The pair take on Judith Jamison and Mikhail Baryshnikov’s roles in Alvin Ailey’s Pas de Duke.
Simkin and Mack in costume for Pas de Duke. Photo by Jade Young, Courtesy YAGP.
If any two dancers could generate the buzz of Judith Jamison and Mikhail Baryshnikov, the original couple in Alvin Ailey’s flirtatious Pas de Duke, it might be Ailey’s own Alicia Graf Mack and American Ballet Theatre principal Daniil Simkin. The duo will bridge the worlds of ballet and modern dance—as Ailey intended when he made the duet in 1976—at the Youth America Grand Prix gala, April 10 at Lincoln Center. Siobhan Burke caught up with Mack and Simkin while rehearsals were well underway.
How did you end up dancing this piece together?
Daniil Simkin: I actually suggested it to Larissa Saveliev, the co-founder of YAGP, and she was like, Totally, we’re going to make this work, and I want you to partner Alicia.
Why did you suggest it?
DS: I’m always looking for new things to try. It’s a challenge, because, I mean, it’s Ailey, it’s an iconic piece, and especially because Mikhail Baryshnikov and Judith Jamison first danced it.
What’s challenging about it?
Alicia Graf Mack: While it’s very dance-y and jazzy, it’s still extremely technical. So you can have a good time, but you’re thinking, Okay, I gotta execute this. Also, it was designed to be a play on the classical pas de deux, but it’s not supposed to be a satire; it’s not supposed to be funny. That’s a challenge, because you have to walk a thin line between entertainment and comedy.
DS: It shouldn’t look cheesy or cheap.
AGM: Yeah. Class. All class.
Coming from different companies and backgrounds, how is dancing with each other?
AGM: It’s been amazing to watch Daniil in the studio because I’ve admired him onstage and in YouTube clips. His work ethic is incredible. I told him at the end, “You’re like a sponge! You soak it all in so quickly.”
DS: I have a lot to learn. The first series of hip rolls is my favorite step. It might be the simplest in the whole piece, but for me, it’s the hardest. When Baryshnikov danced it, he said that he felt like a cow on ice. The groundedness, the use of the hips. It’s a different kind of coordination. So I watch Alicia not to imitate her, but to really get at what she’s doing and make it my own.
What is it like to perform at a YAGP gala?
DS: The kids are so enthusiastic. There’s a lot of screaming [laughs]. Sometimes it’s like there’s a storm coming.
AGM: The first time I did a YAGP gala I was starstruck, just looking around and thinking, I can’t believe I’m taking class and performing with these people I’ve admired for so long. Like, Wow, I feel like I’ve arrived.
Thirty years ago, U.S. Joint Resolution 131, introduced by congressman John Conyers (D-MI) and Senator Alphonse D'Amato (R-NY), and signed into law by President G. W. Bush declared:
"Whereas the multifaceted art form of tap dancing is a manifestation of the cultural heritage of our Nation...
Whereas tap dancing is a joyful and powerful aesthetic force providing a source of enjoyment and an outlet for creativity and self-expression...
Whereas it is in the best interest of the people of our Nation to preserve, promote, and celebrate this uniquely American art form...
Whereas May 25, as the anniversary of the birth of Bill "Bojangles" Robinson is an appropriate day on which to refocus the attention of the Nation on American tap dancing: Now therefore, be it resolved by the Senate and House of Representatives of the United States of America in Congress that May 25, 1989, be designated "National Tap Dance Day."
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.
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
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?
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.
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.)
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.