The 2012 Bessies were last night! Elizabeth Streb hosted and there were performances by Trisha Brown Dance Company and Souleymane Badolo. Here's a quick breakdown of the awards given:
-Paul Taylor was presented the 2012 Bessie Award for Lifetime Achievement in Dance.
-Alice Teirstein, a 30 year veteran dance teacher at the Fieldston School and founder of Young Makers was given the New York Dance and Performance Award for Service to the Field of Dance.
- A 2012 New York Dance and Performance Award for Outstanding Production (of a work performed in a larger capacity venue of more than 400 seats) was given to The Merce Cunningham Dance Company for Event at the Park Avenue Armory.
- A 2012 New York Dance and Performance Award for Outstanding Production (of a work that stretches the boundaries of a culturally specific form) was given to Israel Galvan for La Edad de Oro at The Joyce Theater.
- Outstanding Production (of a work performed in a smaller capacity venue of less than 400 seats): given to Trajal Harrall for Antigone Sr./Twenty Looks or Paris is Burning at the Judson Church at New York Live Arts.
- Outstanding Production of a work in the expanding field of new art, dance, and performance practice: went to Emily Johnson for The Thank-you Bar at New York Live Arts.
- Outstanding Revival went to The Shining By Yvonne Meier, presented by New York Live Arts and performed at the Invisible Dog Art Center.
- Outstanding Award for Visual Design for Dance went to Doris Dziersk for Meg Stuart's Blessed at New York Live Arts.
- Outstanding Music Composition/Sound Design for Dance goes to Flamme Kapaya and his bandfor Faustin Linyekula's more more more. future performed at the Kitchen.
- The 2012 Bessie Award for Emerging Choreographer went to Rashaun Mitchell.
- Outstanding performer: (nominated by the committee looking at work performed in a larger capacity venue of more than 400 seats): Silas Riener in Merce Cunningham's Split Sides.
- Outstanding performer: (nominated by the committee looking at work that stretches the boundaries of a culturally specific form): Dormeshia Sumbry-Edwards.
- Outstanding performer: (nominated by the committee looking at work performed in a smaller capacity venue of less than 400 seats): Omagbitse Omagbemi.
- Outstanding performer: (nominated by the committee looking at work in the expanding field of new art, dance, and performance practice): Nicole Mannarino
JURIED BESSIE AWARD was given to Souleymane Badolo, by a panel that included Lar Lubovitch, Yvonne Rainer, and Jawole Willa Jo Zollar.
Fox produced a live broadcast of Rent in January—but could an original musical be next? Photo by Kevin Estrada, Courtesy Fox
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Hive by Boston Conservatory student Alyssa Markowitz. Photo by Jim Coleman
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.
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
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.)
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre
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.
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!
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
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.
When you're a foreigndancer, 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.
Still of Fonteyn from the 1972 film I Am a Dancer. Photo courtesy DM Archives
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.