Hey, Mainstream Media. Here's the Right Way to Feature Dance.
At this point, I don't think we can bear to see another botched ballet video. How many times do non-dancers have to don pointe shoes or a leotard and prance around for popular outlets like Vogue Spain and Vanity Fair? (No, Kendall Jenner, we don't think you're owning those pointe shoes. And Elle Fanning? We don't want you to show us how to "make a ballet turn." *Face palm.* Don't even get us started about this ballet tutorial where Petra Collins "teaches barre" to Vanity Fair staffers.)
Dancing is for everyone, absolutely, but let's leave the professional representations to the professionals. It's not about being elitist. It's about respecting and honoring the incredible hard work and dedication that dance requires.
*Steps off soapbox.*
But all is not lost. Who has been shining a positive light on dance lately? The advertising industry. Between touchdowns and Lady Gaga's Super Bowl halftime show, Lil Buck jooked his way around a Lexus. Just weeks earlier, he promoted Apple's AirPods in a video that's racked up more than 10 million views. And Puma recently teamed up with New York City Ballet for its new ballet-inspired activewear line. (These examples are just the tip of the iceberg. We dove into love affair between dance and advertising in this feature.)
Now, computer company Acer is the latest business to use dancers' considerable talents to sell something that has nothing to do with dance. And we don't mind one bit.
Acer just released two spots for its #DareToBeSwift campaign, aimed at selling a sleek new laptop. What else is sleek? And daring? Yup, ballet and contemporary dancers. That's why the advertisements feature captivating slow-motion footage of New York City Ballet star Ashley Bouder springing onto pointe. And American Ballet Theatre's Gillian Murphy performing gravity defying leaps. "So You Think You Can Dance" winner Lauren Froderman even makes an appearance, along with contemporary dancer/model Dakota Moore.
The bottom line: Ad execs, keep up the good work. And I think I might need a new laptop...
There's a rare moment in Broadway's Hadestown where the audience is able to breathe a sigh of relief. The smash-hit success is not well-known for being light-hearted or easy-going; Hadestown is a show full of workers and walls and, well, the second act largely takes place in a slightly modernized version of hell.
But deep into the second act, the show reaches a brief homeostasis of peace, one of those bright, shining moments that allows the audience to think "maybe it will turn out this time," as the character Hermes keeps suggesting.
After songs and songs of conflict and resentment, Hades, the king of the underground, and his wife, the goddess Persephone, rekindle their love. And, unexpectedly, they dance. It's one of the most compelling moments in the show.
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
There's always been something larger than life about choreographer Mark Morris. Of course, there are the more than 150 works he's made and that incisive musicality that makes dance critics drool. But there's also his idiosyncratic, no-apologies-offered personality, and his biting, no-holds-barred wit. And, well, his plan to keep debuting new dances even after he's dead.
So it should come as little surprise that his latest distinction is also a bit larger than life: The New York Landmarks Conservancy is adding Morris to its list of "Living Landmarks."
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.