You know compelling musicality when you see it. But how do you cultivate it? It's not as elusive as it might seem. Musicality, like any facet of dance, can be developed and honed over time—with dedicated, detailed practice. At its most fundamental, it's "respect for the music, that this is your partner," says Kate Linsley, academy principal of the School of Nashville Ballet.
Notable dancer and beloved teacher, Ross Parkes, 79, passed away on August 5, 2019 in New York City. He was a founding faculty member at Taipei National University of the Arts in Taiwan, where he taught from 1984 to 2006. Lin Hwai-min, artistic director of Cloud Gate Dance Theater, said: "He nurtured two generations of dancers in Taiwan, and his legacy will continue."
About his dancing, Tonia Shimin, professor emerita at UC Santa Barbara and producer of Mary Anthony: A Life in Modern Dance, said this: "He was an exquisite, eloquent dancer who inhabited his roles completely."
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:
More than once, when I'm sporting my faded, well-loved ballet hoodie, some slight variation of this conversation ensues:
"Is your daughter the dancer?"
"Actually," I say, "I am."
"Wow!" they enthuse. "Who do you dance with? Or have you retired...?"
"I don't dance with a company. I'm not a professional. I just take classes."
Insert mic drop/record scratch/quizzical looks.
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:
The 2019–20 season is here, and with it more performances than any one person could reasonably catch. But fear not: We polled our writers and editors and selected the 31 most promising tickets, adding up to one endlessly intriguing year of dance.
We've been dying to hear more about "On Pointe," a docuseries following students at the School of American Ballet, since we first got wind of the project this spring. Now—finally!—we know where this can't-miss show is going to live: It was just announced that Disney+, the new streaming service set to launch November 12, has ordered the series.
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In a sensual, troubled duet to the music of Amy Winehouse, dancers Chloe Perkes and Zachary Kapeluck channel the late singer's fraught relationship with fame, performance and love. They embody the haunting gravity of her story—while wearing enormous pairs of bunny ears.
On paper, Trey McInytre's Big Ones sounds like it shouldn't work. But risky choices are par for the course at BalletX, and this risk pays off. Founded as a summertime pickup troupe in 2005 by Christine Cox and Matthew Neenan when they were dancers at Pennsylvania Ballet, BalletX is dedicated to performing new work—and lots of it. Its repertory boasts a whopping 76 world premieres in 14 years.
For busy dancers on the go, it's easy to grab a premade salad on the way to class or scroll through delivery options as rehearsal comes to a close. But bringing homemade meals and snacks to the studio or theater has real payoffs. And making it happen doesn't have to be as difficult as you might think.
Snap, crackle, pop, crack, thunk, click.
Dancer hips can make an impressive variety of noises. Sometime these are painful, sometimes not; sometimes they're intentional, sometimes they just happen when dancing, cross-training or walking.
But what's actually making those noises—and should you be worried about them?
At this point, you'd think we'd all be used to the level of technical absurdity Daniil Simkin achieves when he's playing around in the studio. But then he did this:
...and now we're low-key appalled in the absolute best way.
After we picked our jaws up from the floor, we were inspired to dig up clips of some of our other favorite dancers turning like it's no big deal. Here are just a few standouts.
With so much dance in pop culture these days—from TV shows like "Fosse/Verdon" and "Pose" to the resurgence of movie musicals to movement-rich music videos—it's not surprising that the entertainment industry has decided to tip its hat to dance.
This week, plans for a Los Angeles–based Dance Hall of Fame were announced.
With her curly red tresses, Houston Ballet soloist Alyssa Springer may look like she stepped out of a Botticelli painting, making her a natural fit in classic story ballets. But watch her in contemporary work, and you see the great bones of her versatile technique. A favorite of visiting choreographers, Springer was promoted to demi-soloist in 2017 and soloist earlier this year. She continually stands out for her acting skills and ability to morph her style to whatever the choreographer in the room needs.
The 2019 Dance Magazine Awards are here! A tradition dating back to 1954, the Dance Magazine Awards have long celebrated living legends who've made a lasting impact on dance. These days, we go even further with our recently added Chairman's Award for distinctive leaders behind the scenes, and Harkness Promise Awards, a grant for innovative young choreographers.
So who's included among this year's honorees?
Roberto Bolle's rise in ballet reads like a fairy tale—one in which he's the prince. At 15, he was hand-picked by Rudolf Nureyev to perform with La Scala Ballet, and by 19 he was hired into the company. Two years later, he rose to the rank of principal, and in 2009, he joined American Ballet Theatre.
"A lot of ballets remind me of Roberto," says Hee Seo, ABT principal, who danced the role of Manon in Bolle's farewell performance this summer. Although Bolle will continue to guest with La Scala, he is leaving ABT to devote more time to a festival he's building in Italy. His final role with the company had special significance: Bolle also debuted with ABT in Manon, when Italian ballerina Alessandra Ferri requested him as her partner.
Seventy one years age today, a new movie hit theaters: The Red Shoes. For a certain generation of dancers, this was the movie—the one that initially inspired them to step inside the studio.
For others, it was the first film they ever saw that finally "got" them. When Moira Shearer's character Victoria Page answers the question "Why do you want to dance?" with the response "Why do you want to live?" she channeled the inexplicable passion of thousands who dedicate their lives to this art.
Of course, many dance movies have followed in The Red Shoes' footsteps. But not all are created equal. We polled some of the Dance Magazine staff to find out what they rate as the G.O.A.T. of dance movies. It turns out, there was a pretty clear favorite in the office.
When you hear names like Maria Kochetkova, Sutton Foster and Robbie Fairchild, you immediately picture flashes of them as the fully-formed, phenomenal performers they are today.
But even when they were kids, they had a glimmer of their future star power, giving a glimpse of what was to come. Thankfully for Instagram, we've got the pictures and home videos to prove it.
When it comes to our bodies, dancers have a bad habit of focusing on the negative. We often wish we were taller, or shorter, or stronger, or slimmer.
But as dancers our bodies give us so much, and negative body talk doesn't do anything to help us become better artists.
So we thought it'd be a nice change of pace to instead ask dancers what they love about their bodies:
If you forget about that lasagna you just reheated for even 10 minutes, it may get too cold for your liking. Your body isn't much different. After class, we lose most of our warmth within 15 minutes. So we need to warm up again if we have a longer break before rehearsal or performance. But do we have to repeat an entire class? Not necessarily.
The definition of "warm" in dance goes beyond heat. According to the International Association for Dance Medicine & Science, it's not only an increase in body temperature, but also an increase in the flow of synovial fluid (which helps joints move freely), faster breathing and focused concentration. All these changes get us ready to dance.
You nominated your favorite dance moments so far in 2019, and we narrowed them down to this list. Now it's time to cast your vote to help decide who will be deemed our Readers' Choice picks for the year!
Voting is open until September 17th. Only one vote per person will be counted.
What will it take to build more female leaders in ballet?
Dr. Linda Hamilton, the creator of Dance Magazine's longstanding advice column, Advice for Dancers, interviews New York City Ballet star Ashley Bouder about her work on the Ashley Bouder Project and the ways in which she's fighting for more female leadership in the ballet world.
This video is the first in Dr. Hamilton's new video series tackling the most current, newsworthy and controversial topics in dance.
