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Moving Through Trauma
In the spring of 2001, I sat in a room at the VA Hospital in New York City, surrounded by five war veterans with post-traumatic stress disorder.
I was a member of Tamar Rogoff Performance Projects, and we were working on a dance-theater piece about the psychological effects of war. These men told us stories about dropping bombs over Vietnam and being held in POW camps during World War II.
I was terrified. What did I—a 23-year-old dancer—have in common with them, and how could I gain their trust?
The process wasn’t easy, and the veterans were occasionally resistant. But over nine months of get-togethers and interviews, I became very close with John McCarthy, the WWII veteran I was “paired” with. He told me about being blown out of a plane and being held over a cliff by an enemy soldier, stories he had told almost no one. And while the piece wasn’t meant to be therapeutic, it was healing for both the veterans and the dancers. John died a year later, and his nephew asked me to dance at his funeral. Never had I felt the transformational power of dance so strongly.
For decades, choreographers have been making work with—or about—victims of disease or war; and teachers and dance therapists have been using dance to help people heal from trauma, torture, and abuse. I spoke with three choreographers who have worked, respectively, with children living in post-war Bosnia and Rwanda; survivors of domestic abuse; and ex–child soldiers in Sierra Leone. While the three have very different approaches, they all agree on a few points: Know why you want to work with a specific population, what you have to offer, and why you think dance would be of service. Educate yourself before entering a community: What have these people been through and what are they facing now? It helps to be guided by social workers and/or an elder in the community. And lastly: Be flexible. That said, all three concur that this kind of work is tremendously challenging and rewarding.
Rebecca Davis became interested in teaching children in war-torn areas after choreographing a work about Darfur for her company, the Philadelphia-based Rebecca Davis Dance Company. “When I made Darfur, it was very fulfilling to see an issue that I cared about transform the dancers and audience,” she says. “But I wanted to understand on a deeper level how genocide can come about.”
In 2008, she traveled to Rwanda with Global Youth Connect, a human rights organization that held seminars for the volunteers before they worked with them.
Davis taught jazz dance to boys who lived in a child-headed household. (All of the childrens’ parents had been killed in the 1994 genocide.) Twenty boys, ages 10 to 17, were living under one roof. Despite the tragedy of the situation, Davis says, “What’s so shocking and powerful and optimistic is that you walk in and see these kids—some are Tutsi and some are Hutu—being forced to live together, because it’s their only chance. No one will take care of them.”
Davis admits that they were surprised to see a white woman put on jazz shoes and lead them in a warm-up (women do traditional dances in Rwanda but not contemporary styles) but says the boys loved it. “You put on music and everyone starts moving,” Davis explains. “It’s how they’re able to handle their aggression and channel their emotions. Dance is a part of their culture.”
A master’s student in international relations with a concentration in peacekeeping at the online American Public University System, Davis says she “gained an understanding of how important dance is in post-conflict countries. Working with these boys, I learned that dance is what they do: They go to school and then they dance.”
The trip inspired her to go to Brcko, Bosnia, last summer, where she developed a program for students 4 to 18. Fourteen years after the war, ethnic tensions are still high, and Serbs, Croats and Muslims rarely interact beyond what is required. But Davis found that the two best dancers in her teens class were a Serb and a Muslim. The girls had to dance together so much that they became friends. At the end of the workshop, the Serbian girl asked the Muslim girl to celebrate Christmas with her family.
Gina Gibney and her company, Gibney Dance, have been providing movement workshops to survivors of domestic violence in shelters for over 10 years. But Gibney was very clear from the get-go that they were not doing movement therapy. “My interest has been to take what dancers are naturally good at,” she explains, “and apply it in a broader more inclusive context.”
Gibney developed a program in conjunction with Sanctuary for Families, which assists survivors of domestic abuse and their children. “We identify the women’s needs and issues,” Gibney says, “and figure out how those dovetail with the skills that are intuitive to dancers.” The company members go through a rigorous training program, learning everything from what these women have faced to what life is like in a shelter.
Once trained, each company member travels alone to undisclosed locations around New York City. Most of the time the dancer works with a support group that has a trained mental health professional on-hand to address anything serious that comes up.
“The class gives the women tools to open and inhabit their bodies and to overcome resistance they have from being physically traumatized,” Gibney says. It starts with a gentle warm-up, which helps the women uncover where they are tense. “It gives them a chance to think about their own lives—where they’ve been and where they want their feet to take them.” It also gives the women a sense of self-worth: “These women have been told the worst possible things about themselves,” Gibney reports, “so to hear a room full of women shout what is great about them is an unbelievable experience.”
For most of the 15 years that David Alan Harris was dancing and choreographing in New York City, he also worked as a writer for Human Rights Watch, a national group dedicated to protecting human rights. “I remember sitting at my desk one day, and having the idea to become a dance movement therapist to work with torture survivors,” Harris says. He imagined that dance could be healing to survivors because they often undergo a mind/body “split.” When a torturer inflicts bodily pain in order to gain access to the victim’s mind—and thus gain control over him—the pain is often so unbearable that the victim will divorce himself from his body (what clinicians call “dissociating”). “The task of healing for torture survivors is reintegration,” he explains. “I intuited from years of focusing on my own body and working improvisationally, that reintegration would mean working at the body level as well as the psychic level.”
While pursuing his degree in creative arts therapy at Philadelphia’s Drexel University, he worked with a group of resettled “lost boys” from Sudan. He asked them to teach him their traditional dances. “I put them in the role of expert and me in the role of recipient,” he explains. “It helps to undo the stigma.”
Four years later, he traveled to Sierra Leone and worked with ex–child soldiers. “These teenage boys had lived in a unit under a commando where if they did the wrong thing, they’d be shot,” Harris says.
Harris began the session in a circle, with Sierra Leonean hip hop playing on a little battery-operated stereo. He asked the boys to follow his movements. As the warm-up progressed, leadership would change hands organically, encouraging the boys to stay attuned to the group and trust each other, which is particularly difficult for ex–child soldiers.
“In the first session, we found ourselves on our stomachs looking around,” Harris recalls. “I said, ‘What are we doing?’ Somebody replied, ‘We’re hiding from our enemies.’ This is five years after the war! These kids are orphans—they’ve been shunned and they live on streets. But they found a way to symbolically reenact the central conflicts of their existence. I believe that in doing so, they find a way to tolerate their memories.”
Harris worked with the boys for several months. Although the emphasis was on process (and healing), the boys decided they wanted to perform for the community. Most of the village watched the boys reenact the roles they had played in the war; they even depicted a scene in which a boy is ordered to shoot a gun into the corpse of his father and sister. “One boy who had been forced to kill his parents went to the village elder and asked to be welcomed back into the community,” Harris says. “At the end of the performance, the elders stood one after the other and welcomed the boys back. People who had feared these guys said they weren’t afraid anymore. It was the most amazing thing that’s ever happened in my life.”
Harris feels that this work required everything of him—in the same way that dancing once did. “It involves the integration of mind and body, passion, spirituality. It’s holistic. It gives me a sense of hope, of creatively building a new future.”
Abigail Rasminsky is an MFA student in writing at Columbia University.
Illustration by Tifenn Python.
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.