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A Dancer's Director
Johan Kobborg has transformed the National Ballet of Romania.
Kobborg rehearses with Alina Cojocaru at American Ballet Theatre’s studios for a gala in New York City. Photo by Taylor-Ferné Morris
Johan Kobborg was in Bucharest staging La Sylphide for the National Ballet of Romania in 2013 when, out of the blue, he received a job offer: to become its artistic director. He wasn’t looking. “After I left The Royal Ballet, I was thinking, for the first time in my life, to not be part of a big institution,” he recalls during a recent visit to New York. “Now I use the words: ‘live my life.’ ” That meant anything—dancing, staging, choreographing. He adds, “I wasn’t afraid of suddenly being without anything.”
But those four weeks in Romania had gone so well that he happily accepted. Kobborg, 43 and engaged to Alina Cojocaru—the luminous Romanian ballerina who left The Royal for English National Ballet and is a guest artist with Kobborg’s company—is two years into a four-year contract. So far, he’s transformed the company, not only improving working conditions but adding new repertoire by choreographers like Alexei Ratmansky, Sir Frederick Ashton, Jirí Kylián and Yuri Possokhov. In April, the troupe performs Manon; in June, it unveils William Forsythe’s In the middle, somewhat elevated, George Balanchine’s Theme and Variations and Jerome Robbins’ In the Night. Kobborg knew it wouldn’t be easy: “But,” he says with a smile, “I’ve enjoyed every single moment.”
Photo by Taylor-Ferné Morris
So what hasn’t been easy?
I was, in many ways, entering a place that was stuck in the past. There were not many outside influences or different ways of looking at things. They were used to the same class every day, by the same teacher. The productions were really looking like they were from the ’40s and ’50s. I didn’t feel there had been any kind of, Let’s try making something better.
What did you do?
I entered with a management group that did not believe that just because things used to be done like this, that this was how we should do it. So there was a different energy and approach: How do we sell ballets? How do we get people involved? How do we raise money? The people in charge don’t want it the old way.
Also, I don’t have to work with a board of directors. I don’t have to ask anybody else’s opinion. I’ve entered this room where I don’t need to polish what’s already made. I almost consider it a blank canvas. It’s an extreme freedom. The only limits I have are financial.
What are the challenges of limited resources?
A gala to raise awareness of the company this winter included both Romanian dancers and stars from around the world, such as Daniel Ulbricht, at left. Photo by Taylor-Ferné Morris
It is a huge issue. Just a few months after I took over, the building went into refurbishment. It’s still being refurbished. Things take time. [Laughs] For the first almost-half year, the entire company would be changing in one room with a piece of cloth separating girls and boys. There were no studios; there was one room that had no sprung floor. And really, honestly, you don’t make much money in Romania from being a dancer. People would be shocked. Shocked. I can’t offer dancers much; what I can offer them is good rep. I still think like a dancer, and I know what worked in my career: It was to get opportunities. This is not a place where you have to sit and hold a spear for years and years. I don’t believe in waiting until you’re certain someone’s ready. Then it’s too late.
Did you have sprung floors installed?
Yes. When I was staging La Sylphide, I was taking class daily, and I couldn’t dance on those floors. It wasn’t just not strong, there were big holes. Now we have Harlequin floors in all the studios. We have a masseuse now. What we don’t have is a physio department. Alina has donated what I would call the beginning of a gym. Some weights. At first, we didn’t even have an ice machine. We had nothing. But then again, sometimes if you have everything, then you don’t appreciate it.
Did you think about how you didn’t want to treat dancers?
Yeah. [Smiles] And this is where it’s tricky. Sometimes it’s not possible to make things happen the way you would really like them to no matter how hard you try. I think I knew more about how I would not want to do things. The ballet department consists of me and two people; it doesn’t matter if it’s handing out pointe shoes, locking doors at night or making weekly schedules. So communication is very important. My door’s always open. I’ve seen too many people who have been stuck in a place and slowly the passion in them dies. Day by day by day. I’m really trying to make that not happen the best I can. I’m not your usual director, I can tell you that.
