Sara Mearns & Jodi Melnick: Ballet Glamour Meets PostModern Glamour
When New York City Ballet principal Sara Mearns got a hankering to work with a woman choreographer, she was tapping into a something that has become a big issue in the dance world. (Hey, if a woman can run for President, why can’t more female choreographers be hired by NYCB?) She didn’t want just any woman choreographer, but someone who could challenge her. That’s a tall order for a ballet superstar who has danced lead roles in more than 30 Balanchine ballets and 10 Robbins ballets.
But Melnick comes from another side of town. In our Feb. 2013 cover story, “Downtown Diva,” she said that, for her, ballet “was physically unenjoyable.” She’s danced with some of the most interesting, (post)modern dancemakers, including Twyla Tharp, Sara Rudner, Trisha Brown, Vicky Shick and Susan Rethorst. She has an uncanny ability to imbue movement with high style yet allow it to read in a plurality of ways. In her choreography, the impetus for movement starts from deep within; she can turn the subtlest kind of gesture into something fascinating. Her brand of charisma is inimitable. But then, so is Mearns’. In our cover story on Mearns, “No Holds Barred,” writer Astrida Woods called her dancing “explosive and passionate.” She is no ordinary ballet dancer.
The two worked together for Danspace’s “Platform 2015: Dancers, Buildings and People in the Streets.” I remember Mearns was strewn on the floor in a decidedly unballetic pose as the audience filed in. She was wearing sneakers; I’d never seen her looking so….athletic. What Melnick and Mearns have in common is that, no matter how hard they try to shed their virtuosity, they both have a rock bottom kind of glamour.
When Mearns approached Melnick for this project, she was willing to explore but did not promise to make a ballet. But one thing leads to another, and she has made a ballet—for Mearns and NYCB dancers Jared Angle and Gretchen Smith. The working title is Working in Process/ New Bodies.
Melnick’s residency at the Guggenheim Museum’s Works and Process series culminates in performances Nov. 13 and 14. Claudia La Rocco, the dance critic who conceived last year’s Platform, will moderate. Original music is by Robert Boston, with additional live music for harpsichord and violin by György Ligeti and Heinrich Biber.
Booking a gig on a cruise ship can feel like you're diving into the unknown—dropping everything to live in the middle of the ocean without family, friends or cell service. But cruise jobs can also offer incredible rewards, like traveling the world for free and delving into a new style.
Is ship life the right fit for you? Here are some elements to consider.
We knew that New York downtown dance darling Okwui Okpokwasili was a big deal. Critics and audiences have been raving about her dance-theater works for years, and the new documentary about her, Bronx Gothic, has attracted the attention of the larger arts community.
But never in our wildest dreams did we imagine she'd show up in a Jay Z video, along with flex dancer Storyboard P. Though we're slightly less surprised to see Storyboard in Jay Z's "4:44" video than we were to see Okpokwasili, we're jazzed that two of our favorites are featured on such a huge platform. (We're also feeling #blessed that we didn't have to subscribe to Tidal to watch this.)
Throughout the years, choreographer Seán Curran has worked with a diverse array of talented collaborators—from Kyrgyz music ensemble Ustatshakirt Plus to the the Grammy Award–winning King's Singers. But perhaps none are as meaningful as his most recent group of co-choreographers: At-risk teens from the after school program and nonprofit The Wooden Floor.
Curran has been in residence with The Wooden Floor since June, where he's worked with students to build choreography based on their lives and communities:
Their creation will be shown July 20-22 at The Wooden Floor Studio Theatre in Santa Ana, California.
"Besides the stage, baking is my other happy place," says New York City Ballet corps member Jenelle Manzi.
Four years ago, she thought her baking days were over when she was diagnosed with gluten intolerance. Manzi had been dealing with pain, frequent illness and joint inflammation for nearly 10 years. Once she cut out gluten, Manzi gradually started to feel better, noticing a transformation in how her body felt and functioned. She found her joints were less inflamed, and she got sick less often.
New York City Ballet soloist Unity Phelan and American Ballet Theatre soloist Cassandra Trenary spend every day making their hard work look effortless and graceful both in the studio and onstage. That's exactly what makes them the perfect spokesmodels for the dance-inspired activewear line, Belle Force.
To celebrate our 90th anniversary, we excavated some of our favorite hidden gems from the DM Archives—images that capture a few of the moments in time we've documented over the decades.
This image was captured during a 1978 New York City Ballet tour that took the company to Copenhagen—home turf for Adam Luders (right), who trained at the Royal Danish Ballet School and briefly danced with the company before joining NYCB as a principal dancer in 1975. Next to Luders is (of course) George Balanchine, in conversation with ballerina Suzanne Farrell. And looking on with a smile? NYCB's current ballet master in chief Peter Martins.
On March 8, 2016, Rami Shafi found himself inspired to film an impromptu dance video of his best friend, Aaron Moses Robin, improvising on Gay St. in New York City's Greenwich Village. Thus was born Pedestrian Wanderlust, a collection of dance videos that has grown to include a monthly improv jam.
Shafi works with anyone who wants to take part in the project, filming videos in locations chosen by the dancers and later adding music. The videos are shot on Shafi's iPhone in one take and, other than the starting and ending points, are entirely improvised. The editing afterwards—including the music choice—is minimal. "I don't like to edit too much. It's just what it is," says Shafi. "I usually can do the editing on the train ride home."