Dancers & Companies

What Makes a Dance Documentary Captivating?

In La Chana, a flamenco dancer makes her triumphant return to the stage. Image via International Documentary Filmfestival Amsterdam.

Just as a dancer shapes a phrase with tension and release, a documentary filmmaker often gives equal weight to obstacles and triumph. The maker of Mr. Gaga, Tomer Heymann, took nine years to convey the layers of Ohad Naharin's art—and the depth of confusion he stirs within us. In 2009's The Last Tightrope Dancer in Armenia, Inna Sahakyan made viewers care about an obscure subject by showing a poignant student/mentor relationship between two tightrope dancers. A good documentary can cover any genre of dance, but what does it take to make a film grab the hearts and minds of its audience?


Capturing the Ephemeral

We can never actually capture a dance, so much as create an homage to it. A documentarian though can transmit an artist's magnetism with the collaboration of a great team and the skill of a storyteller. Lighting is a filmmaker's paint. It adds art, style, depth and heart to every scene. Framing and angling the camera in certain ways can clarify the emotional arch of a moment or phrase. Audio can emphasize the natural sounds of a dancer's feet and breath, bringing us closer to them. And editing the footage is an art similar to choreography; it demands musicality and a gift for suspense.

Beyond Interviews and Performance Footage

In La Chana, one of five documentaries nominated for the 2017 European Film Awards, director Lucija Stojevic evokes the mysteries of rhythm, the spirit and the power of silence, while taking us under the skin of a mature flamenco dancer named La Chana. Rather than simply weaving together performance footage and interviews—the architecture of many documentaries—Stojevic creates a sense of intimacy with her subject. She captures both her vulnerability and her strength, juxtaposing La Chana's everyday life with her ecstasy in performance, creating an emotional wave that reverberates with the viewer.

Making Dance Matter to Non-Dancers

As Libby Geist, executive producer for ESPN Films, says, a documentarian always has to look for great stories but then think from the perspective of the viewer barraged by data and ask "So what?" Keeping in mind why a particular ballet, dancer or company is magical, a filmmaker might pinpoint something of universal interest or cultural relevance, so that their documentary reaches an audience beyond dance lovers. If the creative team takes the time to question and probe, examine the footage, and, most importantly, gain the trust of the artist, the essence of the artist will reveal itself so that the answer to the question of "Who cares?" will be "Everyone!"

Respecting the Process

Often a documentary takes years to complete, either because of fundraising difficulties or because the kundalini of the film is just not rising. Only towards the last months of editing did Dayna Goldfine and Dan Geller, the team behind award-winning Ballets Russes (2005), find a way to make audiences feel the joy of these historical ballet performers. As curators and programmers often say, within every dance film is a shorter film crying to come out.

Telling Dancer-Driven Stories

Stojevic initially took on the task of creating La Chana with the understanding that she was going to unfold the untold reasons behind the disappearance of this self-taught prodigy in her prime. However, during the course of filming, she learned that La Chana wanted to focus on her spirituality. "I was born to dance," she says in the film. "When I dance, I am in my light." The details of the domestic violence that cut her down as a younger woman are largely skirted. But she hints at her years of despair and the physical woes of aging just enough to make us rejoice over her triumphant stage comeback. An emotionally courageous film celebrates an artist's connection with their soul, and makes us consider our own.

Lopez in Circus Polka. PC Alexander Iziliaev, Courtesy MCB

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.

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Matthew Neenan used images of silencing and control in let mortal tongues awake. Photo by Bill Herbert.

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.

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Breaking Stereotypes
Ash in Rochester, NY. PC Thaler Photography by Arleen and Daryl Thaler for the Swan Dreams Project

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."

If you're interested in supporting the project, check out the online shop, or donate directly at swandreamsproject.org.

Training
Sylvie Guillem, via 1843magazine.com

Ever find yourself lusting after that six o'clock penché, or a développé that will reach your nose? You're not alone. The eye is naturally drawn to the end points of a movement, and, in dance, that often translates to the highest extension.

But what if you're born without extreme, Instagram-worthy lines? It's a matter of developing a laser focus on alignment as well as strengthening and stretching with better body mechanics in mind.

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Dancers & Companies
Courtesy of The Beautiful Mind Series

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

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In The Studio
Abraham.In.Motion performing "Drive." Photo by Ian Douglas.

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.

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News
Tero Saarinen's Morphed. Photo by Darya Popova, Courtesy Helene Davis Public Relations

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.


Rant & Rave
PC Break the Floor

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."

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Dance in Pop Culture
Roberto Bolle and Kenall Jenner on set. Photo via tods.com

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.

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Training
Anne Arundel Community College students, PC Kenneth Harriford

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:

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