Clive Barnes Awards
Clive Barnes loved dance and theater. And Dance Magazine readers loved following him in our pages for 20 some years.
When he died in 2008, his widow, former Royal Ballet soloist Valerie Taylor-Barnes, decided to establish an annual award in his name. She stipulated that one award go to a young, emerging performing artist in dance and another in theater.
As my colleague Kristin Schwab observed last month, just being named a nominee is an honor.
This is an award with a difference. As former winners of this award attested yesterday at the fifth annual awards event, they felt cared for all year long by Taylor-Barnes, receiving encouraging emails at every notice of a new role or promotion. “Nurture your talent,” advised Taylor-Barnes when she took the mic. “You are a credit to your teachers. And remember that the Clive Barnes Foundation will always have your back.”
This year the dance award went to Russell Janzen, a soloist at New York City Ballet who was an “On the Rise” in October. (The other nominees were Harrison Ball of NYCB, Chris Bloom of Ballet Hispanico, and Devon Teuscher of ABT.) Alex Sharp, star of The Curious Incident of the Dog in the Night-Time, won the theater award.
It was a nice touch to have past awardees speak too. Lloyd Mayor, the Martha Graham dancer who received the award in dance last year, addressed this year’s bunch directly: “Cherish your weaknesses and imperfections…there’s a beauty in groundlessness and unsettledness.”
This was not only a time to celebrate today's young talent but also a time to remember Barnes’ contribution as a writer. He certainly had a memorable way with words. About the premiere of Antony Tudor’s 1964 Echoing of Trumpets, he wrote in The New York Times that it was “a profoundly anti-romantic ballet about war—a ballet that is real, terrible, and yet still beautiful in the scarlet way of tragedy.”
He could be deliciously wicked too. About the Bolshoi’s production of Massine’s Les Présages (1933) in 2005, he wrote in Dance Magazine, “Instead of restoring Andre Masson's striking expressionist scenery and costumes, the Bolshoi commissioned new designs from a young Russian couturier, Igor Chapurin, whose pretentiousness was outmatched only by his tastelessness."
Although he was highly revered in dance and theater circles, Barnes did not have an inflated view of the critic’s role. “Critics are taken far too seriously,” he said in this interview, later cited at dancemagazine.com. “Dancers and artists should pay little attention to critics.” It was announced that all his original reviews are now collected at the Library of Performing Arts at Lincoln Center.
Taylor-Barnes definitely has a bit of charm herself. While giving out the checks—$5,000 for each awardee and smaller checks for each nominee—she turned to the audience and quipped, “I do it for the hugs.”
I conclude with the inspiring words of ABT ballerina Julie Kent (a Dance Magazine Award recipient in 2012), who presented the award in dance. To the young artists gathered, she said, “We begin each day with the will to improve…the pursuit of what is not yet known. Make every moment an opportunity to grow and develop. Fill it with grace and integrity because that is the real reward.”
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."