The More Things Change...
Five years after Liz Lerman's departure, Dance Exchange continues to forge new initiatives.
Who gets to dance? Where is the dance happening? What is the dancing about? Why does it matter? In the 40 years since then-fledgling dancemaker Liz Lerman founded Dance Exchange, these four simple but profound questions have become not just the multigenerational company's mission, but its raison d'être. “The four questions," Cassie Meador, Dance Exchange's current executive artistic director, says, “are at the core of everything we do." Today, five years after Lerman left the company to work independently, the legacy she created is being reinvented by a new cohort of artists under Meador's direction.
Lerman started the group in 1976 by drawing together a loose collective of artists: “That word 'exchange' grew out of my sensibility that mixing it up would be better. I was interested in getting African dance into the studio, and other forms. The idea was that even in dance we should be in each other's genres."
What has remained a constant at Dance Exchange, even after Lerman's departure in 2011, is the ongoing nature of change in the organization, as well as those four questions. The company is continually evolving, adding and subtracting new programs or communities that it serves. “Those changes are in response to the curiosity of the artists at the core of the organization, but also in response to what we're hearing from outsiders, what the need might be," says Meador. Dance Exchange remains driven by the ideas and processes its resident and associate artists develop. During Lerman's leadership her projects included long-range explorations of topical works—the human genome; genocide and reconciliation; the physics and morality of the first atomic bomb; what is praiseworthy in our lives, to name a few. Today Meador and associate artistic director Matthew Cumbie are delving into their own choreographic interests and evolving new processes that remain true to Dance Exchange's core ethos.
Organizing Artists for Change, a new initiative Meador launched, offers opportunities for dance artists to explore the Dance Exchange methodology through workshops, institutes, residencies and process-oriented collaborative works. Dance Exchange will also begin work on a new multiyear project helmed by Cumbie called Growing Our Own Gardens, a look at queer world-making through dance, spoken word and drag. Off-Site/Insight: Stories from the Great Smoky Mountains, directed by Meador, will bring together artists from Asheville, North Carolina, along with the National Park Service, to dance on and about some of the oldest mountains in the world.
These days Lerman calls herself an alum—the works she now makes and the teaching and consulting positions she takes are independent of the company she founded, but she returns for visits on occasion for special events, like the recent 40th-anniversary celebrations. Lerman began work this fall as institute professor at Arizona State University's Herberger Institute for Design and the Arts, the largest public arts school in the U.S. She intends to use her teaching to bring together students across departments and break down what she calls “silos" of learning and practice, creating pathways for cross-disciplinary work. Lerman and others will also work on disseminating her popular Critical Response Process, a systematic approach to addressing the development of art works with a critical eye focused on the artist's needs, not the viewer's desires. Though developed from art making, the system now serves dialogue in many fields.
She also has a few choreographic projects in the works; fans can expect deeply researched, compelling topics to emerge. For Lerman, “the idea of exchange means you can spend time in other people's worlds—scientists, historians, painters—and you can maintain and enhance your personal discipline by making sure other people can come in."
When Miami City Ballet artistic director Lourdes Lopez was a principal dancer at New York City Ballet, she missed her opportunity to honor Jerome Robbins onstage. "Every time there was a celebration for Jerry, I was either injured or had just retired," says Lopez. "I was never able to publicly thank him onstage for all that he taught us and the beauty he left us."
But when Lopez was planning MCB's Jerome Robbins Celebration for the 100th anniversary of the legend's birth, she saw an opportunity. She asked the Robbins Trust to allow her to perform the Ringmaster in Robbins' Circus Polka, a role the choreographer originated himself.
From coast to coast, choreographers have spent the first year of Donald Trump's presidency responding to the impact of his election and what it means for them as artists.
New York City's Dante Brown used rubber Trump masks in his work Package (revamped), which examines the monstrosities of power.
A video titled "Dancers vs. Trump Quotes" went viral last summer, showing dancers taking Trump's "locker-room" talk to task.
Alexis Convento, lead curator of the New York City–based Current Sessions, dedicated a whole program to the concept of resistance, while educator and interdisciplinary artist Jill Sigman has initiated a workshop called "Body Politic, Somatic Selves," as a space for movement research around questions of support, activism and solidarity.
In San Francisco, choreographer Margaret Jenkins facilitated a panel of artists about the role of activism within their work.
Growing up in inner city Rochester, NY, Aesha Ash was just one of the neighborhood kids. She'd imagine people driving by, judging her by her black skin.
"They'd never know that I was dreaming of becoming a professional ballet dancer. No one would think, Some day she's going to make it into New York City Ballet," says Ash.
After an inspiring career at NYCB, Béjart's Ballet Lausanne and LINES, the January 2006 Dance Magazine cover star—one of our 25 to Watch that year—is no longer performing. But she's determined to use her dance background to change the stereotypes and misconceptions that people—including black people—have about women of color. "I want to show it's okay to embrace our softer side, and let the world know we're multidimensional," says Ash.
Aesha Ash in Richmond, CA. PC Renee Scott via swandreamsproject.org
In 2011, she launched the Swan Dreams Project to inspire kids in the community she grew up in. The original idea was to post images of herself in a tutu all over Rochester. "I remember growing up and in the bodega you'd see images of girls in bikinis on motorbikes," says Ash. "I wanted to replace those with photos that show women of color in a different light."
She knew the power imagery can have: She still remembers what it felt like as a student at the School of American Ballet to see a photo of black ballet dancer Andrea Long. "That image was everything on days when I was feeling disenchanted. I'd see that picture of her, and know that the struggles I was going through, she went through them, too."
Ash soon realized she didn't have the budget to fund her original plan ("I never realized how expensive a bus stop advertisement is!"). But she's made the images available through an online store, and often simply gives away prints at her own expense to schools and students in need of some inspiration.
Any proceeds she makes from the sales go directly to other organizations that are working to expand ballet in diverse communities. One large donation even led to a pointe shoe fund at dancer Robyn Gardenhire's City Ballet of Los Angeles school—and it helped one dancer who had quit ballet because of the expense come back to class.
Now a mother of two in San Jose, CA, Ash will also start teaching a free after-school ballet class at her daughter's public school next month. "I recently taught at Girls Inc. in Oakland, and one of the little black girls said, 'Are you the ballet teacher?' She just stood there, staring at me with her mouth open, like a unicorn had just walked into the room," Ash says. "You never know the impact you can have just by being a presence."
It is a great tragedy for dance history that iconic ballet partnerships like Margot Fonteyn and Rudolf Nureyev or Natalia Makarova and Mikhail Baryshnikov weren't able to document their backstage shenanigans on social media. (Okay, maybe not a great tragedy, but you have to admit that you're curious.)
Lucky for us, that isn't the case with today's star dancers—like American Ballet Theatre principal dancers Isabella Boylston and James Whiteside, aka The Cindies. These two aren't just onstage partners. They're serious #BestieGoals. Our evidence, as documented on Instagram, is as follows:
When London-based perfume company The Beautiful Mind Series was looking for a collaborator for their next scent, they skipped the usual celebrity set and brought in prima ballerina Polina Semionova instead. "I was fascinated by what goes on in the mind of a great dancer," perfumer Geza Schoen said in a press release. Semionova's ballet-inspired scent, Precision & Grace, celebrates the intelligence and beauty behind her craft.
Courtesy of The Beautiful Mind Series
The ever-so-busy Kyle Abraham is back in New York City for a brief visit with his company Abraham.In.Motion as they prepare for an exciting spring season of new endeavors with some surprising guests. The company will be debuting a new program at The Joyce Theater on May 1, that will include two new pieces from Abraham, restaged works by Doug Varone and Bebe Miller, and a world premiere from Andrea Miller. Talk about an exciting line-up!
We caught up with Abraham during a recent rehearsal where he revealed what he is tired of hearing in the dance community.
Choreographer Tero Saarinen has a proclivity for the peculiar—and for epic orchestral music. That he should be commissioned by the Los Angeles Philharmonic to create a new dance work to accompany the U.S. premiere of Bernd Alois Zimmermann's Cello Concerto en forme de pas de trois only makes sense. Zimmermann's eerie, difficult-to-classify composition falls squarely in Saarinen's wheelhouse. Walt Disney Concert Hall, Jan. 19–21. laphil.com.
Two competition routines are equal in technical proficiency, artistry and choreography. One consists of all girls, the other includes a boy. Guess which takes home first prize?
If you guessed the one with the boy, you may be privy to an unspoken and much-debated phenomenon in the competition dance world: The Boy Factor. According to The Boy Factor, a competitive piece is more likely to win if there's a boy in it.
"If it's all technically equal and one group is all girls and the other group has a boy, the one with the boy will win," says Rysa Childress, owner of All Star Studios in Forest Hills, New York. "Boy soloists are sometimes scored higher than more technically proficient girls because if a boy has good stage presence, we let him slide," says an anonymous competition judge. "And most of the feedback will be for the boy."
I'll never forget something Roberto Bolle once told me when I was interviewing him about his workout regimen: Talking about how much he loved to swim, he said, "I would love to go in the Italian sea, but I am too well-known there to show up in my suit."
It always amused and kinda shocked me that a ballet dancer could reach that level of fame. But it's true: In his native Italy, Bolle is a bonafide celerity.
Everyone knows that community college is an affordable option if a four-year school isn't in the cards. But it can also be a solid foundation for a career in the dance field. Whether students want an associate in arts degree as a precursor to obtaining a bachelor's, or to go straight into the performing world, the right two-year dance program can be a uniquely supportive place to train. Don't let negative stereotypes prevent you from attending a program that could be right for you: