Why There's Nothing Else Like The Bond Between Dancers
At one point during my latest show, Unbound, I scamper offstage and disrobe as quickly as possible. Behind me, a friend I have known since we began taking dance class together 20 years ago (we danced to "The Color Song"; she was orange, I was purple) holds out a dress shirt for me to put my arms through. I start buttoning furiously while my dance partner, who was also one of my tap teachers for six years, holds out pants into which I step gingerly. While I fix my belt, she helps snake the microphone wire back up through my shirt so I can clip it into my collar and be back onstage in under a minute.
Among most groups of friends, this would be no ordinary—or comfortable—situation. But for me and the members of my company, Off Beat, it's a ritual that we're used to. We don't even think twice about the closeness, the vulnerability, the physical contact.
Dancers develop bonds unlike any other: Through our passion and commitment for our craft, and all the time we spend together, we develop our own family-like relationships that are almost impossible to explain to non-dancers.
Cynthia Clayton, Courtesy Casey
I've had these ties for as long as I can remember. Like many young dancers who train intensively multiple days per week, my closest friends were my dance friends. They were the only people who could relate to eating dinner at 10 p.m., as though we operated on a European schedule; to spending Friday nights in rehearsal for a production number instead of at a birthday party or a concert; to reviewing tap rhythms under our desks during math class; to the satisfaction of finally nailing a triple pirouette or a syncopated pullback.
We wore our matching team jackets the same way some families might don matching sweaters for their Christmas card photo. We argued over whether the battement was on 8 or 8& not unlike how siblings might fight over who gets the car on Saturday night. We celebrated birthdays, mourned break-ups, even counseled a peer who thought she was pregnant.
For those of us who are still dancing together, now professionally, not much has changed. We spend hours in the studio, in cars and buses and trains, in dressing rooms. All that time together makes us aware of each other's idiosyncrasies (one of my dancers hates the smell of bubble gum), immune to physical boundaries (if your hand ends up on someone else's butt while figuring out a new partnering move, so be it) and reluctantly accustomed to eating everything from handfuls of nuts to munchkins for "lunch" during long rehearsal days (from where do the delicious bins of animal crackers at the studio always seem to materialize?).
Post-performance in Providence, RI, via Instagram
Our relationships have developed as our work has developed: From being vulnerable and uncertain in front of each other while learning new material to sharing rooms and beds while on tour.
Unlike audience members, who only see me when I am onstage—joyous, focused, put-together—my company members see all sides of me: They see me when I am frustrated and defeated, stymied by what to do next in a piece whose vision I haven't yet clearly articulated. They see me when I'm moody and impatient during a long day of tech rehearsal and am trying to address unexpected difficulties while operating with low blood sugar. They see me exhausted, sweating, lugging props and set pieces down city streets and up stairs. They see me half-naked side stage during myriad quick changes, swearing furiously as a sock refuses to cooperate or my hand gropes wildly for the armhole of a shirt while my entrance cue looms ever closer.
Cynthia Clayton, Courtesy Casey
The rhetoric of family especially pervades the tap community. Many female tappers I know refer to each other as "sis." Dianne Walker is known to many of us as "Aunt Dianne" for her role in mentoring generations of hoofers (I even have her listed in my phone as such). When a colleague talks about "the fam," I know exactly what he or she means. Many photos on my Instagram feed bear the hashtag #tapfam.
At one of the studios where I teach, The Dance Inn of Lexington, MA, we celebrated our graduating seniors this year by profiling each of them in a special social media post. They all wrote about what it meant to them to be a part of the studio's pre-professional company. One described it as "my extra family." Another said it was "like having a second family." A third dancer opined, "I genuinely feel a part of a family."
I'm so glad they've made this great discovery about dance. My hope for them, as they move on to whatever is next, is that they cherish these bonds throughout their lives, as I know I have. I hope they are encouraged, supported and emboldened by their dance family.
There's just nothing else like it.
These days, it's not uncommon to see men dancing on pointe. Sure, the Trocks have been doing it forever, but now even men in traditional companies are seeing the benefits of training in pointe shoes.
And yet, we've never seen anything like this video of Houston Ballet's Hayden Stark, Derek Dunn and Daniel Durrett performing the "Shades" variations from La Bayadere on pointe. It's not a parody video or a spoof. These boys' pointework is the real deal, and we're all for it.
Your gut is a hot topic in nutrition right now. Experts say a healthy microbiome (the makeup of bacteria in our bodies) is associated with everything from a reduced risk of infection to a more efficient metabolism.
But can we actually make our inner bacterial population healthier?
For Dance Magazine's 90th anniversary issue, we wanted to celebrate the movers, shakers and changemakers who are having the biggest impact on our field right now. There were so many to choose from! But with the help of dozens of writers, artists and administrators working in dance, the Dance Magazine staff whittled the list down to those we felt are making the most difference right now.
Click through the links below to find out why they made our list.
With the first round of dancer duels complete, Jennifer Lopez and the World of Dance judges are bringing in some extra help as the competition thickens. American Ballet Theatre principal and all around dance superstar Misty Copeland will be the show's first guest judge for the July 18th and July 25th episodes.
It's our 90th anniversary! To celebrate, we excavated some of our favorite hidden gems from the DM Archives—images that capture a few of the moments in time we've documented over the decades.
We had a feeling that our ambitious list of "The Most Influential People in Dance Today" in celebration of Dance Magazine's 90th anniversary would turn some heads. But it's gotten even more attention than we'd expected.
It's not often that a magazine compilation of "movers and shakers" can be celebrated in the literal sense. But when the publication is Dance Magazine, that is of course the case.
The story mentions Dance Magazine's 1927 beginnings under the name The American Dancer, and highlights how our July issue tackled the idea of "influence" from many angles.
Thank you Adweek for the shoutout and the happy anniversary wishes!
On July 1 and 2, San Francisco audiences will encounter a performance that's an unsettling kick to our assumptions. Stephan Koplowitz has created Occupy, A site-specific journey through an urban garden to be performed by AXIS Dance Company at the Yerba Buena Gardens. This is a dance about inclusion.
As soon as we started putting together a list of the most influential people in dance today, we knew two things. By the very nature of the topic we were tackling, our final list was going to be:
1. Entirely subjective, and
2. By no means comprehensive.
We wanted to get your input and hear who else you felt should be on the list. So we asked you who we missed, and here's what you told us through email, Facebook and Twitter: