Bozeman (left) in Rennie Harris' Exodus. Photo by Paul Kolnik, Courtesy Ailey
It's the contrasts that set Jeroboam Bozeman apart. In a New York minute, his movements may jump from sharp and distinct to gracefully fluid. Bozeman defies labels; you're not sure if you're watching a ballet dancer, a modern dancer or (one of his favorite styles) a West African dancer.
Equally impressive is his offstage persistence: He auditioned for Alvin Ailey American Dance Theater five times before he was offered a place in Ailey II. A year later, in 2013, he finally joined the main company.
He describes dancing as "liberating," a quality evident when he's onstage—he's so present that you wish you were up there with him. "The more honest I am in my dancing," he says, "the more relatable it will be to people."
Essential oils sometimes get a bad rap.Between the aggressive social media marketing for the products and the sometimes magical-sounding claims about their healing properties, it's easy to forget what they can actually do.But if you look beyond the pyramid schemes and exaggerations, experts believe they have legit benefits to offer both mind and body.
How can dancers take advantage of their medicinal properties? We asked Amy Galper, certified aromatherapist and co-founder of the New York Institute of Aromatic Studies:
Karen Azenberg, a past president of the Stage Directors and Choreographers Society, stumbled on something peculiar before the union's 2015 move to new offices: a 52-year-old sealed envelope with a handwritten note attached. It was from Agnes de Mille, the groundbreaking choreographer of Oklahoma! and Rodeo. De Mille, a founding member of SDC, had sealed the envelope with gold wax before mailing it to the union and asking, in a separate note, that it not be opened. The reason? "It is the outline for a play, and I have no means of copyrighting…The material is eminently stealable."