Magazine

15 Years, 15 Artists, 15 Works

To kick off 2015, we asked 15 leading choreographers working in the U.S. to choose what they see as the most influential work of the past 15 years. Their selections highlight a slice of the creativity witnessed in the past decade and a half—and offer insight into what drives their own artistic choices.

 

Julie Tolentino in Raised by Wolves. Photo by Yongho Kim, Courtesy Tolentino.

David Roussève

Julie Tolentino’s Raised by Wolves, 2013

In a virtuosic tour-de-force that included choreography, improvisation and vocal incantations, Tolentino created an intimacy so potent that it was both frightening and exhilarating. This installation included a solo performed 50 times over a few weeks for an audience of no more than five in the Commonwealth & Council gallery in Los Angeles. It influenced me not just on how to make dances, but how to be an artist. It was a reminder of why I do what I do: to takes risks, to speak directly about the most complex issues of the human condition, and to try to do so in a wholly original way.

 

 

Bel in Cédric Andrieux, Photo by Marco Caselli Nirmal, Courtesy Bel.

Allison Orr

Jérôme Bel’s Cédric Andrieux, 2009

The end had me in tears as Cédric sang along with The Police’s “Every Breath You Take.” I felt so seen and understood as a dancer throughout the piece. I wanted to continually stand up and say, “See, this is what it is like!” And at the end, when Cédric looked at all of us, with no dancer gaze, just as a human being, I thought, This is exactly why I make dances: So I can get to this moment.

 

 

 

Ordinary Witnesses, Photo by Ian Douglas, Courtesy NYLA.

Jonah Bokaer

Rachid Ouramdane’s Ordinary Witnesses, 2009

This rare, powerful work attempts to bear witness to events of human suffering in history. But it also achieves an aesthetic coup by using understated and intelligent staging in a documentary form of dance theater. I feel Rachid is posing an existential question: Can dance and choreography even have the criteria to address these issues? This work tilts the conversation of choreographic content, quite radically, into new directions.

 

 

 

 

Merce Cunningham Dance Company in 2011’s Park Avenue Armory Events, Photo by Stephanie Berger, Courtesy Park Avenue Armory.

Brian Reeder

Merce Cunningham Dance Company’s farewell performance, 2011

The final shows of the Cunningham company at the Park Avenue Armory, which included his 2009 Nearly Ninety, were a profound reminder that artists can keep forever growing through all points of their creative journey, regardless of age. The scope/size of the space and the amount of dance vocabulary being shared from the several stages set up—and the magnitude of importance of Merce’s work—was beyond anything I have witnessed.

 

 

Urban Bush Women in Walking with Pearl...Southern Diaries, Photo by Ayano Hisa, Courtesy UBW.

Liz Lerman

Jawole Willa Jo Zollar’s Walking with Pearl suite (Africa Diaries, 2004; Southern Diaries, 2005)

In this piece, Jawole Zollar mined histories of dance, a people and a place. Using collective and personal narratives with dancing that’s both fierce and intimate, she’s influenced generations of artists. She’s made a refuge in the form of a company, a network and an institute for choreographers of color, and has raised her voice for all women in the field.

 

 

 

Cedar Lake in Ten Duets on a Theme of Rescue. Photo by Paula Lobo, Courtesy Cedar Lake.

Nicolo Fonte

Crystal Pite’s Ten Duets on a Theme of Rescue, 2008

This work very literally explores what the title expresses. Yet it is so fully realized that the choreography transcends its own specificity into a totally riveting experience of sheer physical magnificence. She reveals the fragility in human emotion and beauty without an ounce of irony.

 

Alvin Ailey performs Grace. Photo by Paul Kolnik, Courtesy AAADT.

Kyle Abraham

Ronald K. Brown’s Grace, 1999

This piece makes me want to shout, holler and cry…and give witness. Witness to a culture where dance works as an exalter of pain, frustration and loneliness. The themes still resonate, 15 years later, as a powerful celebration of the lives deeply embedded into club culture that have passed on. I’ve always viewed it as a dedication to those who’ve sought dance and club culture as the ultimate healer.

 

 

Mark Haim’s This Land Is Your Land. Photo by Tim Summers, Courtesy Haim.

Monica Bill Barnes

Mark Haim’s This Land Is Your Land, 2010

This was one of the most powerful, moving works I have ever seen. Mark is a riveting performer who blends a down-to-earth real-person quality with perfectly executed technical movement choices, and he was able to transfer these qualities to a large group of both dancers and non-dancers. It was profoundly beautiful and joyful and heartbreaking. I feel like this is the best example of the belief that some ideas and emotions can only be expressed through movement.

