early days of AXIS, and what's yet to be done.
You know that how you care for your body before curtain can impact your performance. But with so many factors to consider, it can be difficult to nail down an exact routine. How much rest is enough? How close to showtime should you eat? We asked the experts.
How do you make your athleisure collection stand out from the pack? Get the ultimate studio-to-street seal of approval by having dancers star in your campaign, of course.
For his second collaboration with activewear brand Carbon38, ready-to-wear designer Jonathan Simkhai traded in his usual top models like Gigi Hadid and Karlie Kloss for the original Hiplet dancers—and the resulting video is as cool as we'd expect from such a fierce collaboration.
Again and again, dance teaches me that when the filters fall away between people—when the boundaries of geography, religion and politics soften—the beginning and end of our relationships is always human.
In March, I traveled with Keigwin + Company to Cote D'Ivoire, Ethiopia and Tunisia, on a tour sponsored by the US State Department and facilitated by DanceMotion USA/Brooklyn Academy of Music. Our mission was cultural diplomacy: Simply, to share ourselves with diverse communities, to promote common understanding and friendships.
Our last stop was Tunisia. Until that point, we had mostly been learning varieties of traditional African dance, and sharing American modern dance. But Tunisia was different. The dancers already had a solid grasp of contemporary movement invention. Though we didn't speak the same language, we could make movement vocabulary with surprising ease. Everything about our backgrounds was different, but there was this special intersection through dance that seemed to present an open door to collaboration.