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Jawole Willa Jo Zollar On The Hardest Part Of Sustaining a Dance Company in 2018
While some companies thrive on uniformity of style and attack, the dancers of Jawole Willa Jo Zollar's Urban Bush Women find strength in the very opposite: Her movement is human, with an aesthetic that makes the choreography appear to be improvised. That's been a foundation of Zollar's work since she started UBW in 1984.
Three Bessie Awards and two Doris Duke Awards later, Zollar has also created work for companies like Alvin Ailey American Dance Theater and Philadanco. Given her desire for all her dancers to share their voices, it's no surprise that many former UBW members have gone on to make accomplished work of their own.
Here, she opens up about her creative process, and the hardest parts of sustaining a dance company.
"There's intentionality around looking like we just made it all up. There's a rigor to making it appear formless, like it's unfolding spontaneously. If I'm successful, people will ask, 'Is that all improvised?' "
"Usually, a new work takes one to three years of research. I put it all in a project-specific file on the computer. Then I'll storyboard with index cards to see what shape starts to reveal itself."
"The company went through a near-death experience from 1999 to 2001. We discovered a massive amount of debt. I don't think I made good work during that period; my creative focus wasn't there. But I learned that I needed to keep a better eye on things—checking the books and giving the admin people more support."
"I look for dancers with a point of view that they're willing to share. And because I come from a theater background, dancers have to do their homework. For Walking with 'Trane they had to research the life of John Coltrane and listen to a lot of music."
"I have a three-idea rule: Whenever I see other performances, I have to come out with three ideas—maybe it's costumes, lighting, staging. Don't dismiss anything. If it was a waste of your time, you didn't enter with the right mind-set."
"Space is the hardest part about being an artist today. There are times when we're in a different space every day and that's hard on the creative process. Apply for those residencies—they've become modern dance gold."
"I placed the company on hiatus a few years back because I felt like we were on a treadmill; the business outweighed the art. I decided to stop carrying outside rep. I discovered I'm interested in creation, not maintenance."
"I would tell early-stage choreographers to develop and articulate your company's core values. That was a turning point for us. I thought, If I'm going to fight for this organization, I need to know we're all working toward the same thing."
Sarah Haarmann stands out without trying to. There is a precision and lack of affectation in her dancing that is very Merce Cunningham. Her movement quality is sharp and clear; her stage presence utterly focused. It's no wonder she caught Mark Morris' eye. Even though she still considers herself "very much the new girl" at Mark Morris Dance Group (she became a full-time member in August 2017), in a recent performance of Layla and Majnun, Haarmann seemed completely in her element.
Company: Mark Morris Dance Group
Hometown: Macungie, Pennsylvania
Training: Lehigh Valley Charter High School for the Performing Arts and Marymount Manhattan College
In 2012, freelance contemporary dancer Adrianne Chu made a major career change: She decided to try out for A Chorus Line. "Even though I didn't get the job, I felt like I was meant to do this," says Chu. So she started going to at least one musical theater audition every weekday, treating each as a learning experience. After several years of building up her resumé, Chu's practice paid off: She booked a starring role as Wendy in the first national tour of Finding Neverland.
Approaching auditions as learning opportunities, especially when you're trying to break into a different style or are new to the profession, can sharpen your skills while helping you avoid burnout. It also builds confidence for the auditions that matter most.
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."
It's easy to feel whiplashed thinking about everything Emma Portner has achieved in such a short amount of time. Last fall, the 23-year-old was the youngest woman ever to choreograph a West End production (it was based on Meat Loaf's greatest hits). This was, of course, after she already choreographed and starred in Justin Bieber's viral hit "Life is Worth Living," and before she charmed major media outlets when she secretly married actress Ellen Page. Now, she's L.A. Dance Project's first-ever artist in residence, and she's working on a commission for Toronto's Fall for Dance North Festival.
We caught up with her for our "Spotlight" series:
Last month, the International Association of Blacks in Dance's third annual ballet audition for women of color was expanded to include a separate audition for men.
The brainchild of Joan Myers Brown (founder of both Philadanco and IABD), the women's audition was created to specifically address the lack of black females in ballet. However, the success and attention that audition drew made the men feel left out, so IABD decided to give the men equal time this year.
Pina Bausch's unique form of German Tanztheater is known for raising questions. Amid water and soil, barstools and balloons, the late choreographer's work contains a distinct tinge of mystery and confrontation. Today, Tanztheater Wuppertal Pina Bausch's dancers use questions as fuel for creativity. The company's most recent project introduced a new group of performers to the stage: local high school ninth-graders from the Gesamtschule Barmen in Wuppertal, Germany, in an original work-in-progress performance called Veränderung (Change).
Before she became the 20th century's most revered ballet pedagogue, Agrippina Vaganova was a frustrated ballerina. "I was not progressing and that was a terrible thing to realize," she wrote in a rough draft of her memoirs.
She retired from the Imperial Ballet stage in 1916, and for the next 30-plus years, devoted herself to creating a "science of ballet." Her new, dynamic teaching method produced stars like Rudolf Nureyev, Alla Osipenko, and Galina Ulanova and later Natalia Makarova and Mikhail Baryshnikov. And her approach continues to influence how we think about ballet training to this day.
But is the ballet class due for an update? Demands and aesthetics have changed. So should the way dancers train change too?
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.
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.