Dancers & Companies

This New Dance Photography Book Offers Your Daily Dose of Inspiration

In her many years of shooting top dancers and choreographers, photographer Rose Eichenbaum has not only captured their movement, but collected their stories and the guidance they have to offer other artists.

Now, Eichenbaum is releasing a coffee table book, Inside the Dancer's Art, filled with these artists' words of wisdom alongside their portraits. Here are a few of our favorites.


"As a performer I didn't pay much attention to the audience. I was too busy dancing. When the curtain came down and there was all this applause, it really didn't matter much to me. I wasn't doing it for them. I was doing it for myself." —Paul Taylor


"What do I look like when I'm dancing? I really don't know. I know what I feel when my arms are doing this or when I'm in the air. But if I were someone sitting in the audience looking at me—what would they be seeing? Would they be able to read my thoughts and feel my emotions?" —Tiler Peck


"We all make dances alone in our room. It's how we cope with the emotions bubbling up inside. I'm still trying to find a way to blend those internal hard-edged realities with an outward corresponding movement vocabulary." —Kyle Abraham


"It's easy to feel restricted by technique, but it's essential because without it, you can't do the things you do. You can't create magic that moves and transports an audience." —Cassandra Trenary


"It's only when you're willing to show yourself openly as an artist that you truly begin to share with others. You don't have to give it all up—expose yourself entirely—but it's the realism that makes your work accessible." —Desmond Richardson


"One must work the body like a racehorse. Rein her in and bring her under control. When she rebels, you must conquer her, become her master to bring body and mind into harmony." —Natalia Makarova

PC Elena Fetisova

Where can you watch Giselle, Romeo and Juliet, The Nutcracker, Coppélia and Le Corsaire all in one place? Hint: It also has extra-buttery popcorn.

Yep, it's your local movie theater. Starting this weekend, theaters across the country will be showing Bolshoi Ballet productions of classical and contemporary story ballets.

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Popular

By Rick Tjia, Dance Talent Scout, Cirque du Soleil Casting

The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.

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Danielle Peazer, photo by David Salafia

When commercial dancer Danielle Peazer took on an ambassadorial role with Reebok in early 2016, she didn't realize the gig would also lead to a career shift. But while traveling with and teaching workshops for the brand, the idea for DDM (Danielle's Dance Method) Collective started to take shape.

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Popular
ABT's James Whiteside and Isabella Boylston. Photo via Instagram

Last night, American Ballet Theatre held its annual Fall Gala at the David H. Koch Theater in New York City. To celebrate ABT's artistic director Kevin McKenzie's 25 years of leadership, dancers from ABT's company, apprentices, studio company members and students from the Jaqueline Kennedy Onassis School took to the stage in Jessica Lang's The Gift, Alexei Ratmansky's Songs of Bukovina and Christopher Wheeldon's Thirteen Diversions.

But we also love a good behind-the-scenes glimpse—especially when designer gowns are involved. And the dancers gave us plenty of glam looks to obsess over once the curtains closed. Ahead, see our favorite moments from gala straight from the dancers.

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Arolyn Williams and Chase O'Connell in Fox on the Doorstep, PC Beau Pearson

Last week Ballet West breezed into New York City's Joyce Theater from Salt Lake City. The dancers are excellent—especially the women (what else is new). The company brought five pieces including works by Gerald Arpino, Val Caniparoli and resident choreographer Nicolo Fonte.

Arpino's last work, made in 2004, is a duet called RUTH, Ricordi per Due ("remembrance for two"). It's about a man haunted by the memory of the woman he loved. Christopher Ruud is strong and sensitive as the man, and Arolyn Williams is riveting as the ghost of his beloved.

Val Caniparoli energizes his dancers with juicy movement, and always sticks to his theme. (He doesn't ramble, and let's face it, long rambling choreography is a problem these days.) In his premiere for Ballet West, Dances for Lou, he takes on the music of Lou Harrison, a composer known for his Eastern sounds and rhythms.

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Sidi Larbi Cherkaoui's Pictures at an Exhibition, performed by The Royal Ballet of Flanders.
Photo by Filip VanRoe, courtesy Marquee

Your Saturday nights are about to go from "Netflix and chill" to "Marquee and chill." (Okay, maybe we'll need to coin a new phrase).

But seriously, the new streaming app Marquee Arts TV lets you curl up with Bolshoi Ballet's Swan Lake, Sylvie Guillem dancing Mats Ek's solo Bye, a dance film by Cullberg Ballet called 40 M Under, or a documentary about Alonzo King and LINES Ballet. Marquee unlocks a world of digital arts: dance, theater, opera, music, documentaries and film shorts that you can stream directly to your TV or mobile device.

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News
Simone Forti. Photo by Ian Douglas, Courtesy Danspace.

When Simone Forti moved from California to New York City in 1960, she brought with her the improvisational approach of Anna Halprin. As one of the first five students in Robert Dunn's John Cage–inspired composition course (that led to Judson Dance Theater), she was a magnet for two others in that class: Yvonne Rainer and Steve Paxton. This month the three reunite for Tea for Three, an evening of moving and talking at Danspace Project, Oct. 26–28. It's a chance to see how dance mavericks grow and change and mellow. Forti will also give "Body Mind World" workshops Oct. 19–20. danspaceproject.org.

Health & Body
Nathan Sayers

When you're dancing for what feels like eight days a week, it takes more than just stretching to put your body back in order. You need a good rub down. Unfortunately, most of us don't exactly have the money to afford an on-call personal masseuse.

The solution: Self-massage, with foam rollers, lacrosse balls, elbows and anything else that can help loosen up your muscles. We dug into Dance Magazine's archives to find the best pieces of advice we've published on the topic. Follow these rules to get what you, ahem, knead out of self-massage.

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