Photo by Taylor-Ferné Morris
I don’t look like a typical director. I don’t necessarily speak with people as one. I believe respect is not some attitude you put on and then get. It comes from honesty, openness. I don’t like to play games. I don’t hold a grudge. It’s very important for me to hear what people think. Then, I’ll go, “Am I doing something wrong?” And this is happening in a place where there was no communication. It was run on fear and intimidation. So I’ve lost a few people who can’t function without power. When I’m in charge, I can’t have people being intimidated.
What are your future plans for the company?
I’m in talks with people coming and creating on us. We have to have classics and newer pieces and not go into one extreme. What I would really like is that, when or if one day I am no longer in Romania, the place doesn’t go back to what it was. I’m not saying my way is the right way. But I hope that I will manage to leave a structure behind. I also hope that whoever comes after me would realize that you should not let people say, “It is not possible because this is Romania.” It might not be the easy way, but anything is possible. What’s important is that you can make a difference. I’m certain that if I’m asked to stay longer in Romania, I would. I love the city.
Photo by Taylor-Ferné Morris
It’s a little bit like Cuba. You walk around and go, Wow, with a bit of paint—and sometimes more than paint, unfortunately—this city could be one of the most beautiful cities. The architecture is stunning.
Where do you live?
I’m renting a flat in central Bucharest. I’ve got a cockerel outside my window. I’m bang in the middle of quite a big city, and there’s a cockerel outside my window. It is fantastic.
Gia Kourlas writes on dance for The New York Times and other publications.
It can be hard to focus when Alice Sheppard dances.
Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.
And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
When most people think of dance students, they imagine lithe children and teenagers waltzing around classrooms with their legs lifted to their ears. It doesn't often cross our minds that dance training can involve an older woman trying to build strength in her body to ward off balance issues, or a middle-aged man who didn't have the confidence to take a dance class as a boy for fear of bullying.
Anybody can begin to learn dance at any age. But it takes a particular type of teacher to share our art form with dancers who have few prospects beyond fun and fitness a few nights a week.
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).
José Greco popularized Spanish dance in 1950s and '60s America through his work onstage and on screen. Ensemble Español Spanish Dance Theater's American Spanish Dance & Music Festival is honoring the icon in recognition of what would have been his 100th birthday. As part of the tribute, Greco's three dancing children are reuniting to perform together for the first time since their father's death in 2000. Also on the program is the premiere of contemporary flamenco choreographer Carlos Rodriguez's Mar de Fuego (Sea of Fire). June 15–17, North Shore Center for the Performing Arts. ensembleespanol.org.
Dance Theatre of Harlem dancers Christopher McDaniel and Crystal Serrano were working on Nacho Duato's Coming Together in rehearsal when McDaniel's foot hit a slippery spot on the marley. As they attempted a swinging lift, both dancers went tumbling, injuring Serrano as they fell. She ended up being out for a week with a badly bruised knee.
"I immediately felt, This is my fault," says McDaniel. "I broke my friend."
What's on the minds of college students today?
I recently had the honor of adjudicating at the American College Dance Association's National College Dance Festival, along with choreographer Dana Tai Soon Burgess and former National Endowment for the Arts dance specialist Douglas C. Sonntag. We chose three winners—one for Outstanding Choreography and two for Outstanding Performance—from 30 pieces representing schools throughout the country. It was a great opportunity to see what college dance students are up to—from the issues they care about to the kinds movement they're interested in exploring.
Here were the biggest trends and takeaways:
It's summer festival season! If you're feeling overwhelmed by the dizzying array of offerings, never fear: We've combed through the usual suspects to highlight the shows we most want to catch.
Subscription box services have quickly gained a dedicated following among the fashion and fitness set. And while we'd never say no to a box with new jewelry or workout wear to try, we've been waiting for the subscription model to make its way to the dance world.
Enter barre + bag, a new service that sends a curated set of items to your door each season. Created by Faye Morrow Bell and her daughter Tyler, a student in the pre-professional ballet program at University of North Carolina School of the Arts, this just-launched service offers dance, lifestyle and wellness finds in four themed bags each year: Spring Performance, Summer Study, Back-to-Studio and Nutcracker. Since all the products are specifically made for dancers, everything barre + bag sends you is something you'll actually use, (Plus, it all comes in a bag instead of a box—because what dancer can ever have enough bags?).
barre + bag's Summer Collection