Meet the Editors
Editor In Chief
Jennifer has worked on Dance Magazine since graduating from New York University's Tisch School of the Arts with a BFA in dance and journalism. A former senior editor of Pointe, she has also written for The Atlantic, Runner's World and other publications. As a dancer, she performed with California's Peninsula Ballet Theatre, Israeli choreographer Gali Hod and for Cirque du Soleil's 25th-anniversary celebration.
Raymond discovered his earliest dance inspiration in print in the photographs of Barbara Morgan, specifically her collaborations with Martha Graham. As an art and creative director he has been recognized with numerous awards. Raymond is an interdisciplinary artist, curator and cofounder of the contemporary art gallery Curious Matter.
A native of Floyds Knobs, Indiana, Madeline studied ballet at Southern Indiana School for the Arts and was later introduced to modern dance by Bill Evans. While completing her BFA in Dance Performance and Choreography at Ohio University's Honors Tutorial College, she was cast in a historical reconstruction of Alwin Nikolais' Noumenon celebrating the 100th anniversary of his birth. As an avid dance videographer and editor, she has worked on video projects for Bates Dance Festival and the Regina Klenjoski Dance Company in Southern California. She later served as a marketing and education manager for Lar Lubovitch Dance Company. She is currently the managing editor of Dance Magazine and Pointe.
A native of Lafayette, Louisiana, Courtney danced with Lafayette Ballet Theatre before matriculating to New York University. After spending her freshman year in London, she moved to New York to attend NYU Tisch School of the Arts, where she graduated with a BFA in Dance. Courtney began contributing to Dance Magazine during her senior year. She has performed in works by Karole Armitage, Netta Yerushalmy, Septime Webre, Vita Osojnik, Cherylyn Lavagnino, Giada Ferrone and Fairul Zahid, among others. She continues to take class, create and perform in the city.
Suzannah grew up in Brookline, MA, where she took ballet and jazz at her neighborhood studio, and developed a love for all things musical theater. At Barnard College, she explored tap and modern, and began to combine her interests in dance and writing. She graduated with a major in English and a minor in dance, writing a senior thesis on the role of dance in Jane Austen's work. She has written about dance for various online and print publications.
A native of the Outer Banks of North Carolina, Lauren is a graduate of Barnard College with degrees in Dance and English. She has performed works by Annie B Parson, Mark Dendy, Reggie Wilson, and Karla Wolfangle, and currently dances with e r a dance collective and TREES. While at Barnard/Columbia she choreographed and collaborated on several original musical theater works, among them the 120th Annual Varsity Show. She continues to pursue musical theater choreography and reviews dance for various online publications.
Editor at Large
Wendy danced with the Trisha Brown Company in the 1970s and has performed with many other NYC choreographers. Her own group, the Wendy Perron Dance Company, appeared at the Lincoln Center Festival, the Joyce, Danspace Project and other venues in the U.S. and abroad from 1983 to 1997. The documentary film Retracing Steps: American Dance Since Postmodernism profiles Perron along with seven other choreographers. She has taught at many colleges including Bennington and Princeton, has given lectures on dance across the country, and was associate director of Jacob's Pillow in the early '90s. In addition to serving as editor in chief of Dance Magazine from 2004 to 2013, she has written for The New York Times, The Village Voice, Ballet Review and Dance Europe. In 2011 she was inducted into the New York Foundation for the Arts' Hall of Fame and was honored by Dancewave in Brooklyn in 2014. She has been artistic adviser to the Fall for Dance Festival and often adjudicates for Youth America Grand Prix and the American College Dance Festival. Currently she teaches a graduate seminar at NYU Tisch School of the Arts and performs occasionally with Vicky Shick. Her book, Through the Eyes of a Dancer, is a selection of her essays, memoirs, and reviews spanning 40 years.
Les Ballets de Monte-Carlo is on a mission to get Monaco dancing. F(Ê)AITES DE LA DANSE is a free outdoor festival taking over the Place du Casino on July 1 from 6 pm to the wee hours of the morning. Not only will there be lessons in styles ranging from ballroom to belly dancing and flamenco to African dance, but there will also be a giant barre (dozens of meters long) for warming up, a seven-hour dance marathon and a flash mob. Performances by Yamakasi (parkour), Le Patin Libre (contemporary skating) and Pokemon Crew (street dance) take place throughout the evening, culminating in a midnight performance of Les Ballets de Monte-Carlo in a new work by Jean-Christophe Maillot. And for anyone still going at 2 am, Monte Carlo's Opera Garnier will host a deejayed dance party, while just outside a silent disco takes over the terraces. balletsdemontecarlo.com.