 

Liam Mower as Billy. Photo by David Scheinmann, Courtesy Billy Elliot.

Andy Blankenbuehler

Peter Darling’s Billy Elliot, 2005

I was so intrigued by the beautiful imagery that Peter Darling brought to the “Grandma’s Song,” a vocal solo, through a slow-moving wave of choreography that passed from one side of the stage to the other. It was a perfect example of how stylized ensemble choreography can function as an impressionistic surround, illuminating the subtext and complexity of a narrative solo.

 

 

You Got Served. Photo © Columbia Pictures’ Screen Gems.

Tabitha and Napoleon D’umo

You Got Served, 2004

This was the first time that the crew-based mentality style of hip hop was seen on the big screen. Dave Scott’s work is incredible, and really started a whole dance crew craze.

 

 

Atlanta Ballet in 1st Flash. Photo by Charlie McCullers, Courtesy Atlanta Ballet.

Alejandro Cerrudo

Jorma Elo’s 1st Flash, 2003

I remember being in awe of this piece. I told everyone I knew that Jorma had reignited the conversation between classical and con­tem­po­rary dance, in a new way that invited gesture and idiosyncrasy back to the table. After its pre­miere, Jorma was called to choreograph for major classical and contemporary companies everywhere. He has since clearly influenced the dance world and, to my eyes, 1st Flash was the beginning of it.

 

 

Non Griffiths in Dover Beach. Photo by Paula Court, Courtesy The Kitchen.

Lar Lubovitch

Sarah Michelson’s Dover Beach, 2009

Through an accumulation of highly original and powerfully athletic dances, exemplified well by Dover Beach, Sarah Michelson re-legitimized the type of technical/formalist dance language as a vehicle for avant-garde expression that had formerly become anathema to downtown dancemakers in general. Her dances oppose the rejection of all artifice (associated with the Judson Church aesthetic) with a theatricalism that nonetheless retains high-art bona fides poised on the border between dance and gallery-worthy visual art.

 

Mark Morris Dance Group in V. Photo by Robbie Jack, Courtesy MMDG.

Jessica Lang

Mark Morris’ V, 2001

The intelligence, craft, structure, musicality, mathematical patterns, the unavoidable humanity—this piece is timeless. It inspired me by demonstrating that a choreographer is responsible for creating everything that happens on the stage. Nothing is haphazard about its construction, indicating a strong singular voice from Mr. Morris that is brought to life through his beautiful dancers.

 

 

 

Akram Khan’s ma. Photo Courtesy Akram Khan Company.

Annabelle Lopez Ochoa

Akram Khan’s ma, 2004

I was humbled by ma. It combined philosophy, poetry, intricacy and humor. I felt that everything had been said. Nothing more could be added choreographically.

 

 

 

 

 

 

Paxton in The Beast. Photo by Julieta Cervantes, Courtesy BAC.

Stephen Petronio

Steve Paxton’s The Beast, 2010

Through this profoundly gripping study of small spinal manipulations and shifts of energy, Paxton somehow suspends time. The dark, disorienting palette of action confirms the belief that imagination is the only limit to innovation, and that the prerequisite of youth in dance is an illusion: Paxton, still an extraordinary innovator at age 75, accomplishes what younger dancers can’t begin to do.

 

The Conversation
Health & Body
It's not about what you have, but how you use. Photo by Brooke Cagle/Unsplash

From the angles of your feet to the size of your head, it can sometimes seem like there is no part of a dancer's body that is not under scrutiny. It's easy to get obsessed when you are constantly in front of a mirror, trying to fit a mold.

Yet the traditional ideals seem to be exploding every day. "The days of carbon-copy dancers are over," says BalletX dancer Caili Quan. "Only when you're confident in your own body can you start truly working with what you have."

While the striving may never end, there can be unexpected benefits to what you may think of as your "imperfections."

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Dance Training
Alexander Iziliaev, courtesy MCB

It's the second week of Miami City Ballet School's Choreographic Intensive, and the students stand in a light-drenched studio watching as choreographer Durante Verzola sets a pas de trois. "Don't be afraid to look at the ceiling—look that high," Verzola shows one student as she holds an arabesque. "That gives so much more dimension to your dancing." Other students try the same movement from the sidelines.

When Arantxa Ochoa took over as MCB School's director of faculty and curriculum two years ago, she decided to add a second part to the summer intensive: five weeks focused on technique would be followed by a new two-week choreography session. The technique intensive is not a requirement, but students audition for both at the same time and many attend the two back-to-back.

