Allison DeBona On What's Really Wrong With the Kendall Jenner Video
After Allison DeBona's Facebook post commenting on the recent Kendall Jenner controversy went viral, we invited the Ballet West first soloist to elaborate on the Dance Magazine blog.
Let’s cut to the chase. The recent Vogue Spain video with Kendall Jenner was not the first ballet representation gone wrong, and it will not be the last. So, as professional dancers who spend our lifetimes working on our craft, I call you to arms: conceive, create and educate.
From DeBona's Vogue Italia shoot. PC Emma Summerton for Vogue Italia.
I came across the Jenner video on Facebook because a friend of mine shared it. My first reaction was, “not this again!” This summer I was hired by Vogue Italia and the creative photographic mastermind Emma Summerton to be part of an eight page editorial and video for their August issue. Emma told me she was very dedicated to finding someone able to do extraordinary things with their body. I submitted photos and video to be considered for the job. I was up against models who really wanted the opportunity as well, but Emma found my technique to be important to her and her vision, so I booked it.
When I first saw it, I wanted to make light of the Jenner video because it seemed to me Vogue Spain hired her to pretend to be a dancer in her room—I originally wanted to post my video on my Facebook page and write, “Beautiful video Kendall, but I raise you a pointed toe.” But, I slept on it and the photo of Kendall in pointe shoes surfaced. There was a bigger issue to discuss.
I think it is wonderful that ballet is becoming more mainstream. Dance needs that to survive. I have made that point numerous times since Ballet West signed on for “Breaking Pointe.” But, as artists we can no longer allow pop culture to dictate the content that is being released on our behalf. “Breaking Pointe” was pitched to us as a docu-series to showcase the blood, sweat and tears it takes to be a professional dancer, but in post-production we fell victim to what the masses wanted—cat fights and love triangles. Ballet was lost in translation. How do we keep a mass of companies who are trying to capitalize on our art form, but are highly uneducated in our craft, from shaming us? We stop sharing the trash, create art we believe in and support each other.
Emma Summerton for Vogue Italia
There is a high level of competition in ballet, and it is not often that dancers look to their peers in support. We all can say we do, but do our actions support it? I posted my Vogue video weeks ago, and it did not get half of the shares and comments as it did after the Jenner video surfaced. Everyone partakes in self-promotion, but in order to educate the masses we must come together and support the content we find intelligent, thought provoking, artistic and technically sound. I try to practice what I preach. In 2014 I started “Art with Alli – A Random Thought” to create a forum where I could share other dancers' content and endeavors. I ask dancers to tag #ARTWITHALLI for a chance to be featured. I also direct artÉmotion Summer Intensive along with Ballet West principal Rex Tilton, a program we started to invest in the future of young dancers and artists. We will also be launching a new endeavor where we hope to reach the masses on a more regular basis with dance. Be the change you want to see, collaborate with artists who share your vision and share what moves you. Or else Kendall Jenner will continue to get the one million views you’re hoping to get for your latest project. As a commenter on my Facebook page put it: "I know nothing about ballet, but Spanish Vogue made me think, 'clothes + Kendall = $$,' whereas Allison's video made me wish I'd taken ballet."
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
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.
When you're a foreign dancer, 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.
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.
Get Dance Magazine in your inbox
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.