Summertime, and the living is...steamy. Studios can be hot. Outdoor festivals can be grueling—especially once those stage lights turn on. When the temperatures rise, movement feels harder and your body fatigues faster.
What's a dancer to do? Follow these steps to make the heat less taxing on your body so that it doesn't keep you from dancing your best.
Some careers come together so organically that the dancer barely has time to take stock of how she got to where she is. That's how it was for Betsy McBride, at least until 2015.
Born in Coppell, a suburb of Dallas, McBride began taking ballet at her local school at age 3. At 14, she attended a summer intensive at the school affiliated with Texas Ballet Theater. Within a few weeks, McBride was offered a year-round place at the school with the tantalizing prospect of being hired by the company. Which is exactly what happened just a few months later. And there she stayed, eventually performing some of the most desirable roles in TBT's repertoire: Juliet, Odette/Odile, Aurora, the glamorous soloist in Balanchine's "Rubies," the title character in Ronald Hynd's The Merry Widow.
If you've been keeping up with World of Dance, you're well aware that junior division competitor Eva Igo has established herself as a serious contender. Groomed on the competition scene, the 14-year-old Minnesota native traveled to Los Angeles with her mom, taking the stage alongside some of the industry's most established names in dance—and she's killing it.
"Growing up in competitions, I had experience with having judges in front of me, so that helped me deal with the pressure," Igo tells us on how she remained so poised during her performances for The Qualifiers and The Duels (she beat out hip-hop duo KynTay). "That experience really helped me know when to have my competitor mode on."
Completely blowing the judges away with her mix of technique, tricks and stage presence (judge Derek Hough declared it "Eva's world" after her Duel solo to the song "It's A Man's World"), Igo makes each performance look effortless. "When I'm learning the dance, I have a story in mind and I relate it back to my life," Igo explains on how she taps into the emotive side of her dancing. "Before I perform the dance, I'll really think about that and try to just take a breath while I'm on stage."
I have always felt a need to communicate and, even more importantly, to be understood. But as a child, I always hit an emotional wall when trying to speak.
Although my great-aunt Rose had no connection to dance, she intuitively saw that I needed an outlet, and recommended that I take a movement class. It was literally life-changing. I realized I could make myself understood without my needing to be verbal.
When you're training, it can feel like all you need to succeed in the dance world is artistic talent and drive. But once you make the leap into the professional world, you may find out just how much you don't know about making it as a dancer.
When I started my professional career, I soon realized that all the time and money my parents and I had invested in my training still hadn't fully prepared me to make it as a freelance dancer—especially one who had plenty of bills and student loans to pay. Only after years of trial and error, failures and mega-hustle did I start to figure out how to navigate professional dance life in a remotely sustainable way. Here are a few lessons I've learned along the way.
Live music is an essential part of any dance class. But aside from a polite "thank you" afterwards, dancers—and teachers—often don't give enough thought to the musician who's making the magic happen.
I worked as a dance musician for over three decades, and was fortunate to play for some of the field's greatest artists. I now teach musicians how to play for ballet, modern and contemporary dance in my Accompanying Movement class at the University of Michigan.
I train my students to know the ins and outs of dance classes of varying styles. In return, we sometimes wish our collaborative partners understood more about what we bring to the studio:
Dance Magazine reached out to us with the questions: Over the years, how has increased acceptance and visibility on concert-dance stages affected hip hop and its artists? And how has hip hop influenced concert dance?
Our response? Whoa! Acceptance? Visibility? Immediately we knew that any conscientious attempt to unpack these questions would easily exceed the maximum word count. But we also acknowledged that questions like these affect what we do as dancemakers and artist-citizens.
So we interviewed our colleague Nicole Klaymoon and mentor Rennie Harris to contribute to a conversation. We are all multilingual dance artists with our own unique voices in hip hop and street-dance theater. We are from different backgrounds and generations whose work is presented as concert dance and builds on the groundwork of Rennie Harris Puremovement.
Amy O'Neal's Opposing Forces. Photo by Bruce Clayton Tom, courtesy O'Neal