How to Stay Sane When You're Both a Dancer and Choreographer
Many people see dance and choreography as separate pursuits, or view choreography as a dance career's second act. For some dancers, however, performing and choreographing inform one another. "That's just the kind of choreographer I am. I feel things so deeply in my physicality. I have to do it to know it," says Jodi Melnick, who is a prolific performer of her own work. She also maintains an active practice as a performer for other choreographers: Throughout her career, she's worked with Trisha Brown, Twyla Tharp, Tere O'Connor and Donna Uchizono, to name a few.
Though a dual career can be fulfilling, simultaneously inhabiting the roles of dancer and choreographer requires focus, organization and a great deal of energy.
You don't want to be in rehearsal for another choreographer but have your mind stuck on a project of your own, or vice versa. Practice turning your attention to the task before you and blocking out everything else. "I can think of times when I had something major happening in my own career and I was also touring with other choreographers," says Melnick. "It's actually one of the few times in my life where I can be very present. If I'm on tour with you, I'm for you, even if I'm going to come home and have a show of my own next week."
Creating some mental separation between projects will also help protect your intellectual property. When working as a dancemaker, your ideas are your business. Many choreographers ask their dancers to generate movement or create characters. There is no reason why you cannot participate in that kind of process, but be mindful of what concepts you might want to save for yourself.
Raja Feather Kelly, PC Epfalck | Effyography
"I have only worked with choreographers who I respect and haven't had any intellectual property issues," says Raja Feather Kelly, who creates and performs with his company, The Feath3r Theory, and performs in work by Reggie Wilson, Keely Garfield and Kota Yamazaki. "That said, I think about it. And I am careful. Sometimes my ideas should stay my ideas."
Take a Load Off
A dance career is always physically taxing, but the demands can be doubled when you are using your own body as a source of movement generation and communication. Kelly suggests giving yourself one day off per week. Even if you are working on a project where you are not dancing, try not to forget about your own body.
"You have to be disciplined not to lose the health factor that allows you to deliver as a performer," says Chloe Arnold, who choreographs and performs with her tap company, Syncopated Ladies, and choreographs for film and television. "Going to the gym, taking dance classes and eating well are important."
Know Your Rehearsal Style
Taking a step back is sometimes necessary not just to conserve your energy but to give other dancers what they need from you as a choreographer. "When I'm making work with other people I often take the focus off my own dancing," says Melnick. "I step out when needed, knowing that I already have my dancing covered or that I'll go back to it later." She makes sure to set aside time to rehearse alone.
Other dancer/choreographers bring in a trusted outside eye to make sure their dancing isn't overlooked. "Sometimes I have someone stand in for me," says Kelly, "but we're a wild dance-theater company. I like that my performers might not know what I am going to do." Keep your working style in mind when selecting dancers. The more adaptable they are, the easier it will be for you to jump in or out when necessary.
Choreographer Tero Saarinen has a proclivity for the peculiar—and for epic orchestral music. That he should be commissioned by the Los Angeles Philharmonic to create a new dance work to accompany the U.S. premiere of Bernd Alois Zimmermann's Cello Concerto en forme de pas de trois only makes sense. Zimmermann's eerie, difficult-to-classify composition falls squarely in Saarinen's wheelhouse. Walt Disney Concert Hall, Jan. 19–21. laphil.com.
Two competition routines are equal in technical proficiency, artistry and choreography. One consists of all girls, the other includes a boy. Guess which takes home first prize?
If you guessed the one with the boy, you may be privy to an unspoken and much-debated phenomenon in the competition dance world: The Boy Factor. According to The Boy Factor, a competitive piece is more likely to win if there's a boy in it.
"If it's all technically equal and one group is all girls and the other group has a boy, the one with the boy will win," says Rysa Childress, owner of All Star Studios in Forest Hills, New York. "Boy soloists are sometimes scored higher than more technically proficient girls because if a boy has good stage presence, we let him slide," says an anonymous competition judge. "And most of the feedback will be for the boy."
Growing up in inner city Rochester, NY, Aesha Ash was just one of the neighborhood kids. She'd imagine people driving by, judging her by her black skin.
"They'd never know that I was dreaming of becoming a professional ballet dancer. No one would think, Some day she's going to make it into New York City Ballet," says Ash.
