How Chloe Arnold Found Empowerment Through Art
I come from a lineage of survivors: African Americans who endured the brutality of slavery, Native Americans who survived forced genocidal migration, and my Jewish grandmother who escaped the Holocaust. My ancestors' enduring spirits live inside of me, giving me an indelible foundation of strength and compassion.
On the bookshelves my mom filled in our one-bedroom apartment in inner-city Washington, DC, sat a book called To Be Young, Gifted and Black, written by Lorraine Hansberry. Those words were aspirational, and empowered me to imagine a place beyond our limited conditions.
Lee Gumbs Photography, Courtesy SILLAR Management
I worked hard in school and excelled in sports and social leadership, but my home life weighed heavily on me. I lived in survivor mode every day, starting my own small businesses and even working at a junkyard to help my family financially. I struggled to find my own voice, until I met my first dance teacher, Ms. Toni Lombre. She believed in me and unlocked my soul, passion and rhythm, with the faith that movement would set this scholarship student free. She knew how much I loved tap dancing but required me to train in other styles too. I had no idea that she was cultivating my future.
Ms. Toni's guidance led me to the greatest mentor I could have ever imagined, Debbie Allen. At 16, I was cast in her play at the Kennedy Center, where I did a tap duet, but also jazz, swing dancing, singing and acting. A living example of an African-American woman from humble beginnings defying the odds to become an icon, she took me under her wing. Debbie mentored me through college at Columbia University, my move to L.A. and living bicoastally. She influenced my imagination and challenged me to trust myself.
In tap dance, a field where men dominate, I was determined to give women a leading voice. That inspired me to found the Syncopated Ladies, an all-female tap company, whose videos now have more than 50 million views online. One of my proudest moments was my recent Emmy nomination for Outstanding Choreography for "The Late Late Show with James Corden," which had never happened for a female tap dancer.
I found freedom through performing and choreographing, so I am committed to paying forward the lessons of my teachers. I encourage young people to dive into their greatest potential as global citizens with infinite possibilities. I believe art saves lives—it saved mine.
Capezio, Bloch, So Dança, Gaynor Minden.
At the top of the line, dancers have plenty of quality footwear options to choose from, and in most metropolitan areas, stores to go try them on. But for many of North America's most economically disadvantaged dance students, there has often been just one option for purchasing footwear in person: Payless ShoeSource.
When Sonya Tayeh saw Moulin Rouge! for the first time, on opening night at a movie theater in Detroit, she remembers not only being inspired by the story, but noticing the way it was filmed.
"What struck me the most was the pace, and the erratic feeling it had," she says. The camera's quick shifts and angles reminded her of bodies in motion. "I was like, 'What is this movie? This is so insane and marvelous and excessive,' " she says. "And excessive is I think how I approach dance. I enjoy the challenge of swiftness, and the pushing of the body. I love piling on a lot of vocabulary and seeing what comes out."
Back when Robbie Fairchild graced the cover of the May 2018 issue of Dance Magazine, he mentioned an idea for a short dance film he was toying around with. That idea has now come to fruition: In This Life, starring Fairchild and directed by dance filmmaker Bat-Sheva Guez, is being screened at this year's Dance on Camera Festival.
While the film itself covers heavy material—specifically, how we deal with grief and loss—the making of it was anything but: "It was really weird to have so much fun filming a piece about grief!" Fairchild laughs. We caught up with him, Guez and Christopher Wheeldon (one of In This Life's five choreographers) to find out what went into creating the 11-minute short film.
When Hollywood needs to build a fantasy world populated with extraordinary creatures, they call Terry Notary.
The former gymnast and circus performer got his start in film in 2000 when Ron Howard asked him to teach the actors how to move like Whos for How the Grinch Stole Christmas. Notary has since served as a movement choreographer, stunt coordinator and performer via motion capture technology for everything from the Planet of the Apes series to The Hobbit trilogy, Avatar, Avengers: Endgame and this summer's The Lion King.
Since opening the Industry Dance Academy with his wife, Rhonda, and partners Maia and Richard Suckle, Notary also offers movement workshops for actors in Los Angeles.