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Instructor Judine Somerville leads a musical theater class. Photo by Rachel Papo

On a summer afternoon at The Ailey School's studios, a group of students go through a sequence of Horton exercises, radiating concentration and strength as they tilt to one side, arms outstretched and leg parallel to the ground. Later, in a studio down the hall, a theater dance class rehearses a lively medley of Broadway show tunes. With giant smiles and bouncy energy, students run through steps to "The Nicest Kids in Town" from Hairspray.

"You gotta really scream!" teacher Judine Somerville calls out as they mime their excitement. "This is live theater!" They segue into the audition number from A Chorus Line, "I Hope I Get It," their expressions becoming purposeful and slightly nervous. "Center stage is wherever I am," Somerville tells them when the music stops, making them repeat the words back to her. "Take that wherever you go."

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Brooklyn Studios for Dance founder Pepper Fajans illustrates the cold temperatures inside the studio. Screenshot via Vimeo.

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Anika Huizinga via Unsplash

As winter sets in, your muscles may feel tighter than they did in warmer weather. You're not imagining it: Cold weather can cause muscles to lose heat and contract, resulting in a more limited range of motion and muscle soreness or stiffness.

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News
The International Association of Blacks in Dance's annual audition for ballet dancers of color. Photo by E. Mesiyah McGinnis, Courtesy IABD

A newly launched initiative hopes to change the face of ballet, both onstage and behind the scenes. Called "The Equity Project: Increasing the Presence of Blacks in Ballet," the three-year initiative, funded by the Andrew W. Mellon Foundation, is a partnership between Dance Theatre of Harlem, the International Association of Blacks in Dance and Dance/USA.

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Nashiville Ballet artistic director Paul Vasterling went through executive coaching to be come a better leader. Photo by Anthony Matula, Courtesy Nashville Ballet

From the outside, it seemed like the worst of New York City Ballet's problems were behind them last winter, when ballet master in chief Peter Martins retired amid accusations of abuse and sexual harassment, and an internal investigation did not substantiate those claims.

But further troubles were revealed in August when a scandal broke that led to dancer Chase Finlay's abrupt resignation and the firing of fellow principals Amar Ramasar and Zachary Catazaro. All three were accused of "inappropriate communications" and violating "norms of conduct."

The artistic director sets the tone for a dance company and leads by example. But regardless of whether Martins, and George Balanchine before him, established a healthy organization, the issues at NYCB bespeak an industry-wide problem, says Jawole Willa Jo Zollar, founding artistic director of Urban Bush Women. "From New York City Ballet to emerging artists, we've just done what's been handed down," she observes. "That has not necessarily led to great practices."

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Popular

If you've ever wondered what goes on behind the scenes at Dance Magazine, now's your chance to find out. Dance Magazine is seeking an editorial intern who's equally passionate about dance and journalism.

Through March 1, we are accepting applications for a summer intern to assist our staff onsite in New York City from June to August. The internship includes an hourly stipend and requires a minimum two-day-a-week commitment. (We do not provide assistance securing housing.)

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News
Credits with photos below.

For the past few months, the dance world has been holding its collective breath, waiting for New York City Ballet to announce who will take over the helm as artistic director.

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Nine months later, the new director's name could be released any day now. And we have some theories about who it might be:

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Irina Dvorovenko with Tony Yazbeck in The Beast in the Jungle. Photo by Carol Rosegg, Courtesy Sam Rudy Media Relations.

Some people take this profession as just a chapter of their life. They feel like dance is a job—a fun job, but a job. Other people live their life through dance. I never considered being a ballerina a profession. It's a lifestyle.

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Dance & Science
Amar Odeh/Unsplash

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Umi Akiyoshi Photography, Courtesy Sidra Bell Dance New York

Sebastian Abarbanell remembers being asked as an undergrad at Trinity Laban in London to perform wearing only a dance belt. "I said no," he says, "because I felt uncomfortable." Now a performer with Sidra Bell Dance New York, he's performed partially nude several times, without reservation. The difference? "It comes with more experience and maturing as a dancer," he says. "When you see a dancer living in their skin, you don't need to put anything else on them. When I said no in college, I wasn't in my skin yet."

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Dancers Trending
Photos via Polunin's Instagram

If you follow Sergei Polunin on Instagram, you've probably noticed that lately something has been...off.

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25 to Watch
Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt

What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.

Here they are: the 25 up-and-coming artists we believe represent the future of our field.

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The Creative Process
Forsythe's in the middle, somewhat elevated uses the battement like an attack. Photo by Alexander Iziliaev, courtesy Pennsylvania Ballet

Just before retiring in 2015, Sylvie Guillem appeared on "HARDtalk with Zeinab Badawi," the BBC's hard-hitting interview program. Badawi told Guillem,

"Clement Crisp of the Financial Times, 14 years ago, described your dancing as vulgar."

