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Meet Reid & Harriet, The Trendiest Design Duo in Dance
Reid Bartelme and Harriet Jung were still students at the Fashion Institute of Technology when their first joint commission came along: Creating the costume for a Fall for Dance piece Andrea Miller choreographed on Drew Jacoby. The pair officially joined forces in 2011, forming their eponymous label and building a resumé that includes designing for American Ballet Theatre, New York City Ballet and Miami City Ballet. Reid & Harriet Design's success lies in their ability to mix bold colors and unique textures with an innate understanding of what dancers need to perform comfortably.
They opened up to Dance Magazine about their creative process, where they get inspiration and why they like it when choreographers don't come with too many ideas.
Costumes for choreographer Matthew Neenan. Photo by Erin Baiano, courtesy Reid & Harriet
Bartelme: Fashion made a lot of sense for me when I started transitioning out of dance. I was always crafty—I used photographs of my Halloween costumes growing up to apply to FIT.
Jung: I didn't have any experience in fashion prior to FIT—I majored in molecular and cell biology in college.
Bartelme: When we start a project, a choreographer might come with some dancing done or music picked out. Sometimes they won't have started at all. Harriet and I take whatever we're given and start to source things visually. Then we pull imagery and start sketching together. We'll figure out fabrics and do drawings to send off to the choreographer to see if we're going in the right direction.
Costumes for Kyle Abraham's Counterpoint for Hubbard Street Dance Chicago. Photo via reidandharriet.com
Jung: I always say it's my favorite when choreographers don't come in with too many ideas. The projects that turn out the best are with choreographers who really trust us.
Bartelme: Ideally, we're put in situations where we can draw from art or a movie or a trip we've taken, and bring that into our work.
Bartelme: We also have to be able to shift along with the choreographer's work because sometimes the piece evolves.
Costumes for Justin Peck's Paz de la Jolla. Photo by Paul Kolnick, courtesy NYCB
Jung: We're always learning. We once made a corset bodice with plastic boning for Julie Kent. After dress rehearsal, the bonings were all broken.
Bartelme: This happened four hours before the show, but luckily Tomoko Ueda-Dunbar, ABT's amazing wardrobe supervisor, took out all of the boning and rigged the costume to the tights.
"The Harriet" from Reid & Harriet's ready-to-wear line. Photo via reidandharriet.com
Jung: It's always been one of our ultimate goals to have a unisex, very wearable collection. The ready-to-wear bathing suits we designed last spring were the first logical steps towards that.
Bartelme: Next, we have a show in late March. It's a curated evening in dance at the Guggenheim Museum Works & Process that's based in costumes. It will include five choreographers that I've danced for and we've both designed for, plus a handful of dancers we've worked with. Harriet and I are going to dance, too.
Bartleme, Jung and their cast. Photo via guggenheim.org
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.