Dance Training
Robin Worrall via Unsplash

Social media has made the dance world a lot smaller, giving users instant access to artists and companies around the world. For aspiring pros, platforms like Instagram can offer a tantalizing glimpse into the life of a working performer. But there's a fine line between taking advantage of what social media can offer and relying too heavily on it.

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UA Dance Ensemble members Candice Barth and Gregory Taylor in Jessica Lang's "Among the Stars." Photo by Ed Flores, courtesy University of Arizona

If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.

The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:

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Dancers Trending
Alice Sheppard/Kinetic Light in DESCENT, which our readers chose as last year's "Most Moving Performance." Photo by Jay Newman, courtesy Kinetic Light

Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.

We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.

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Dance History
Sergei Diaghilev, who was terrified of the sea, posing with a life preserver aboard a ship. Photo courtesy DM Archives

On August 19, 1929, shockwaves were felt throughout the dance world as news spread that impresario Sergei Diaghilev had died. The founder of the Ballets Russes rewrote the course of ballet history as the company toured Europe and the U.S., championing collaborations with modernist composers, artists and designers such as Igor Stravinsky, Pablo Picasso and Coco Chanel. The company launched the careers of its five principal choreographers: Michel Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska and George Balanchine.

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The USC Kaufman graduating class with Mikhail Baryshnikov. Gus Ruelas/USC

Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.

Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:

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Breaking Stereotypes
Courtesy Chiara Valle

Chiara Valle is just one of many dancers heading back to the studio this fall as companies ramp up for the season. But her journey back has been far more difficult than most.

Valle has been a trainee at The Washington Ballet since 2016, starting at the same time as artistic director Julie Kent. But only a few months into her first season there, she started experiencing excruciating pain high up in her femur. "It felt like someone was stabbing me 24/7," she says. Sometimes at night, the pain got so bad that her roommates would bring her dinner to the bathtub.

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The Creative Process
A Ladies of Hip-Hop battle. Photo by Loreto Jamlig, Courtesy Ladies of Hip-Hop

Michele Byrd-McPhee's uncle was a DJ for the local black radio station in Philadelphia, where she was born. As a kid she was always dancing to the latest music, including a new form of powerful poetry laid over pulsing beats that was the beginning of what we now call hip hop.

Byrd-McPhee became enamored of the form and went on to a career as a hip-hop dancer and choreographer, eventually founding the Ladies of Hip-Hop Festival and directing the New York City chapter of Everybody Dance Now!. Over the decades, she has experienced hip hop's growth from its roots in the black community into a global phenomenon—a trajectory she views with both pride and caution.

On one hand, the popularity of hip hop has "made a global impact," says Byrd-McPhee. "It's provided a voice for so many people around the world." The downside is "it's used globally in ways that the people who made the culture don't benefit from it."

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Editors’ List: The Goods
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What's better on your morning commute than listening to a podcast, you ask? We'd say, listening to a dance podcast!

Lucky for us, there are more dance podcasts than ever. We're here to provide a guide to our current top dance podcast picks.

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The Creative Process
Rena Most at work backstage. Photo courtesy ABT

Every dancer knows there's as much magic taking place backstage as there is in what the audience sees onstage. Behind the scenes, it takes a village, says American Ballet Theatre's wig and makeup supervisor, Rena Most. With wig and makeup preparations happening in a studio of their own as the dancers rehearse, Most and her team work to make sure not a single detail is lost.

Dance Magazine recently spoke to Most to find out what actually goes into the hair and makeup looks audiences see on the ABT stage.

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Dancers Trending
James Yoichi Moore and Noelani Pantastico warm up onstage. Angela Sterling, Courtesy SDC.

On a sunny July weekend, hundreds of Seattle-area dance fans converged on tiny Vashon Island, a bucolic enclave in Puget Sound about 20 miles from the city. They made the ferry trek to attend the debut performance of the fledgling Seattle Dance Collective.

SDC is not a run-of-the-mill contemporary dance company; it's the brainchild of two of Pacific Northwest Ballet's most respected principal dancers: James Yoichi Moore and Noelani Pantastico. The duo wanted to create a nimble organization to feature dancers and choreographers they felt needed more exposure in the Pacific Northwest.

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Dance in Pop Culture
Courtesy Baytos

There's a type of dance you've never heard of: It's called "classical ballet." The progenitors included Mathilde Kschessinska, Vaslav Nijinsky and Anna Pavlova. The art form passed through generations from Margot Fonteyn, Rudolf Nureyev to Mikhail Baryshnikov. It continues in our own time—Misty Copeland!

It would be far-fetched, even absurd, to hear that in a lecture today! But that is how revelatory "The Choreography of Comedy: The Art of Eccentric Dance" was, at the Academy of Motion Picture Arts and Sciences in Los Angeles on August 5.

The evening program rediscovered a once-flourishing, but critically undervalued dance genre with deep historic roots. Betsy Baytos, an eccentric-dance expert and leading connoisseur of the loose-limbed, rubbery, out-of-joint, prat-fallish, snake-hipped and peg-legged, hosted and curated.