After an inspiring career at NYCB, Béjart's Ballet Lausanne and LINES, the January 2006 Dance Magazine cover star—one of our 25 to Watch that year—is no longer performing. But she's determined to use her dance background to change the stereotypes and misconceptions that people—including black people—have about women of color. "I want to show it's okay to embrace our softer side, and let the world know we're multidimensional," says Ash.
Aesha Ash in Richmond, CA. PC Renee Scott via swandreamsproject.org
In 2011, she launched the Swan Dreams Project to inspire kids in the community she grew up in. The original idea was to post images of herself in a tutu all over Rochester. "I remember growing up and in the bodega you'd see images of girls in bikinis on motorbikes," says Ash. "I wanted to replace those with photos that show women of color in a different light."
She knew the power imagery can have: She still remembers what it felt like as a student at the School of American Ballet to see a photo of black ballet dancer Andrea Long. "That image was everything on days when I was feeling disenchanted. I'd see that picture of her, and know that the struggles I was going through, she went through them, too."
Ash soon realized she didn't have the budget to fund her original plan ("I never realized how expensive a bus stop advertisement is!"). But she's made the images available through an online store, and often simply gives away prints at her own expense to schools and students in need of some inspiration.
Any proceeds she makes from the sales go directly to other organizations that are working to expand ballet in diverse communities. One large donation even led to a pointe shoe fund at dancer Robyn Gardenhire's City Ballet of Los Angeles school—and it helped one dancer who had quit ballet because of the expense come back to class.
Now a mother of two in San Jose, CA, Ash will also start teaching a free after-school ballet class at her daughter's public school next month. "I recently taught at Girls Inc. in Oakland, and one of the little black girls said, 'Are you the ballet teacher?' She just stood there, staring at me with her mouth open, like a unicorn had just walked into the room," Ash says. "You never know the impact you can have just by being a presence."
Ever find yourself lusting after that six o'clock penché, or a développé that will reach your nose? You're not alone. The eye is naturally drawn to the end points of a movement, and, in dance, that often translates to the highest extension.
But what if you're born without extreme, Instagram-worthy lines? It's a matter of developing a laser focus on alignment as well as strengthening and stretching with better body mechanics in mind.
I'll never forget something Roberto Bolle once told me when I was interviewing him about his workout regimen: Talking about how much he loved to swim, he said, "I would love to go in the Italian sea, but I am too well-known there to show up in my suit."
It always amused and kinda shocked me that a ballet dancer could reach that level of fame. But it's true: In his native Italy, Bolle is a bonafide celerity.
Everyone knows that community college is an affordable option if a four-year school isn't in the cards. But it can also be a solid foundation for a career in the dance field. Whether students want an associate in arts degree as a precursor to obtaining a bachelor's, or to go straight into the performing world, the right two-year dance program can be a uniquely supportive place to train. Don't let negative stereotypes prevent you from attending a program that could be right for you:
Conscientious theatergoers may be familiar with The School for Scandal, The School for Wives and School of Rock. But how many are also aware of the school of Fosse?
The 1999 musical, a posthumous exploration of the choreographic career of Bob Fosse, ran for 1,093 performances, winning four Tonys and 10 nominations; employing 32 dancers; and, completely unintentionally, nurturing a generation of Broadway choreographers. You may have heard of them: Andy Blankenbuehler and Sergio Trujillo danced in the original cast, Josh Rhodes was a swing, and Christopher Gattelli replaced Trujillo when he landed choreography jobs in Massachusetts and Canada. Blankenbuehler remembers that when Trujillo left, "It was as if he was graduating."
January 16 might as well be a Broadway holiday. Three gigantic names were born on this day, in 1908, 1950 and 1980, and they represent three distinct eras of powerhouse musicals. Without them, there'd be no belting Reno Sweeney, no "Fame"-ous Lydia Grant and no rapping Alexander Hamilton. Happy birthday to these indelible superstars.
In the midst of its 20th-anniversary season, BodyVox is taking a moment to look back. The Portland, Oregon–based company presents Urban Meadow, an amalgamation of some of its most popular works, at Philadelphia's Prince Theater, Jan. 18–21. Expect whimsy, and the unexpected. bodyvox.com.
I never believe that I deserve to be happy. This reaction kicked in big time since I got a steady job. My emotions are a roller coaster: joy at the chance to perform, terror that the people in charge don't like me and resentment at not getting solo roles. I'm driving myself crazy.
—Terry, Philadelphia, PA