Ashley Bouder: It's Time For Ballet To Embrace Feminism
I am a ballerina. I am a feminist. This might seem to be an oxymoron. Ballerinas do what they are told by choreographers and directors—positions that we have become painfully aware of as traditionally male roles. Feminism is the theory of the political, economic and social equality of the sexes. By that description, the two terms seem contradictory.
Alexei Ratmansky—now famously—expressed on Facebook last fall: "sorry, there is no such thing as equality in ballet: women dance on point, men lift and support women. women receive flowers, men escort women offstage. not the other way around (I know there are couple of exceptions). and I am very comfortable with that."
My question is: What exactly is he comfortable with? Is it the non-equity among sexes or the adhering to traditionally danced roles? Both of these issues tap into my ever-ready feminist defenses. If we're talking about dancers, this statement leaves no room for those who don't conform to gender norms. There are certainly male dancers out there who would like to be a ballerina instead of her lifting and double-touring counterpart. As there are women who dislike pointe shoes and have the ability to jump high and turn well.
Ashley Bouder taking men's class. Photo by Kyle Froman for Pointe.
As I was debating these issues in my head last year, I was actually dancing one of Ratmansky's ballets, Odessa. The New York Times' Siobhan Burke had hotly debated what she saw as a "gang rape scene" for another dancer in the ballet, but to me, my role was much more degrading: I am literally pulled by my hair and thrown to the ground several times, giving the illusion of a woman being abused by an angry man. It beats me up and leaves me with bruises. It's also exhilarating to dance.
The mixed feelings I had were only exacerbated by Ratmansky's social media statement, and the joy I once took in the choreography was worn thin. I felt that my feminist sensibilities were being beaten down both literally and figuratively.
But we all have contradictions in ourselves, and that includes both me and Ratmansky: This year I've loved performing in his Namouna, A Grand Divertissement, and look forward to dancing his Concerto DSCH, in which I actually do male ballet steps and act as a partner to a couple of men.
Bouder with Joaquin de Luz in Concerto DSCH. Photo by Paul Kolnik via nycballet.com
Personally, I like receiving flowers and being escorted offstage. I like dancing in pointe shoes and being lifted and supported. Yet that doesn't mean a man shouldn't be able to have those things too. It seems that whenever a man is escorted offstage or receives flowers—other than at retirement or a single rose from the ballerina—it's only done for a humorous reaction, to make fun of him for being like a woman.
The problem with these traditions is that they highlight more serious gender inequality. It's as if the image of a man leading a woman into the wings is a metaphor for how the dance world is run. A male director leading the careers of dancers. A male choreographer laying down the pathway of steps to perform.
Of course, there are women who have broken through this mold. But there it is in the phrase: "broken through." A simple place at the table would be sufficient. Instead, it's like women are crashing the dinner party.
In order to move forward socially, and, yes, artfully, we must be willing to break from tradition and make room for all types. That doesn't mean that the traditional male and female roles cannot exist. As long as performances of Petipa's Swan Lake keep selling out, it is guaranteed that they will exist.
But there are other versions of Swan Lake that sell out too: Matthew Bourne's version with all-male swans enjoyed a successful run on Broadway, and many subsequent remounts. In this production, the men are not on pointe, but that does not mean it can't happen in a production in the future.
Too many times I've felt the proverbial pat on the head and heard a "Good for you, sweetie" comment. A few times, I've actually gotten a real pat on the head. Once, when I was expressing that I wanted to be a director and asking for advice, I was told by a male leader with an exasperated expression "Now every ballerina has a voice."
Well, yes, we do have a voice. We always have. It's just that now, more of us are demanding that our voices be heard. I feel inspired by the successes of directors like Lourdes Lopez, Tamara Rojo and Julie Kent, and hopeful because of the hiring of Gianna Reisen and Lauren Lovette as choreographers at New York City Ballet.
Bouder leading rehearsal at the Ashley Bouder Project. Photo by Miguel Anaya
Frustrated that I wasn't being taken seriously or given the opportunity to create, I decided to use that energy to fuel something that would represent change. I've dedicated my arts collaborative, the Ashley Bouder Project, to furthering female and marginalized individuals' voices in the dance and music worlds.