Guillem responded,

"Yeah, well, he said that. But at the same time, when they asked Margot Fonteyn what she thought about lifting the leg like this she said, 'Well, if I could have done it, I would have done it.' "

They were discussing Guillem's signature stroke—her 180-degree leg extension à la seconde. Ballet legs had often flashed about in the higher zones between 135 and 160 degrees before. But it wasn't until the virtuoso French ballerina regularly
extended her leg beside her ear with immaculate poise in the 1980s that leg extensions for ballet dancers in classical roles reached their zenith. Traditionalists like Clement Crisp were not taken with it.

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Dancers Trending
Courtesy Birmingham Royal Ballet

Birmingham Royal Ballet announced today that international star Carlos Acosta will be taking over as director in January of 2020. Current BRB director David Bintley will be stepping down this summer, at the end of the company's 2019 season, after a 24-year tenure. "It is a tremendous honor and privilege to have been appointed to lead Birmingham Royal Ballet," Acosta said in a statement.

Since retiring from The Royal Ballet in 2015, Acosta has focused much of his attention on his native Cuba, where he's proven his directorial abilities at the helm of Acosta Danza, the contemporary company that he founded in 2016. In 2017 Acosta also opened his first Dance Academy through his foundation, which provides free training to students. We don't yet know how Acosta will balance his time between his projects in Cuba and his new role at BRB.

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Advice for Dancers
When you spend most of your day at the theater, it's challenging to find time to date. Photo by rawpixel/Unsplash.

My personal life has taken a nosedive since I broke up with my boyfriend. He's in the same show and is now dating one of my colleagues. It's heartbreaking to see them together, and I'm determined never to date a fellow dancer again. But it's challenging to find someone outside, as I practically live in the theater. Do you have any advice?

—Loveless, New York, NY

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News
Carol Channing in the original 1964 production of Hello, Dolly! Photo by Eileen Darby, Courtesy DM Archives.

The inimitable Carol Channing, best known for her role as the titular Hello, Dolly!, passed away today at 97.

Though she became a three-time Tony winner, Channing was born in Seattle, far from the Great White Way, in 1921. After growing up in San Francisco, she attended the famed Bennington College, studying dance and drama. She later told the university, "What Bennington allows you to do is develop the thing you're going to do anyway, over everybody's dead body." For Channing, that meant decades of fiery, comical performances, bursting with energy.

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News
It includes this familiar face! (Erin Baiano)

Something's coming, I don't know when
But it's soon...maybe tonight?

Those iconic lyrics have basically been our #mood ever since we first heard a remake of the West Side Story film, directed by Steven Spielberg and choreographed by Justin Peck, was in the works. THE CASTING. THE CASTING WAS COMING.

Well, last night—after an extensive search process that focused on finding the best actors within the Puerto Rican/Latinx community—the WSS team finally revealed who'll be playing Maria, Anita, Bernardo, and Chino (joining Ansel Elgort, who was cast as Tony last fall). And you guys: It is a truly epic group.

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Cover Story
Leta Biasucci's on and offstage charm has made her a company favorite. Photo by Jayme Thornton for Dance Magazine.

Rehearsal is in full swing, and Leta Biasucci, Pacific Northwest Ballet's newest principal dancer, finds herself in unfamiliar territory. Biasucci is always game for a challenge, but choreographer Kyle Davis wants her to lift fellow dancer Clara Ruf Maldonado. Repeatedly. While she's known for her technical prowess, lifting another dancer off the floor is a bit daunting for Biasucci, who stands all of 5' 3". She eyes Maldonado skeptically, then breaks into a grin.

"It's absolutely given me a new appreciation for the partner standing behind me!" Biasucci says with a laugh.

Looking at Biasucci, 29, with her wide smile and eager curiosity, you think you see the quintessential extrovert. In reality, she's anything but. "I was an introverted kid," Biasucci says. "That's part of the reason I fell in love with dance—I didn't have to be talkative."

It's only one of the seeming contradictions in Biasucci's life: She's a short, muscular ballerina in a company known for its fleet of tall, long-legged women; she's also most comfortable with classical ballet, while taking on a growing repertoire of contemporary work.

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News
Aurelie Dupont explained she did not share Polunin's values. Photo via Instagram

Sergei Polunin, whose recent homophobic and sexist Instagram posts have sparked international outrage, will not be appearing with the Paris Opéra Ballet as previously announced.

POB artistic director Aurélie Dupont sent an internal email to company staff and dancers on Sunday, explaining that she did not share Polunin's values and that the Russian-based dancer would not be guesting with the company during the upcoming run of Rudolf Nureyev's Swan Lake in February.

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