Big Talent on Tap for Next Week's Erik Bruhn Prize
The dance world's abundance of talent can be dizzying, but there are a few "crystal balls" that allow dancers and fans alike to get a glimpse of tomorrow's megastars. For one, there's Dance Magazine's 25 to Watch, our annual list of promising artists across all dance genres—look for the latest edition in our January issue! (In 2005 alone, we tapped Michelle Dorrance, Matthew Neenan, Teresa Reichlen and Amy Seiwert.) The prestigious Princess Grace Awards have also been a barometer for future stardom. (Ethan Stiefel, Robert Battle, Derick K. Grant and so many others all received awards from the Princess Grace Foundation early in their careers.) And finally, international competitions, particularly for ballet, do a fantastic job at highlighting young talent.
NBoC's Félix Paquet and Calley Skalnik rehearsing for the Erik Bruhn Prize. Photo by Karolina Kuras, Courtesy NBoC.
Next Tuesday, November 15, the Twelfth International Competition for The Erik Bruhn Prize will do just that. Male and female competitors from American Ballet Theatre, Hamburg Ballet, The Royal Ballet, San Francisco Ballet and the National Ballet of Canada will come together in Toronto to display their considerable talents. The list of competitors includes some recognizable names, like American Ballet Theatre's Cassandra Trenary and Gabe Stone Shayer, as well as some lesser-known up-and-comers, like 17-year-old Natasha Sheehan, who recently joined San Francisco Ballet's corps.
Next week's event includes the following performances by each pair: a classical pas de deux and variation, plus a contemporary pas de deux or solo. Just being chosen to compete shows a real vote of confidence from these dancers' artistic directors, but only one male and female will walk away with the Erik Bruhn Prize and $7,500 cash. Additionally, four dancers will be competing for a separate prize for choreography, plus $2,000 cash. The full list of participants is as follows:
ABT's Cassandra Trenary and Gabe Stone Shayer
Hamburg Ballet's Madoka Sugai and Christopher Evans
National Ballet of Canada's Félix Paquet and Calley Skalnik
The Royal Ballet's Chisato Katsura and Harrison Churches
San Francisco Ballet's Natasha Sheehan and Angelo Greco
While it's impossible to say where the winners of the 2016 Erik Bruhn Prize will end up, they could just be the some of the most famous performers, choreographers and directors of tomorrow. (Here's looking at you, Julie Kent, Johan Kobborg and Gennadi Nedvigin, just to name a few past winners.)
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.
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.
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 tookto 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?
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.
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.
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:
Unity Phelan in John Wick: Chapter 3 – Parabellum. Photo by Niko Tavernise, Courtesy FRANK PR
"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.
Walsh's Moon Fate Sin at Danspace Project. Like Fame Notions, the title was derived from Yvonne Rainer's "No" manifesto. Photo by Ian Douglas, Courtesy Danspace Project
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.
Launching a dancewear line seems like a great way for professional dancers to flex new artistic muscles and make side money. Several direct-to-consumer brands founded by current or former professional dancers, like Elevé and Luckleo, currently compete with bigger retailers, like Capezio.
But turning your brand into the next Yumiko is more challenging than some budding designers may realize.
Not an outsider? No worries. Train yourself to see and think like one. Let go of preconceived notions and old habits of mind. Let dance take you by surprise! Photo by Getty Images
When I first came to dance criticism in the 1970s, the professional critics were predominantly much older than me. I didn't know them personally and, as the wide-eyed new kid on the block, I assumed most had little or no physical training in the art.
As slightly intimidated as I felt at the time—you try sitting around a conference room table with Dance Magazine heavy hitters like Tobi Tobias and David Vaughan—I smugly gave myself props for at least having had recent brushes with ballet, Graham, Duncan and Ailey and more substantial engagement with jazz and belly dance. Watching dancers onstage, I enjoyed memories of steps and moves I knew in my own bones. If the music was right, my shoulders would wriggle. I wasn't just coolly judging things from my neck up.