Congratulations to Dance Magazine Award Honoree Crystal Pite

Crystal Pite, photo by Michael Slobodian, courtesy Kidd Pivot

She may not be the first choreographer to claim that movement is her first language, but when Crystal Pite says it, it's no caveat: She's as effective and nuanced a communicator as the writers who often inspire her dances.

Her globally popular Emergence, for instance, was provoked in part by science writer Steven Johnson's hypotheses; The Tempest Replica refracts and reimagines Shakespeare. Recently, her reading list includes essays by fellow Canadian Robert Bringhurst, likewise driven by a ravenous, wide-ranging curiosity.


The two categories into which most of her creations fall—intimate shows for her own company and large-scale guest premieres—have proven to be mutually beneficial. Kidd Pivot, founded in 2002 in her native British Columbia, is a "long-term relationship," she says, with a small cohort of trusted partners. One of those is director-playwright Jonathon Young, with whom she has deepened the narrative, theatrical and character-driven aspects of her work. (Revisor, their second collaboration, premieres in early 2019.) Meanwhile, Pite experiments with elaborate stagecraft through high-profile commissions from major companies, sometimes with casts of three dozen dancers or more, introducing her work to new audiences worldwide.

Crystal Pite & Jonathon Young - Betroffenheit - Trailer (Sadler's Wells) www.youtube.com

No matter what she's creating, she's prone to coaching her material by explaining its physics or how it should employ specific parts of the body. Yet even her straightforward notes ring with a keen sense of the poetic.

"See if you can fight for that moment," she told dancers in rehearsal for Flight Pattern, her 2017 premiere for The Royal Ballet. It was at once just encouragement about a simple step and a reminder of every artist's lifelong test. Another observation, given to the same group within minutes—"Because of that tension, your head has no choice but to change"—spoke not only to the physical logic of Pite's choreography, but also to the shifts in our perspectives prompted by extreme circumstances.

The Royal Ballet in Crystal Pite's Flight Pattern. Photo by Tristram Kenton, courtesy Royal Opera House

In conversation, Pite can slide effortlessly from one idea into its opposite, not unlike how torsion and oppositional force provide equilibrium within her movement. "I've been interested lately in old-school truths of choreography," she says. "Shifts in scale, unison, canon, entrances and exits, and so on. I've been enjoying thinking of the need for traditional ways, and also the need to subvert them. It's good to push against the conventions that you know, against the things that are familiar."

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The Conversation
Dance on Broadway
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Sponsored by McCallum Theatre
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre

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Courtesy CalArts

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Career Advice
LA Dance Project. Photo by Jonathan Potter, courtesy LADP

We've all been there: You see the craziest/most beautiful/oddest/wildest clip of a dance on Facebook and you simply have to see more.

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News
Ramasar and Catazaro, photos via Instagram

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Courtesy Bloc Talent Agency

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Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt

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.

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Hamrick rehearsing Port Rouge in St. Petersburg. Photo courtesy Hamrick

Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.

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Photo by freestocks.org/Unsplash

What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?

—Anonymous

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Stephen Mills' Grimm Tales, which premiered last month, is the first ballet funded by the Butler New Choreography Endowment. Photo by Anne Marie Bloodgood, Courtesy Ballet Austin

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Dance History
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Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.

Courtesy DM Archives

Dance in Pop Culture
Courtesy MPRM Communications

A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.

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News
A 1952 photograph of Merce Cunningham in Sixteen Dances for Soloist and Company of Three. Photo by Gerda Peterich, Courtesy Blake Zidell & Associates

One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.

This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.

The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.

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