"For me, it's a big full circle," says Lanteri, who used to take class at Steps when he first moved to New York City, and started teaching there in the mid-1980s. The 4:30 p.m. Tuesday/Thursday Advanced Intermediate Jazz slot he held down for many years taught a slew of young talent—including choreographers-to-be like Jessica Lang and Sergio Trujillo. "As a young teacher, Steps was a platform for me to travel the world giving master classes; it became the underlying foundation for what I'm doing now in my life."
When I was approached to write on ageism in dance, I have to admit that after the initial honor of the invite, I suddenly felt old.
I guess I fit the "qualifications" to write this. I'm 63. I've been professionally dancing and choreographing for some 40-plus years, and, in the process, have accumulated a certain amount of perspective on the field. After 20 years running Corning Dances & Company, in 2000 I suddenly looked up and realized I was 10 to 20 years older than my company members. The layers of nuance I was craving were not there; their albeit lithe bodies understandably lacked a base of worldly experience and expression. I couldn't present the kind of movement or conversation I wanted onstage.
Small- to medium-sized companies based in cities outside dance meccas—New York City, Chicago, Los Angeles—are often written off as "regional," or somehow lesser than their big city counterparts. But in recent decades, a few have defied such categorization as they've gained traction on the national and international scene.
So how does a company build an international profile without losing connection to its hometown? We asked the directors of Tulsa Ballet, Aspen Santa Fe Ballet and Sarasota Ballet to share their strategies.
Dear Dance Magazine,
Thank you for demonstrating a commitment to transparency and evolution during this divisive time in our country. Over the past few years I have seen the Dance Magazine content reflect increased awareness about the value of inclusion and diversity in U.S. culture. It also has highlighted the need for the dance industry culture to self-examine and pursue constant revisions (just as dancers themselves do).
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
As a student, Katherine Barkman competed in several prestigious ballet competitions, and even won first place at the Youth America Grand Prix in Philadelphia. But at age 21, already a guest principal dancer with Ballet Manila, she decided to return to the competition stage as a professional. She found herself humbled by an experience at the 2017 Moscow International Ballet Competition.
"I was pretty intimidated, thinking, This is the big leagues, this is the Bolshoi Theatre," says Barkman, who was eliminated after the first round. "You are not just judged on how good you are for your age."
Competitions have long had a place in the training of young dancers, allowing them more opportunities to perform and learn under pressure. But even after you've secured a company contract, there are myriad benefits to putting yourself in front of judges.
Most people assume that for dancers to be successful, they have to be extroverts who feed off of constant attention. They figure that introverts don't enjoy being in the spotlight.
But don't let anyone tell you that just because you're introverted, you can't have a career in dance.
According to the Myers & Briggs Foundation, the only real difference between introverts and extroverts is where they get their energy. Extroverts are energized by social interaction and drained by time spent alone, while introverts experience the opposite.
Longer ballet skirts are having a major moment. We've seen them popping up in the Instagram studio clips of dance fashionistas around the world—from American Ballet Theatre's Isabella Boylston to The Royal Ballet's Beatriz Stix-Brunell to Berlin State Ballet's Iana Salenko. And with cooler weather on the way, we have a feeling we'll be seeing even more calf-length skirts.
Beyond being trendy, long ballet skirts give any studio ensemble a sophisticated prima ballerina vibe (hi, Natalia Makarova). Try out one of these long skirt options.
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Bill T. Jones is one of the few choreographers who can weave together social consciousness with choreographic inventiveness. This is visible in all three parts of his Analogy Trilogy, a 6½-hour marathon that comes to NYU Skirball Center on Sept. 22 and 23.
In this Trilogy, Jones goes beyond his own cultural identity. The first part, Dora: Tramontane, centers on Dora Amelan, a Holocaust survivor who tried to help children during World War II. Her ordeal is told through interviews spoken by the dancers and envisioned in shifting scenes. The second part, Lance: Pretty aka the Escape Artist, is about Jones' nephew, and his involvement in the underground world of drugs and sex in New York in the 80s. This section contains several gorgeously choreographed duets. The third part, Ambros: The Emigrant, is not about a real person but about the nature of trauma and memory.
In Ikoradu, a part of Lagos, Nigeria, "The parents here don't believe in education," says Seyi Oluyole, in a video for Great Big Story. "They just want their kids to just sell stuff." Instead of watching the cycle continue, Oluyole took it upon herself to change these children's lives in a radical way.
Her method of connecting with them? Dance.
Adam Shankman came into the spotlight in 2007 when he choreographed and directed the movie-musical Hairspray and made his first appearances on the "So You Think You Can Dance" judging panel. But he was already more than a decade into his career as a choreographer and budding director. Today, Shankman is a Hollywood mainstay who has worked on scores of movies, TV shows and commercials, including dance classics like the Step Up franchise, which he produced. Next up: Directing the film What Men Want, which opens in January.
He recently spoke to Dance Magazine about his path to Hollywood and why the dance studio remains his favorite place.
The news of Paul Taylor's death two weeks ago at the age of 88 has sparked innumerable tributes to the choreographer. We were inspired to delve into Dance Magazine's extensive photo archives to see what images of the late modern dance titan were hiding there. We present a baker's dozen of our favorites from over the years.
Ten years ago I stood outside the New 42nd Street Studios near Times Square in New York City, freezing in a very long line, waiting to audition for Lucinda Childs. I thought about leaving after an announcement was made that dancers who did not register, like me, would not be seen. Today, I am on a plane home from Abu Dhabi where the Lucinda Childs Dance Company just gave its final performance of her 1979 masterpiece, DANCE, at The Performing Arts Center at NYU Abu Dhabi. Lucinda will be the first to say that she asked to see all the dancers waiting outside in 2008, and I am certainly grateful to my 24 year-old self for sticking around to see what would happen.
DANCE is the first piece of Lucinda's choreography I learned and it was the first piece that her newly-formed company performed. The process of learning the work presented its challenges; there were tears and much needed pep talks from family and castmates. But I fell in love with DANCE, too. For close to ten years, I was fortunate to dance this evening-length work all over the world. I'm not entirely sure I'm ready to say good-bye.
Joining all of the fashion month festivities is Sergei Polunin—but you won't catch him walking down the runway. The dancer- turned-actor is dipping his toes into the modeling world as part of the campaign for Balmain's Fall/Winter 2018 collection in designs by Olivier Rousteing (known for his embellished creations favored by celebrities like Beyoncé and Jennifer Lopez).
Forty years ago, the movie musical Grease introduced audiences around the world to Grease lightning and an iconic hand jive. Would anyone guess now that all those unforgettable rock-n'-roll style dances were choreographed by a former Martha Graham Dance Company soloist? (Was John Travolta actually in a contraction?)
Choreographer Patricia Birch, better known as Pat, says "I was always attracted to Broadway, even when I was dancing with Martha."
After Grease's sensational success, Birch continued choreographing and directing, working nonstop for five decades and counting. She directed and choreographed numerous Broadway productions (Candide, A Little Night Music), was resident choreographer for the first six years of Saturday Night Live, choreographed HBO's Boardwalk Empire, and is currently working on touring her musical production, Orphan Train.
We admit it. We're picky about dance movies. They don't always represent our beloved art form accurately, or use real dancers to play the main roles.
But we just watched the first trailer for the new Carlos Acosta biopic, Yuli, and we're kinda speechless: