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Take 5 for Your Career: Reeling It In
Choreographers need to be smart in how they showcase work.
A choreographer must be able to show work to presenters and competition judges in a portable format. But creating an effective reel can pose challenges, the biggest being that no single sampling is appropriate for all opportunities. Sometimes you must submit an entire piece, or a collection of excerpts that indicates your range. Sometimes the wording is vague: The American Dance Festival, for instance, simply requests a DVD of recent work.
Those who routinely vet footage urge choreographers to invest in their reels. Make sure you have the tools you need to shoot and edit good video—or hire those who do. “If you’re really serious about touring,” says Walter Jaffe, general manager of the White Bird Dance festival in Portland, Oregon, “you should put aside money to create video that shows off the work.” Here are five tips to keep in mind.
1. Represent your work honestly.
It can be tempting to pursue as many opportunities as you can, especially early on in your choreographic career. But if you edit a video to conform to someone else’s aesthetic, presenters will see through it, or will realize it after they give you a gig. Only pursue the opportunities that fit your particular style. Then, says choreographer Nathan Trice, “you want to ask the presenter what they prefer to see.”
2. Follow the rules.
Once you focus on an opportunity, dig into the details. Are you sending unsolicited work to a presenter? Or applying to a choreography competition? Each probably has specific requirements. Do they give a time limit on the excerpt? Do you only send a sampling of one work, snippets of several works or a complete piece?
Choreography competitions, such as the Joffrey Ballet’s Choreographers of Color Award, or Hubbard Street’s National Choreographic Competition, have detailed requirements. Ignoring guidelines can get your reel tossed without viewing.
3. Include credits and a description.
Don’t omit the details that will give a complete picture of the work. Each excerpt should include credits, date of creation/premiere, full length and contact information, including a web address where more content can be found. Sometimes, a written description (usually a page or less) may be required as well. “It should tie together what they’re seeing on the video,” says Trice. Make sure you edit your description as carefully as you put together your reel. You don’t want a presenter to stumble over it.
4. Don’t edit the reel yourself.
You know your work better than anyone, but that’s why you’re not the best person to edit it. “Have someone who’s not so close to the work make the selection, so they can give you perspective on what they see,” says Trice. “If anything, you want your editor to read your description and then go in and edit. He or she is going to have an outside eye.” Benoit-Swan Pouffer, choreographer and former artistic director of Cedar Lake Contemporary Ballet, adds that dancers or choreographers who know you and care about your work can be ideal editors or, at a minimum, provide useful feedback.
5. Avoid clutter.
Resist the temptation to overedit, add special effects or otherwise clutter up the viewer’s experience of your work. Your reel shouldn’t feel choppy. Let passages develop, and try to achieve some kind of emotional or thematic arc. Says Trice, “A two- or three-minute clip should really be able to give you some feel of the beginning, middle and end. Make clear, clean, basic edits. No spinning, or sparkly stars—all that stuff is unnecessary.” Jaffe also cautions about superimposing music. “Sometimes you see reels with sound that has nothing to do with the movement being shown. That’s not helpful at all,” he says. Stick with music from the work or, in the case of a series of quick excerpts, use music that reflects your movement. Don’t forget the basics, either. Jaffe points out what should be painfully obvious—work that is darkly lit will not show up well on video.
Bottom line, your reel should help the work speak for itself in a way that piques interest. Says Pouffer, “I think the more simple a thing you have, the more truth that comes out. You see what this person is about and what they have to say.”
Lea Marshall is a writer and interim chair of Virginia Commonwealth University’s Department of Dance & Choreography.
Whether playing a saucy soubrette or an imperious swan, Irina Dvorovenko was always a formidable presence on the American Ballet Theatre stage. Since her 2013 retirement at 39, after 16 seasons, she's been bringing that intensity to an acting career in roles ranging from, well, Russian ballerinas to the Soviet-era newcomer she plays in the FX spy series "The Americans."
We caught up with her after tech rehearsal for the Encores! presentation of the musical Grand Hotel, directed and choreographed by Josh Rhodes and running March 21–25 at New York City Center. It's another tempestuous ballerina role for Dvorovenko—Elizaveta Grushinskaya, on her seventh farewell tour, resentfully checks into the Berlin hostelry of the title with her entourage, only to fall for a handsome young baron and sing "Bonjour, Amour."
When Andrew Montgomery first saw the Las Vegas hit Le Rêve - The Dream 10 years ago, he knew he had to be a part of the show one day. Eight years later, he auditioned, and made it to the last round of cuts. On his way home, still waiting to hear whether he'd been cast, he was in a motorcycle accident that ended up costing him half his leg.
But Montgomery's story doesn't end the way you might think. Today, he's a cast member of Le Rêve, where he does acrobatics and aerial work, swims (yes, the show takes places in and around a large pool) and dances, all with his prosthetic leg.
When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.
"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."
Raise your hand if you've ever walked out of the studio with just one thought on your mind: a big, juicy cheeseburger. But raise your other hand if instead of getting that burger, you opted for a hearty salad or stir-fry.
While dancers need to fuel their bodies with nutrient-dense meals and snacks, plenty of foods get an unfair bad rap. "The diet culture in this country vilifies various food groups as being bad while championing others as good," says Kelly Hogan, MS, RD, CDN, clinical nutrition and wellness manager at the Dubin Breast Center at Mount Sinai Hospital in New York City. "But black-and-white thinking like that has no place when it comes to food."
Some foods have less nutrition than others, admits Hogan, but if you're eating what you crave and honoring your hunger and fullness cues, she says you'll probably get the variety of nutrients your body needs. Here are seven foods that can have a place on your plate—guilt-free.
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."
A flock of polyamorous princes, a chorus of queer dying swans, a dominatrix witch: These are a few of the characters that populate the works of Katy Pyle, who, with her Brooklyn-based company Ballez, has been uprooting ballet's gender conventions since 2011.
Historically, ballet has not allowed for the expression of lesbian, transgender or gender-nonconforming identities. With Ballez, Pyle is reinventing the classical canon on more inclusive terms. Her work stems from a deep love of ballet and, at the same time, a frustration with its limits on acceptable body types and on the stories it traditionally tells.
The latest fitness fad has us literally buzzing. Vibrating tools—and exercise classes—promise added benefits to your typical workout and recovery routine, and they're only growing more popular.
Warning: These good vibrations don't come cheap.
My life is in complete chaos since my dance company disbanded. I have a day job, so money isn't the issue. It's the loss of my world that stings the most. What can I do?
—Lost Career, Washington, DC
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among them is the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.
The encounter with man-eating female creatures in Jerome Robbins' The Cage never fails to shock audiences. As this tribe of insects initiates the newly-born Novice into their community and prepares her for the attack of the male Intruders, the ballet draws us into a world of survival and instinct.
This year celebrates the 100th anniversary of Jerome Robbins' birth, and a number of Robbins programs are celebrating his timeless repertoire. But it especially feels like a prime moment to experience The Cage again. Several companies are performing it: San Francisco Ballet begins performances on March 20, followed by the English National Ballet in April and New York City Ballet in May.
Why it matters: In this time of female empowerment—as women are supporting one another in vocalizing injustices, demanding fair treatment and pay, and advocating for future generations—The Cage's nest of dominant women have new significance.