What To Do When You All of A Sudden Have A New Artistic Director
When news reached the Limón Dance Company that Colin Connor was replacing longtime director Carla Maxwell in 2016, the tight-knit group experienced a range of emotions. "Everyone agreed that fresh energy would be a benefit to the company," says veteran dancer Logan Kruger. But the excitement lasted only until the fear sunk in—there would be changes, and some of them might even include saying good-bye.
It's understandable to experience feelings of shock, fear and even abandonment if your director leaves. It's not just that you'll have a new boss—a shift at the top can have a domino effect on casting, programming, rehearsal structure and branding. Here's how to forge a relationship with your new director and take advantage of the opportunities that come from having fresh eyes on your dancing.
Prepare for the Unknown
When Julie Kent took over The Washington Ballet as artistic director, she intended to redefine the organization. Photo by Mena Brunette, Courtesy TWB
How different your work environment may become and how long it will take to feel settled will depend on the type of transition. Is the shift part of a succession plan? Or has the board acted swiftly to remove someone? Is the search committee looking for a director to lead the same way or to envision an extensive change?
"Sometimes the goals stay the same even if something changes at the top," says Julie Kent, who experienced this type of transition multiple times as the longest-serving ballerina in American Ballet Theatre's history. But as artistic director of The Washington Ballet since July 2016, she has been leading an effort to completely redefine its repertoire and reputation. "There's no formula for such a huge transition. You can't rush the process," she says. "Remember that you are part of a larger whole."
Have Patience—but Be Honest
Dwayne Scheuneman (foreground) says that it's reasonable to ask for more clarity if you're totally in the dark. Photo by David DeSilva, Courtesy AXIS
Trust that the dancers' best interests are part of the plan, even if you don't hear all the details. It may be frustrating, but your job is to keep dancing. "Producing under any circumstances is your responsibility," says Kent.
If fear of the unknown is affecting your work, it's reasonable to ask for more clarity, says Dwayne Scheuneman, who has performed with AXIS Dance Company under founder Judith Smith and new director Marc Brew. "Request a one-on-one with the executive director or board member leading the search and let them know you're concerned—it might be what they need to hear to embrace a more open process," he says.
Don't Fear the Pink Slip
Kruger (right) focused on whether the new director was going to be a fit for her or not, rather than stressing about her job security. Photo by Keira Chang, Courtesy Limón
It's natural for an incoming director to make room for new dancers, but panicking about your job security won't impress anyone. "What worked for me was focusing on what I had to offer and trusting that I was either going to be a good fit or I wasn't," says Kruger. "I was auditioning for Colin, but he was also auditioning for me." (Five dancers ultimately left for various reasons. Connor replaced four of them, and Kruger was rehired.)
Lillian DiPiazza was in a vulnerable place when Angel Corella was hired as the new director of Pennsylvania Ballet. She had been promoted to soloist by former director Roy Kaiser but learned soon after that she had a back injury. "I found myself approaching my new boss saying, 'I'm going to be out for the next five months,' " she says. "I was worried about getting left behind." When she recovered, DiPiazza treated her return like she was joining a new company. She was promoted to principal for the 2016–17 season, by which point 17 dancers had left or were let go.
Marc Brew (foreground), the new artistic director of AXIS. Photo by Misako Akimoto, Courtesy AXIS
You might be surprised at how long it takes to find a groove with your new director, especially if they're busy closing out other commitments. Don't make decisions about someone right away, says Scheuneman. "Understand that there are so many things we don't see in the studio. Marc had a long relationship with us, but he was still nervous about moving from the UK and getting used to our community." Have compassion for the major changes the director is making in order to lead your company.
Lillian DiPiazza suggests steering clear of gossip about the new director. Photo by Alexander Iziliaev, Courtesy Pennsylvania Ballet
Show through your work ethic that you want to be there and you're willing to embrace change, says DiPiazza. Gossip is inevitable, but steer clear of spreading negativity. "If the people you are close to become unhappy, it's easy to let it affect you, but how you react says something to everyone around you," she says. It's okay to acknowledge the validity of a concern that's at the root of the gossip, says Scheuneman. "Then, instead of hating on a new director, ask yourself how you can help them find a better way."
Use Change to Your Advantage
Kruger (left) ended up benefiting from her historical knowledge of the organization. Photo by Keira Chang, Courtesy Limon
Don't forget that some changes may benefit you. Company members with historical knowledge of the organization can be major assets to a new director. "We came to realize that Colin valued our opinions," says Kruger. "After his first full season, I was asked to be rehearsal director. He trusted me to help new dancers develop an understanding of Limón."
Fresh eyes can shake up casting, too. "It's hard to typecast dancers when you don't know them, so redefine yourself and be the kind of dancer that does the roles you want," says Kent. A fresh perspective might also push you to become more versatile. "We'd always had more emphasis on Balanchine, but Angel brought a more classical style," says DiPiazza. "It was rewarding to discipline our bodies to alternate between both."
Check In with Your Goals
Kent emphasizes that it's ultimately up to the dancer to decide what's best for them. Photo by Mena Brunette, Courtesy The Washington Ballet
What if it's not working out? "The organization has needs that might not align with what you want," says Kent. "I'm not a fairy godmother making wishes come true. I'm making tough decisions to set the company up for the greatest possible success. You are the only one who can decide if this is the ship you want to be on."
Maybe it's time to move on, and that's okay. You may realize this transition has prepared you to take a step forward towards a better career.
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?
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.)
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.
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It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
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
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.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
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.
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.
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.