It's my goal to provide opportunity to as many diverse, talented and driven individuals as I can. Currently, the ABP is working with over 40 artists for performances at New York City's Joyce Theater in July. I've commissioned pieces by Lovette, Abdul Latif and Annabelle Lopez Ochoa, plus a new score from Stephanie Ann Boyd and a rewrite of an existing work from Kate Moore. (The lack of female composers in ballet is astounding; I can't think of one I've danced to at NYCB in my 18-year career.)
I'm also remounting my own work In Pursuit of… and Duet, a dance created for Sara Mearns and myself by Liz Gerring. The duet was choreographed to be gender neutral, and this year it will be performed not by two women, but by a man and a woman.
I've heard my company referred to as a "pet project" and, yes, it is. I'm guilty of hiring artists that I'm dying to work with and who also promote my feminist, equality-driven ideals. Having recently become a mother, I want my little Violet to grow up in a world that doesn't need startup companies like mine.
Some people wonder what will be enough to satisfy this feminist agenda of mine and many others. When Ruth Bader Ginsburg was asked how many female supreme court justices would be "enough," she said nine. I say, it is "enough" when a major ballet company can have an evening with all female choreographers and it is not billed as such and no one says a word about it. When the comments afterwards don't sound like "Did you know those were all choreographed by women? Wow."
To say that being a ballerina and a feminist is a contradiction, for me, seems a misnomer. I enjoy being supported, escorted and presented with flowers, but that doesn't mean that I don't leave room for others who don't look like me to do so as well.
The world at large is changing, and ballet should embrace these changes, while also keeping traditions alive. NYCB constantly premieres new choreography while also upholding the traditions of George Balanchine and Jerome Robbins. May we take this lesson to the next level and use it to create new normals that will change the landscape of ballet. By encouraging female voices, we can realize new possibilities.
It's the 60th anniversary of the Alvin Ailey American Dance Theater, and their season at New York City Center is going strong with more than 20 works—including world premieres and company premieres.
Ronald K. Brown, who just received a Dance Magazine Award, has made his seventh work for Ailey, The Call. It's a gorgeous pastiche of three different types of music: Bach, jazz by singer Mary Lou Williams and Malian music by Asase Yaa Entertainment Group.
If a teacher or choreographer has ever commented that your dancing looks stiff, the problem could be that you aren't breathing effectively. "When dancers aren't breathing, their shoulders are up and there's no length in their movement. They start to look like they're just waiting to get to the next thing," says Maria Bai, artistic director of Central Park Dance in New York.
It may seem like a no-brainer—of course you can't move without breathing. But beginning dancers often hold their breath because they are so focused on picking up choreography, says Sarah Skaggs, director of dance at Dickinson College. Even advanced dancers can benefit from focusing more on their breath. "Sometimes they are paying so much attention to what their limbs are doing that they forget about the lungs, the chest, the trunk. Breath is the last thing they're thinking about, but really it should be the first," says Skaggs. The more integrated your breathing is, the more relaxed and present you will feel.
I've been a fan of Jordan Isadore's for about a decade. His gorgeous, spine-contorting renditions of Christopher Williams' repertory are legendary, and for many years I had the privilege of making dances with him and producing his works through DanceNOW[NYC].
Over the last year or so, as he began winding down his performance career, Isadore began making odd, phenomenal objects: dribs of Labanotation scores rendered as hung mobiles, gorgeously crafted in stained glass and metal. The designs are stunning, imbued simultaneously with a hipster-nonsense contemporaneousness and reverence for dance history.
I spoke with Isadore about his retirement from the stage, and transition to crafting full time.
There's always that fateful day each year, usually in February or March, when ballet contracts are renewed. Dancers file into an office one by one, grab an envelope and sign their name on a nearby sheet of paper to signify the receipt of their fate. Inside that envelope is a contract for next season or a letter stating that their artistic contribution will no longer be needed. This yearly ritual is filled with anxiety and is usually followed by either celebratory frolicking or resumé writing.
Whenever I received my contract, I would throw up my hands joyfully knowing that I would get to spend one more year dancing. In 14 years at Boston Ballet, I never once looked at my pay rate when signing a contract. The thought of assessing my work through my salary never crossed my mind.
Watching Bohemian Rhapsody through the eyes of dancer, there's a certain element of the movie that's impossible to ignore: Rami Malek's physical performance of Freddie Mercury. The way he so completely embodies the nuances of the rock star is simply mind-blowing. We had to learn how he did it, so we called up Polly Bennett, the movement director who coached him through the entire process.
