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Could NPAFE Be a New Funding Model for Dance?
Cliff Brody claims he can barely execute a box step. But he's looking to raise more than $5 million for dance. The retired diplomat and businessman says, "I was struck by the extraordinary entrepreneurial efforts that these artists have: the creativity, the risks, including the physical risk. And the reality of learning that among the three areas of performing arts—music, theater and dance—dance is by far the least funded."
He founded the National Performing Arts Funding Exchange in 2016 to find more money for dance from nontraditional sources. NPAFE recently announced its three-year, $5,750,000 campaign that will funnel funds straight to performing artists throughout the United States. There will be no "middle man," Brody says.
Using the sports marketing model, where major brands advertise to capture the sporting fan market, NPAFE will target corporate underwriters for various dance organizations. Brody is convinced that companies will jump on the bandwagon to put their names behind dance and other performing arts groups. He cites statistics he culled over the past year: More than half of performing-arts ticket buyers said they would "almost always" or "frequently" purchase from a sponsoring corporation, while only about one-third (36 percent) of National Football League fans would purchase products based on sponsorship.
NPAFE offers an online clearinghouse of independent and small dance companies and individuals. Independent artists can enter their information, marketing materials and video on the website's Indie Performing Artists Gallery and Moving On Up Gallery to reach a larger audience—and potential funders.
Plans are in place for cataloging commissioning opportunities for corporate sponsors, plus sponsored stipends for performing arts graduate students. Thus far, the nonprofit has given away more than $55,000 (in direct funding, financial planning and marketing support) to eight dance companies and artists, including Bowen-McCauley Dance, Christopher K. Morgan and Artists, and ClancyWorks. An early host sponsor, WeWork, which leases office space to entrepreneurs and small start-ups around the world, connected with Company Danzante. The young Arlington, Virginia, troupe received a $1,500 stipend, plus free marketing and rehearsal space, for a site-specific piece set in the WeWork warren of contemporary workspaces in DC this past November.
Dance has had a history of appealing to high-end retailers, from Blackglama furs using Martha Graham and Rudolf Nureyev in its ads to clothing designer Rag & Bone featuring Mikhail Baryshnikov. Whether NPAFE can convince today's corporate ad agencies that their support of dance companies will reap greater sales remains to be seen. The key, Brody says, is, "We knock on doors and say, When you put your money behind these dancers and let them do their thing, you are going to be respected for supporting the performing arts."
Visit npafe.org to join the clearinghouse.
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.