How Dutch National Ballet is Cultivating the Next Generation of Choreographers
"Choreographers don't just pop up fully formed," says Ted Brandsen, artistic director of Dutch National Ballet. "It's a responsibility for us, as company directors, to create room for the new generations of dancemakers."
Knowing the challenges, both artistic and practical, of setting out on a choreographic career, Brandsen has announced a four-pronged strategy for nurturing new talent at DNB. Alongside the long-running choreographic workshop for company dancers, which Brandsen helped launch back in 1985, there is now a choreographer and composer exchange with the British contemporary company Rambert. Brandsen is also mentoring DNB's recently appointed Young Creative Associates, Juanjo Arques and Peter Leung. And there will be a new annual Choreographic Academy, beginning in May, inviting young dancemakers to spend three weeks in research and creation with Dutch National's junior arm, focusing on process rather than product. One of the first four choreographers to take part is San Francisco Ballet's Myles Thatcher.
While there are other companies worldwide taking a proactive approach in this area—New York City Ballet, The Royal Ballet and Stuttgart Ballet all have initiatives Brandsen admires—it is not a universal practice.
Brandsen's eyes are on the bigger picture. The Rambert collaboration was originally envisaged as a Europe-wide project, but to begin, the two companies are experimenting with a pilot. "Very often there is only one major ballet company per country, so the danger of navel gazing is always there," says Brandsen. "It's important for developing talent to be able to cross borders and see how other choreographers and companies work."
To actively open up a broader international exchange, DNB hosted the Positioning Ballet conference in February, looking at key issues facing ballet in the 21st century. "We need to be reflective of our times. We need to be part of the present generation," says Brandsen, otherwise you risk "becoming a museum." So are companies losing out on talent because there isn't support for young artists? "I think so," he says. "Choreographic talent is rare. Making choreography is a difficult thing. Talent needs to be nurtured."
Have you ever seen a performance and thought, "Wow, this was so good. Dance Magazine should really be writing about this!"? You're in luck.
We're collecting nominations for our annual Readers' Choice feature, and we need your help! We'll compile our favorite nominations, and then you'll vote on what should make it into our December issue. But for now, we want to hear about the most memorable dance you've seen so far in 2017.
Hubbard Street Dance Chicago enters its fifth decade with a new training program designed to propel young professionals toward careers in dance. The Hubbard Street Professional Program (nicknamed "HS Pro") provides a two-year postsecondary alternative to university dance programs.
We've known for a while now that New York City Ballet principal Tiler Peck can do anything. She tackles everything in the NYCB rep—from "Emeralds" to Aurora to Justin Peck—with precision and pizzazz. And, we recently found out that she's kinda an amazing tap dancer:
In the '90s, low-fat diets were as popular as boy bands. But by the early 2000s, the high-fat, high-protein Atkins and South Beach diets had people stocking up on steak and eggs. Now, avocado toast is arguably trendier than *NSYNC ever was, and fat is no longer thought of as a naughty f-word.
But there's still some skepticism around how necessary fats are in a well-rounded diet, particularly among dancers. Before you reach for that grass-fed double bacon cheeseburger, make sure you know the difference between rumors and reality.
Throughout the summer, we've been noticing beachside views and scenic waterfalls sprinkled in with all of the usual rehearsal and performance posts we see from ballet's biggest stars. But even while enjoying some sun and relaxation, dancers like Sara Mearns and Michaela DePrince prove that they never really take a break from ballet. Ahead, check out some of the cutest vacay pictures and videos our favorite dancers have been sharing this summer. Not only will they give you some future vacation inspo, they'll also have you itching to get back in the studio.
This fall, the University of Utah's School of Dance welcomes the first class of candidates to its newly reinstated Master of Fine Arts in Ballet program, currently the only ballet-specific MFA in the country. Geared toward those with professional ballet experience, it requires courses in pedagogy, choreography and scholarly inquiry. Melonie Murray, the director of graduate studies, says, "We want to support students in understanding ballet in a deeper way."
The 2017–18 Broadway season is just getting underway! But before we look ahead to new productions, let's recall what came before. Here are a few of the sparkliest shows that opened on the Great White Way in previous Augusts.
42nd Street (1980)
The cast of the 2001 revival of 42nd Street performing at the Tony Awards
If you need an example of traditional Broadway-style tap, this couldn't be any closer. The original production of 42nd Street ran for over eight years. That's a lot of time steps.
When I saw Kele Roberson dancing at New York City Dance Alliance Foundation's college scholarship audition, I only had to watch a deep plié before writing down a 10 out of 10 on his score sheet and scribbling a giant star next to his name. Before he even had a chance to show off his incredible lines, I was mesmerized by his nuanced grace in even the simplest of movements.
He walked away from that audition with NYCDA Foundation's Dance Magazine College Scholarship worth $25,000 to the college of his choice, which happened to be Juilliard, where he was planning to attend this fall.
But shortly after winning, it turns out, his plans changed. I caught up with him earlier today to find out what happened.