In a bit of serendipitous timing, while we were on the phone, she got a text from Malek that he had just been nominated for a Golden Globe. And during our chat, it became quite clear that she had obviously been a major part of that—more than we could have ever imagined.
Get Dance Magazine in your inbox
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.
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
We caught up with Alsop for our "Spotlight" series:
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
Each year, The New York Times Magazine shines a spotlight on who they deem to be the best actors of the year in its Great Performers series. But, what we're wondering is, can they dance? Thankfully, the NYT Mag recruited none other than Justin Peck to put them to the test.
Peck choreographed and directed a series of 10 short dance films, placing megastars in everyday situations: riding the subway, getting out of bed in the morning, waiting at a doctor's office.
On busy performance days, international guest artist Joy Womack always makes time for one activity after class and rehearsals: a nap. "I like to feel well-rested when I need to be in the spotlight at night, not dragging at the end of the day," she says. "It helps me recover and refocus."
With her earbuds tuned to a guided meditation app, she can squeeze in a nap wherever she needs to. "One time I even took a nap on the floor of the tour bus in Siberia," she says. "Dancers can sleep anywhere."
Joy Womack prioritizes napping before a show. Photo by Quinn Wharton for Pointe magazine.
As research has revealed the benefits of short daytime naps, power-napping advice has proliferated, and more dancers are choosing to include a nap in their pre-performance routines. Approaching napping strategically will help you get the most out of an afternoon snooze.
On Monday night, a memorial was held at Riverside Church to honor the life and achievements of Dance Theatre of Harlem co-founder Arthur Mitchell. With nearly three months to process and grieve (Mitchell passed away on September 19) the atmosphere was not that of mourning as much as reflection, reverence and admiration for who he was, what he built and what remains. (Watch the full livestream here.)
The church filled with family, artistic friends, fans and admirers. What was most gratifying was the volume of DTH alumni from the school, company and organization who traveled across the globe to pay their respects, from founding members to present dancers and students. The house of worship was filled with the sentiment of a family reunion. As Mitchell was sent home, it was a homecoming for many who have not shared air together in decades. What was palpable was the authentic bonds that Dance Theatre of Harlem and Mitchell fostered in all.
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.
It's become a colloquialism—or, we admit, a cliche—to say that dance can heal.
But with a new initiative launched by British Health Secretary Matt Hancock, doctors in the U.K. will soon be able to prescribe dance classes—along with art, music, sports, gardening and more—for patients suffering from conditions as various as dementia, lung problems and mental health issues.
A list of Clara alumnae from Radio City's Christmas Spectacular reads like a star-studded, international gala program: Tiler Peck and Brittany Pollack of New York City Ballet (and Broadway), Meaghan Grace Hinkis of The Royal Ballet, Whitney Jensen of Norwegian National Ballet and more. Madison Square Garden's casting requirements for the role are simple: The dancer should be 4' 10" and under, appear to be 14 years old or younger and have strong ballet technique and pointework.
The unspoken requisite? They need abundant tenacity at a very young age.
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
Gennadi Nedvigin is not the only early tenure director breaking out a new production of The Nutcracker this season.
We love The Nutcracker as much as the next person, but that perennial holiday classic isn't the only thing making its way onstage this month. Here are five alternatives that piqued our editors' curiosity.
The Nutcracker is synonymous with American ballet. So when Gennadi Nedvigin took the helm at Atlanta Ballet in 2016, a new version of the holiday classic was one of his top priorities. This month, evidence of two years' worth of changes will appear when the company unwraps its latest version at Atlanta's Fox Theatre Dec. 8–24. Choreographed by Yuri Possokhov and produced on a larger-than-ever scale for Atlanta, the new ballet represents Nedvigin's big ambitions.
Ballet Hispánico returns to the famed Apollo Theater in Harlem with its full-length ballet, CARMEN.maquia. Spanish choreographer Gustavo Ramirez Sansano has reenvisioned the story of Carmen to emphasize Don José, the man who falls in love with Carmen, suffers because of her infidelity, then murders her in a "fit of passion." Their duets are filled with all the sensuality, jealousy and violence you could wish for—in a totally contemporary dance language.
Sansano's previous piece for Ballet Hispánico, El Beso, bloomed with a thousand playful and witty ways of expressing desire. He has a knack for splicing humor into romance.
Not being able to attend the in-person audition at your top college can feel like the end of the world. But while it's true that going to the live audition is ideal, you can still make the best out of sending a video. Here are some of the perks: