Baryshnikov's Advice to Grads: Be Generous Enough to Let Yourself Fail
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.
After promising not to talk politics, he said he would go "180 degrees in the opposite direction" by talking about generosity.
Appropriately, he started with the ceremony's most obvious example: the woman who made USC's dance program possible—Glorya Kaufman, arts patron extraordinaire.
But he went on to explain that generosity is about a lot more than donating money. It's also about:
- Sharing. He thanked his mother for opening his eyes to dance.
- Teaching. He thanked his teachers who shaped him.
- Artistic collaboration. "To collaborate is to be generous with your time, your body, your soul. It's always a two-way street—you give, you get."
- Allowing yourself to take risks. "As young creative artists, and really as human beings, you have to be open to failure," he said. "Failure is a part of learning.... As a very old dancer, I have had many, many opportunities to fail. It happens. Projects collapse, knees blow out, money dries up. But you as artists, and as young people discovering what you care about, you must be generous to that spark inside yourself that made you love dance in the first place."
USC students listening to Baryshnikov's speech
But he's realistic. He knows that dancers can have a hard time being generous with themselves.
" 'My jump is not high enough, my turns aren't perfect, I can't get my leg behind my ear.' Please don't do that. Sometimes there's an obsession with technique that can kill your best impulses. But communicating with an art form means being vulnerable. Being imperfect. And most of the time this is much more interesting. Trust me."
And with a sly smile, he ended the speech by breaking his promise: He talked about politics.
He said he'd recently been wondering why artists tend to lean left politically. "Maybe, just maybe, it is because the arts get to the heart of what's important to us, meaning our humanity. The arts are the best form of truth that we have. We must be vigilant to protect and maintain a society that respects this idea. This means we must participate as citizens whenever possible. You, me, all of us. We must give our time, our thought, our caring to ensure that our country has the awareness and the courage, the generosity of spirit that is necessary for art to flourish."
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Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
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The New Jersey native's reaction: "I really need to move home."
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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.
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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
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But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
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The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
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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:
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.
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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.
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.