On leaving the Mariinsky and starring in High Strung
In High Strung, Kampa plays a ballet dancer on scholarship at a prestigious New York City school. Photo courtesy Riviera Films.
There’s something about Keenan Kampa that sets her apart from the average ballerina. Both onstage and off, she is unfiltered, vulnerable and real. After becoming the first American to join the Mariinsky Ballet in 2012, she was almost immediately cast in principal roles, bringing a firestorm of criticism and sniping from some of the company’s Russian fans. Now, she’s left her coveted spot at the Mariinsky behind and is starring in the long-awaited dance film High Strung.
What initially brought you back to the U.S.?
I moved back to have hip surgery in January 2014. I’d had stress fractures in my foot for about three months, and was compensating a lot. In Russia, I had trouble saying “no.” There is no union there, and I worked so much, at times 11 hours a day, every day. I was planning to go back after I recovered, but at the last minute, I decided to stay in L.A. I wasn’t happy in Russia, and I missed my family.
How did you land the lead in High Strung?
NBC came to Russia for the Olympics, and they did a feature on me as an American dancer. High Strung’s director saw it and set up a phone call. Once I got off crutches from my hip surgery, I went to L.A. and read, but I still couldn’t dance. I eventually sent video samples from a class I was giving myself.
What was most challenging for you?
The dance sequences. Ballet is an art form that shouldn’t be seen from some angles. When you’re filming, you have so many cameras on you. I got really insecure, worried that they were filming something that wasn’t flattering.
What was it like seeing yourself on screen?
I wanted to bury myself in a hole. There are moments when you think you look so ugly or stupid. I can tell the days when I first started acting versus those days toward the end.
What have you been doing since?
I’m working on a couple of acting projects. I put together a gala for the Lejeune Foundation in France this summer, which raises money for genetic research and has a clinic for kids with Down syndrome and other conditions.
Do you ever miss company life?
People are quick to assume that the life of a ballet dancer is glamorous, but the daily grind is hard to keep up. If you’re constantly getting criticized, it takes every ounce of joy out of ballet. Now, I’m meeting incredible people with acting, but I’m still able to fall back in love with ballet each day. It’s not a job anymore, but a passion.
What does the future look like?
I’d love to see how successful I could be with acting. Doing the film was new and exciting and challenging. But there’s more to be done with dance and ballet. I’m waiting to see if I miss company life.
Fox produced a live broadcast of Rent in January—but could an original musical be next? Photo by Kevin Estrada, Courtesy Fox
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Hive by Boston Conservatory student Alyssa Markowitz. Photo by Jim Coleman
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
When you're a foreigndancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
Still of Fonteyn from the 1972 film I Am a Dancer. Photo courtesy DM Archives
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.