Master the Convention Class
Whether you're attending your first convention or your 20th, spending a weekend in a crowded ballroom with hundreds of other dancers can be equal parts exciting, intimidating and overwhelming. Conventions are a chance to learn new styles, take classes from top teachers and network with the people who may someday hire you. So how do you take advantage of this opportunity and stand out from the crowd?
Dress the Part
Convention days are long, and you're likely to transition from jazz to hip hop, then on to tap and ballet. You won't have much time to change between classes, so your outfit should be one that's comfortable and works for multiple disciplines.
Make sure to dress for the atmosphere you'll be dancing in—which likely means a carpeted floor with sections of hardwood for the tap classes. “There are a lot of triangle-top bikinis happening that are not going to help you when you're dancing on carpet," says Jakob Karr, who assists at New York City Dance Alliance. Warm yourself up properly, make sure you've stretched, and don't wear slippery socks if you're doing contemporary on a hardwood floor. If you'll be dancing on carpet, consider forgoing bare feet in favor of socks that'll give you more freedom to turn. You want to look good, but make sure you're able to perform at your best.
Be Smart About Space
Everyone seems to think standing front-row center is a must-do at conventions because you're most likely to be spotted by the instructors. But no one likes—or wants to hire—a pushy dancer. Instead, try moving around the room. “I find that dancers who stay front and center the entire class don't use their space well," says NYCDA faculty member Joey Dowling-Fakhrieh. “Learn the combination in one spot, then change it up."
When the instructor breaks dancers into small groups to perform the choreography, stick to your assigned group, and while you're waiting for your turn, move all the way to the side so the dancers performing have enough room.
Yes, it's crowded. No, you don't want to whack your neighbor in the face with an overeager battement. Spatial awareness is absolutely necessary. Many instructors will keep this in mind with their choreography, but, if needed, move to another spot where you have more freedom. Consider learning the combination in the back, where there's more space, then really go full-out when you're broken into groups.
Resist the Selfie
The instructors' convention schedules are just as jam-packed as yours, which means they probably don't have time to pose for 100 photos after class. “We're typically running from room to room," says NUVO Dance Convention director Ray Leeper. “Photos with the instructor can be taken during a break or if you see the instructor outside of class. And a respectful 'thank you' at the end of class is always appropriate." Feel free to say your name and where you dance, too; just keep it brief.
Focus on Presence
Dowling-Fakhrieh says the biggest mistake she sees dancers making at conventions is obsessing over whether or not the teacher is watching. “It's uncomfortable for the teacher, and it makes it seem like you're there for the wrong reasons," she says. While validation is nice, make sure you have goals beyond getting noticed each weekend. “Talent and hard work speak for themselves," says Dowling-Fakhrieh. “Think about what you really want out of the convention. Remember you're there to get better—not to socialize or get onstage. If the teacher happens to pull you up there, great! But if not, work just as hard on the floor."
Ultimately, your presence matters as much as your ability. “There are times during class when I'll see a dancer so connected to what I'm saying—so present, so eager and so willing to work harder to be better," says Leeper. “I'm most drawn to dancers whose conduct in class is respectful, no matter their age or ability level."
From coast to coast, choreographers have spent the first year of Donald Trump's presidency responding to the impact of his election and what it means for them as artists.
New York City's Dante Brown used rubber Trump masks in his work Package (revamped), which examines the monstrosities of power.
A video titled "Dancers vs. Trump Quotes" went viral last summer, showing dancers taking Trump's "locker-room" talk to task.
Alexis Convento, lead curator of the New York City–based Current Sessions, dedicated a whole program to the concept of resistance, while educator and interdisciplinary artist Jill Sigman has initiated a workshop called "Body Politic, Somatic Selves," as a space for movement research around questions of support, activism and solidarity.
In San Francisco, choreographer Margaret Jenkins facilitated a panel of artists about the role of activism within their work.
When London-based perfume company The Beautiful Mind Series was looking for a collaborator for their next scent, they skipped the usual celebrity set and brought in prima ballerina Polina Semionova instead. "I was fascinated by what goes on in the mind of a great dancer," perfumer Geza Schoen said in a press release. Semionova's ballet-inspired scent, Precision & Grace, celebrates the intelligence and beauty behind her craft.
Courtesy of The Beautiful Mind Series
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.
The ever-so-busy Kyle Abraham is back in New York City for a brief visit with his company Abraham.In.Motion as they prepare for an exciting spring season of new endeavors with some surprising guests. The company will be debuting a new program at The Joyce Theater on May 1, that will include two new pieces from Abraham, restaged works by Doug Varone and Bebe Miller, and a world premiere from Andrea Miller. Talk about an exciting line-up!
We caught up with Abraham during a recent rehearsal where he revealed what he is tired of hearing in the dance community.
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."
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."