- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
- Buy A Single Issue
- Give A Gift Subscription
10 Minutes with Savion Glover
The tapper is shuffling back to Broadway.
Photo Courtesy Savion Glover Productions
Savion Glover made his Broadway debut at age 10, and has been dancing in the spotlight ever since. Today, at 41 years old, he still hopes to keep learning, improving, expanding and challenging himself and audiences. This month, he’ll open the Vail International Dance Festival. And in 2016, he will make a return to Broadway, as the choreographer for Shuffle Along, or, The Making of the Musical Sensation of 1921 and All That Followed, directed by Bring in ’Da Noise, Bring in ’Da Funk’s George C. Wolfe.
Shuffle Along is your first show with George C. Wolfe since Bring in ’Da Noise in 1996. What has that been like?
I’m just enjoying being in the same room with him. George is really pushing my choreography. I’m looking forward to gaining more knowledge about ways to approach theater and performing.
What do you think of tap on Broadway?
Tap on Broadway varies through time. There’s the Tommy Tune or Susan Stroman approach versus the Henry LeTang, Cholly Atkins, Honi Coles style—both lend themselves to the excitement and invite the audience in. Then something else becomes popular. Noise/Funk came with a different approach. I’m looking forward to being back on Broadway and reminding people of the greats of the past.
At this point in your career, how are you challenging yourself?
I don’t know if it’s something that I can or would be aware of. I continue to explore all the creative options available—through the dance, through different music choices—and try to produce in ways that will allow the audience to hear musicality differently.
You’ve been dancing your entire life. Do you ever grow tired?
No, never. I’m proud to be a part of a long legacy of great entertainment. I don’t take that lightly. It’s a privilege. That keeps me wanting to tap dance every day—to allow the names of these great people who have given so much of their talent and energy to live on. I continue to be inspired by the men and women who have raised me, taught me, have been my mentors: Jimmy Slyde, Buster Brown, Lon Chaney, Gregory Hines. And Dianne Walker, of course.
What do you think about tap today?
I can only speak for myself. As long as I’m doing it, then it’s in a good place! I have my opinion of what’s being done, but everyone’s entitled to their own way. I had to realize at a very early age that everyone doesn’t tap for the same reason. I just pay attention to what I have to do to make sure I am maintaining it with integrity.
Rebecca Warthen was on a year-long assignment with the Peace Corps in Dominica last fall when a storm started brewing. A former dancer with North Carolina Dance Theatre (now Charlotte Ballet) and Columbia City Ballet, she'd been sent to the Caribbean island nation to teach ballet at the Dominica Institute of the Arts and in outreach classes at public schools.
But nine and a half months into her assignment, a tropical storm grew into what would become Hurricane Maria—the worst national disaster in Dominica's history.
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
Ever wonder why some dancers' port de bras appears to be disconnected from their body? It typically comes down to how they stabilize their shoulder blades, says Marimba Gold-Watts, Pilates instructor to dancers like Robert Fairchild.
"Dancers often hear the cue to pull down on their latissimus,"—the biggest muscle in the back—"which doesn't allow the shoulder blades to lie flat," she says. "It makes the bottom tips of the shoulder blades wing, or flare out, off the rib cage."
Sidra Bell is one of those choreographers whose movement dancers are drawn to. Exploring the juxtaposition of fierce athleticism and pure honesty in something as simple as stillness, her work brings her dancers to the depths of their abilities and the audience to the edge of their seats.
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
Some dancers move to New York City with their sights set on a dream job: that one choreographer or company they have to dance for. But when Maggie Cloud graduated from Florida State University in 2010, she envisioned herself on a less straightforward path.
"I always had in mind that I would be dancing for different people," she says. "I knew I had some kind of range that I wanted to tap into."
New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.
Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.
Here's everything you need to know about how to submit:
When Lisset Santander bourréed onstage as Myrtha in BalletMet's Giselle this past February, her consummate portrayal of the Queen of the Wilis was marked by steely grace and litheness. The former Cuban National Ballet dancer had defected to the U.S. at 21, and after two years with the Ohio company, she's now closer to the dance career she says she always wanted: one of limitless possibilities.