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Playlists

The most-played song on your Spotify says a lot about you. Maybe it's that guilty pleasure track you dance to while you're in the kitchen, or the one you have to listen to before going onstage.

We talked to 10 of our favorite pros about the song that's racked up the most plays on their phones—whether it's one they teach to, cross-train to, or just a song that helps them escape.

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Dancer Voices
Ashley Lynn Sherman in Lar Lubovitch's Dvořák Serenade. Anne Marie Bloodgood, Courtesy Ballet Austin

Despite what may be happening in the world or the cacophony of thoughts whirring through my head, I can step into the studio or onto the stage and escape. I'm not escaping from reality, but into a distinct layer of it. Dance is a moving meditation. I hear the music, I take in my environment, I feel the sensations in my body, I connect with my partners and colleagues, and we move through space. We tap into a collective consciousness and flow together. We make mistakes and we stay with it. We make choices and we learn. Sometimes we do things we never believed were possible. We push ourselves and our bodies to the edge. We ache. We keep working—creating, building, growing—and then we let go. Like a sand mandala, all this work culminates in release. I surrender everything I have to a role and then the curtain goes down, and that's it. The end. Of course, I get to bring this experience with me. It makes me stronger and informs my approach to the next opportunity. But as for the dancing, that only exists in the moment; it's like a metaphor for life.

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Just for Fun
Nisian Hughes, Courtesy Kimberly Giannelli PR

ABT besties Isabella Boylston and James Whiteside have a dream: To get the most dancers ever to go on pointe at the same time.

The pair, who go by the joint nickname "The Cindies," have teamed up with the morning talk show "Live with Kelly and Ryan" to try to dance into the record books on live TV. They're inviting anyone who can dance on pointe to join them outside the "Live" studio in New York City on Tuesday, September 10.

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Cover Story
Jayme Thornton

When Michelle Dorrance put on her first show as Dorrance Dance in 2011, in a shared evening with Dormeshia Sumbry-Edwards, a charismatic teenager was featured in both choreographers' works. Critic Gia Kourlas described Caleb Teicher in The New York Times as "a sleek dancer who possesses a beguiling combination of a relaxed upper body with switchblade feet." His appearance won him a Bessie for Outstanding Individual Performance.

The day after the award ceremony, he was back in class—ballet class. His growing reputation as a hot young tap dancer was making Teicher nervous that he would find himself pigeonholed before he had time to explore other options. So, he aggressively pursued anything that would let him be "not a tap dancer."

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Breaking Stereotypes
Kevin Joseph (center) during Bike East. Photo by Ian Lyn Photography, Courtesy Purelements

What does cycling have to do with dancing?

For Purelements: An Evolution in Dance co-founder Kevin Joseph, it's all about freedom: "That freedom of moving through space on a bike is the same freedom I feel when I'm dancing," he says. And that sense of freedom—whether it's in the studio or in the streets—is something that Purelements is determined to give to its East Brooklyn community.

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Dance on Broadway
A scene from SIX: The Musical. Photo by Idil Sukan, Courtesy Norwegian Cruise Line

Just last week, SIX: The Musicala new show, about the six wives of Henry VIII, that's seen wild success in the UK—announced it's officially coming to Broadway. Yes, it really is time for a pop-infused musical that delivers the skinny on the women whose fates read bluntly as: divorced, beheaded, died, divorced, beheaded, survived.

But before previews start February 13, 2020, SIX is continuing its out-of-town tryouts with a surprising twist: It will play aboard several Norwegian Cruise Line ships, beginning with the Norwegian Bliss September 1.

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Rant & Rave
Hamid Hamido/Unsplash

As a young dancer, I was taught that falling out of a relevé, even during class, was not an option. I was told to never, ever give up on it. "Die for it," my ballet master used to say.

I used to love, even dream, of being immersed in dance every day. But after 10 years of pushing myself beyond my limits as a full-time dancer, something started happening to me internally. My vision would get blurry, my body felt like I was spinning, and my ears would ring.

I did what I always did—I ignored the warning signs and pushed through it. I never wanted to look weak or incapable as a dancer, even if I was in a lot of pain. Even if I felt like I was going to pass out.

I began feeling this way every day. From what I can remember, that was when I started blacking out while I was dancing.

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News
Dayton Contemporary Dance Company in Donald McKayle's Rainbow 'Round My Shoulder. Photo by Paul B. Goode, Courtesy PTAMD

Paul Taylor American Modern Dance's annual Lincoln Center season will feature a free memorial performance on November 12 honoring Donald McKayle, who passed away in spring 2018 at age 87.

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News
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When I started writing about dance professionally a decade ago, the experience was akin to taking baby steps among giants. There was something profoundly humbling—not to mention terrifying—about reviewing a new Odette/Odile in the same pages as Clement Crisp, who saw his first performance in 1942 and famously quipped: "I want to hear from someone who has been to 500 Swan Lakes before they lift the pen."

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