The Most Influential People in Dance Today: Michelle Dorrance
Michelle Dorrance has just returned from Stockholm, where she was teaching without pause for much of the previous week. Before that, she had a pit stop in New York, a quick gig in Los Angeles and performances in New Hampshire. "It was relentless," she says in a huskier-than-usual voice, owing to a cold. The breakneck itinerary is an apt illustration of what an in-demand artist she has become, especially since receiving a prestigious MacArthur Fellowship in 2015.
While that recognition may have introduced her to a new audience, dance fans and critics were already swooning for her sophisticated musicality, thrilling ensemble arrangements and layered choreography that hits a wide range of emotional notes.
Yet Dorrance would rather not be the subject of this profile. Though a proud ambassador for her art form and always eager to promote it, she resists the false narrative that often accompanies stories about her of a so-called tap revival, and the impulse to identify a "lone ranger" to represent it. "Tap's always been around. There's always been brilliant artists, it's just not in the spotlight," she says. "It was the same conversation when I was a teenager in the '90s." (Then, Savion Glover, with whom Dorrance has performed, was the "It" tapper.)
Part of what makes Dorrance, 37, such an influential figure is precisely this resistance to being singled out. One of the ways she deals with the attention is by redirecting it to her community. She constantly name-checks the people who influence her—from her parents to her mentor in North Carolina, Gene Medler, to heroes like Dianne Walker and Brenda Bufalino, collaborators like Derick K. Grant and Dormeshia Sumbry-Edwards, the members of her company, Dorrance Dance, and contemporaries like Chicago dancer Jumaane Taylor, who, she gushes, "is at the top of his game." You can tell she's genuine by the way her voice clears and perks up when talking about her colleagues, as though celebrating others is chasing away the cold.
Collaboration and tradition are the pillars of Dorrance's art, but it doesn't stop there. "She's also an innovator," says Linda Shelton, the executive director of New York City's Joyce Theater, one of several venues that have nurtured Dorrance. "She's honoring the traditions of tap, but she's also making it relevant to a new generation."
A prime example of her artistic values can be found in The Blues Project, which Shelton brought to The Joyce in 2015 for three performances and again in 2016 for two weeks, a rare feat that also speaks to Dorrance's popularity with audiences. Dorrance co-created the work with musician Toshi Reagon plus Grant and Sumbry-Edwards, weaving together nods to the past with inventive configurations and invigorating energy.
Another acclaimed work, ETM: The Initial Approach and its follow-up, ETM: Double Down, cleverly merged tap and technology ("ETM" stands for "electronic tap music"), and was created with longtime company member Nicholas Van Young, who praises Dorrance for her focus and openness. "Michelle is very clear with her intentions," he says, "yet in collaboration she always makes you feel free to explore, develop, share and express."
The mutual respect is clear. "We're loyal to her and she's loyal to us," says rehearsal director Elizabeth Burke, who has known Dorrance since age 6 and danced with her company since it was founded in 2011. "She has an uncanny ability to bring different people together with different skill sets and energies and make it feel like a cohesive art that makes sense."
Burke recalls the early days of Dorrance Dance, rehearsing at night in various studios on the Lower East Side and touring in an old minivan with mismatched doors. By that time, Dorrance was already a familiar face on the tap scene, having worked with Glover and performed with STOMP for years. Starting a company allowed her to experiment and work with dancers she admired, though its speedy path to success has surprised everyone involved.
For all her humility, Dorrance has expanded the possibilities of tap in significant ways. Moving forward, she's mindful of keeping tap history at the center of her work. "I want to further refine my vision so my influence is rooted in the integrity of our form," she says. And she's eager to refocus on her own dancing, which she feels has been neglected due to the administrative duties of the past few years. But she's not feeling rushed. "What I love about tap dancers is that they die in their 90s with their shoes on," she says. "We're a breed of dancers that doesn't retire with age."
You know Les Ballets Trockadero de Monte Carlo as the men who parody your favorite ballet variations—and make it look good. But there's more to the iconic troupe than meets the eye.
A new documentary, Rebels on Pointe, goes behind the scenes of the company, and it's full of juicy tidbits about what it's like to be a Trock. These were some of our favorite moments:
After 30 years of pioneering work in physically integrated dance, AXIS Dance Company co-founder Judith Smith has announced plans to retire from the Oakland, California, company. Throughout her tenure, she strived to get equal recognition for integrated dance and disabled dancers, commissioning work from high-profile choreographers like Bill T. Jones. Her efforts generated huge momentum for expanded training, choreography, education and advocacy for dancers with disabilities.
By phone from her home in Oakland, Smith reflected on how far the field has evolved since the early days of AXIS, and what's yet to be done.
You know that how you care for your body before curtain can impact your performance. But with so many factors to consider, it can be difficult to nail down an exact routine. How much rest is enough? How close to showtime should you eat? We asked the experts.
How do you make your athleisure collection stand out from the pack? Get the ultimate studio-to-street seal of approval by having dancers star in your campaign, of course.
For his second collaboration with activewear brand Carbon38, ready-to-wear designer Jonathan Simkhai traded in his usual top models like Gigi Hadid and Karlie Kloss for the original Hiplet dancers—and the resulting video is as cool as we'd expect from such a fierce collaboration.
To be honest, we never tire of watching non-dancers tackle a day in the life of the pros. From athletes to average Joes, these videos always give us a good laugh, and they remind the rest of the world that a whole lot of work goes into every dance performance you see. But often times, these dancer-for-a-day videos don't fully understand the importance of training (i.e., you can't just throw on a pair of pointe shoes and give it a go).
That's why we're especially loving this video by Refinery29 that actually gets it. Lucie Fink, host of the R29 YouTube series Lucie For Hire , got a private lesson from American Ballet Theatre principal Isabella Boylston, and it was endlessly entertaining.
Who are you when you no longer do what you've been doing for years?
It is the big question facing anyone who retires. For top ballet dancers, however, the situation is more extreme. They start young, grow up in a rarified atmosphere, mostly see only each other, and become more and more removed from ordinary life. So what is it like to give this all up?
I asked seven former principal dancers from different generations at San Francisco Ballet, including myself, about this challenge.
Again and again, dance teaches me that when the filters fall away between people—when the boundaries of geography, religion and politics soften—the beginning and end of our relationships is always human.
In March, I traveled with Keigwin + Company to Cote D'Ivoire, Ethiopia and Tunisia, on a tour sponsored by the US State Department and facilitated by DanceMotion USA/Brooklyn Academy of Music. Our mission was cultural diplomacy: Simply, to share ourselves with diverse communities, to promote common understanding and friendships.
Our last stop was Tunisia. Until that point, we had mostly been learning varieties of traditional African dance, and sharing American modern dance. But Tunisia was different. The dancers already had a solid grasp of contemporary movement invention. Though we didn't speak the same language, we could make movement vocabulary with surprising ease. Everything about our backgrounds was different, but there was this special intersection through dance that seemed to present an open door to collaboration.
Photo by Todd Rosenberg, Courtesy Joffrey Ballet.
Christopher Wheeldon's new Nutcracker for the Joffrey Ballet was huge news when it premiered last winter. The choreographer shifted the setting from the home of a well-off German family to the Chicago world's fair, making the hero the young daughter of a working-class, Polish immigrant sculptress. This month, WTTW Chicago, the city's public broadcasting station, will premiere Making a New American Nutcracker, a new documentary showing how Wheeldon and his high-profile collaborators made the magic happen. Premieres on WTTW11 and wttw.com/watch on Nov. 16 before appearing on public television stations across the country. Check your local listings.
For most dancers, walking into the theater elicits a familiar emotion that's somewhere between the reverence of stepping into a chapel and the comfort of coming home. But each venue has its own aura, and can offer that something special that takes your performance to a new level. Six dancers share which theaters have transported them the most.
GLENN ALLEN SIMS
Alvin Ailey American Dance Theater
Glenn Allen Sims in Alvin Ailey's Masekela Langage. Photo by Paul Kolnik, courtesy AAADT
Favorite theater: Teatro Real in Madrid, Spain
Royal details: "The theater is gorgeous and ornate, with deep red upholstery and gold trim. There is a huge royal box in the center, which takes you back to when kings and queens were watching performances there."
Impressive facilities: Even the dressing rooms are a sight to see: Amenities for the dancers include large, carpeted rooms, and towel service.
The business side of dance can often fall second to the art. Contracts, which usually appear after you've done the hard work of securing a job, can seem like an inconsequential afterthought. You might decide to simply sign without reading the terms—or be understandably confused by all the legalese.
Ultimately, though, contracts can play an important part in setting the expectations for your job. A basic understanding of the legal terms you might see can go a long way in making sure that signing is a positive step toward growing your career.