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Jackson Pollock, Meet Trisha Brown
"Musée de la danse" at New York's Museum of Modern Art. Photo by Julieta Cervantes, Courtesy MoMA
They were part of an exhibit titled “Musée de la danse: Three Collective Gestures," a collaboration with the French choreographer Boris Charmatz presented by MoMA's Department of Media and Performance Art. The program, which was promoted as “re-imagining the function of dance and its relationship with the body, society and the institution," is an example of a growing trend of postmodern dancers and dance companies performing site-specific works in museums. In recent years, MoMA has also showcased the work of Yvonne Rainer, Ralph Lemon and Anne Teresa De Keersmaeker, positioning these “outsider" artists firmly within the establishment. It's a move that's given a sense of weight and permanence to a traditionally ephemeral art form.
Of course, the idea of live dancing in museums isn't entirely new. Steve Paxton's 1972 performance series at New York City's John Weber Gallery, Trisha Brown's 1974 residency at the Walker Art Center in Minneapolis and other “happenings" at that time explored the relationship between movement and public spaces for art.
But over the past several years, these presentations have moved from the margins of the art world to inside leading cultural institutions such as the Metropolitan Museum of Art in New York and the Tate Modern in London. The choreographer Liz Santoro even won a 2013 Bessie Award for her site-specific work Watch It at New York City's Museum of Arts and Design. The facts that MoMA created a department for producing performances in 2008 and the Whitney Museum of American Art hired a full-time performance curator in 2012 suggest that dance today is seen as a core component of programming, not an occasional novelty. These museums are aware of the current popularity of performance art, and have invested in helping to direct its transition into the mainstream.
Above: Shen Wei Dance Arts at New York's Metropolitan Museum of Art. Courtesy Metropolitan Museum of Art
“What happened with photography—it was not originally considered fine art—is happening now with dance," says Muriel Maffre, executive director of San Francisco's Museum of Performance + Design and a former principal with the San Francisco Ballet. “It's being recognized by a bigger group of people and finding a place next to great paintings." Ana Janevski, a curator of the “Musée de la danse" exhibit at MoMA who describes dancers as “living archives," agrees. “Dance is not only about movement, but about space and writing and thinking," she says. “What we've tried to show is how dance is not just a footnote or sporadic event but an art form contained in itself."
This recognition has helped to elevate dance, which is often perceived as less serious than fine art, says Diane Madden, associate artistic director of the Trisha Brown Dance Company, who has set the choreographer's works at MoMA, the Tate Modern, Berlin's Hamburger Bahnhof, the Museum of Contemporary Art in Chicago and the Getty and Hammer Museums in Los Angeles. “People go to a dance performance expecting to be entertained, but people go to an art museum expecting to put thought and time into what they're seeing," she says. “It does give it a little more validity to associate ourselves with these more accepted art forms."
It also provides a profoundly different way to experience dance. Unlike a traditional theater, where the audience is fixed and their attention is focused on a proscenium stage, site-specific works in museums often allow viewers to move throughout the performers, shifting their proximity and perspective. As a result, these pieces are more intimate and interactive. “It shows the humanity of the dancers," says Madden, who recalls how during a performance of Roof Piece Re-Layed at MoMA in 2011, a group of middle-aged women started doing the steps along with them. The dance, which is about the transmission of movement, really resonated “in a space where the audience can be with them instead of looking upon them."
For Shen Wei, whose company has performed everywhere from the Metropolitan Museum to the North Carolina Museum of Art to the Collezione Maramotti in Italy, this reflects a larger mission. “When we perform onstage, it's showing," he says. “But more current dance works are not about showing something. They're about discovery. And those things fit well in these kinds of surroundings."
Maffre believes this immersive quality appeals to dance and non-dance audiences alike. “More than ever people are looking for experiences," she says. “In the past museums were considered temples of art, but museums are becoming more of a place of exchange and encounters." As Evan Copeland, a member of Shen Wei Dance Arts, puts it: “Museums are sacred ground—don't touch—whereas we're like, 'Please touch, be part of this, contribute.' We're making the space accessible."
Site-specific works can also make dance more accessible, engaging audiences who might never set foot in an opera house. But they require certain sacrifices of the artists. Because these spaces weren't designed for dance (awkward layouts, no sprung floors), steps have to be modified and rehearsals are limited. And dancers used to performing in theaters have to get used to people staring them in the face.
“There's not that distance of the stage, so you're very vulnerable," says Copeland of works like Undivided Divided, where the practically naked performers dance and roll around in paint on 7x7-foot squares while the audience wanders among them. But he ultimately enjoys the sense of community this generates with the viewers, just as Shen finds the location constraints stimulating. “It makes you create something you wouldn't think of before you saw the space," he says.
And since many cities lack affordable performance venues, alternative spaces like galleries provide more opportunities for dance artists to present their work. But as with all trends, there's the chance that dance in museums will become too ubiquitous. “The challenge is how to continue to reinvent and not enter into certain patterns," Janevski says. “If you're really interested in breaking down the fourth wall and trying to push how an audience views art, that's awesome," adds Copeland. “But if you're just using the space to dance around, personally I don't find that interesting."
Shen stresses that just like dance in a theater, the quality of site-specific works varies. But he believes the potential for connecting with audiences—both new and old—and making dance come alive outweighs any risk of this becoming a gimmick.
Madden agrees, citing the reactions she's seen as proof of the powerful impact of these pieces. “Inevitably, there's some joyful surprised discovery that happens among the audience, and I just love that. It tells me we're on the right track."
I love being transgender. It's an important part of the story of why I choreograph. Although I loved dance from a very young age, I grew up never seeing a single person like me in dance. So how could I imagine a future for myself there?
The enormous barriers I had to overcome weren't internal: I didn't struggle with feelings of dysphoria, and I wasn't locked down by shame.
The dance community is heartbroken to learn that 14-year-olds Jaime Guttenberg and Cara Loughran were among the 17 people killed during the February 14 shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Guttenberg was a talented competition dancer at Dance Theatre in Coconut Creek, FL, according to a report from Sun Sentinel. Dance Theatre owner Michelle McGrath Gerlick shared the below message on her Facebook page, encouraging dancers across the country to wear orange ribbons this weekend in honor of Guttenberg, whose favorite color was orange.
In today's dance world, it seems to go without saying: The more varied the training, the better. But is that always the case? Rhonda Malkin, a New York City–based dance coach who performed with the Radio City Rockettes, thinks trendy contemporary techniques that emphasize improvisation and organic movement quality are detrimental to the precision and strength needed to be a Rockette, in a traditional Broadway show or on a professional dance team. Her view is controversial: "If you really want to work, making $40,000 in three months for the Rockettes or $25,000 in one day filming a commercial, you need ballet, Broadway jazz, tap, hip hop—not contemporary," she says.
On the flip side, techniques that allow dancers more freedom may help them connect more deeply with their body and artistry, while providing release for overused muscles. We broke down the argument for both sides:
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
A statement released yesterday by New York City Ballet and School of American Ballet reported that an independent investigation was unable to corroborate allegations of harassment and abuse against former ballet master in chief Peter Martins, according to The New York Times. This marks the end of a two-month inquiry jointly launched by the two organizations in December following an anonymous letter detailing instances of harassment and violence.
The statement also included new policies for both the company and school to create safer, more respectful environments for the dancers, including hiring an independent vendor to handle employee complaints anonymously. These changes are being made despite the independent investigation, handled by outside counsel Barbara Hoey, purportedly finding no evidence of abuse.
Not all ballet dancers cling to their youth. At 26, Lauren Lovette, the New York City Ballet principal, has surpassed the quarter-century mark. And she's relieved.
"I've never felt young," she says. "I can't wait until I'm 30. Every woman I've ever talked to says that at 30 you just don't care. You're free. Maybe I'll start early?"
When Beatlemania swept through the U.S. in the 1960s, Mark Morris was one of millions of young Americans who fell head over heels for the revolutionary group. "I was not immune," the choreographer says. "My sisters were mad about The Beatles and so was I. At age 12 I had a crush on Paul, of course."
Flash forward 50 years and he is still rocking to the British band, but this time with a new Beatles-inspired dance work his company is touring across North America, starting this month with scheduled stops in Seattle, Toronto, Portland, Oregon, and another 25 cities before the end of 2019.
You could call it island-hopping, but it's not exactly a vacation. After choreographing last season's Come From Away, and winning a Tony nomination, Kelly Devine zipped from frosty Newfoundland to the Caribbean beach resort that is the setting for Escape to Margaritaville.
In the fall, she was shuttling between them, before they start this month: flying to Toronto to prepare a new Canadian production of Come From Away, then jetting back to Chicago for the final stop of Margaritaville's four-city pre-Broadway tryout.
"These two shows could not be more different from each other," Devine says with a dash of understatement. Come From Away is about the small Newfoundland town where airliners grounded by the 9/11 attacks dumped thousands of unexpected visitors; Escape to Margaritaville, at the Marquis Theatre, is a comic island romance concocted from the beachcomber songbook of Jimmy Buffett.
How does someone go from being a New York City Ballet corps member to training Hollywood A-listers like Natalie Portman, Rooney Mara and Jennifer Lawrence? By getting injured, says Kurt Froman.
When an ankle sprain left him sidelined a few years back, Froman was "sitting at home, depressed" when he sent his friend Benjamin Millepied an email asking what he was up to. It turned out that Millepied had just been hired to choreograph some scenes for a movie, but had to be in Paris during pre-production. "He needed someone to teach two actors choreography and get them in shape," says Froman. With nothing else on his plate, he said yes, and started prepping Natalie Portman and Mila Kunis for Black Swan.