Master The Tricky Art of Collaborating With Designers & Composers
Collaboration is a curious thing. For choreographers, it can open their practice to another set of eyes. It can allow their work to exist in a larger way. It can add serious heft to the final artistic product, with a signature all of its own.
But: There's an art to working in close communion with another artist, whether they're a designer or a composer. At the heart of the process is developing a rapport where each collaborator feels a sense of freedom within a set of given limits, where each understands what the other needs. Getting to that point takes some back and forth, trial and error, and several stabs in the dark.
Working With a Set Designer
Mimi Lien designed a cloud of trash bags for David Neumann's I Understand Everything Better. Photo by Maria Baranova, Courtesy Neumann
Should I have a specific idea? Mimi Lien says that sometimes, choreographers come to her with a strong visual design idea, such as Jessica Lang, who had a vision of string trees for The Wanderer before she had an ounce of movement. Lang needed Lien's expertise in figuring out everything from the composition and materials to cost and flammability. "In that case, my job is to deal with materials. I have to flesh it out," she says. Other times, the process is much more elusive. For David Neumann's I Understand Everything Better, Lien had to pay attention to any impulses she had about physical objects that might share the space with the performers. The result? A whimsical cloud of translucent trash bags
What does a set designer need to know? What Lien wants to know first is the genesis of the dance. "Where is it coming from?" she asks. "Whether it's abstract or personal, I need to know why are you making this piece."
How early should I hire a set designer? If something needs to be built, the work needs to start several months before the performance. Lien gets her idea generator going by watching rehearsals. Then she'll make a physical model. "I find digital models can be misleading," she says. The ideal situation is to have a residency that involves the set. "Residencies are when the dancers physically integrate the set into the piece, and it can be fully realized."
What if my budget is tiny? Of course, the budget needs to be discussed, but Lien doesn't want money concerns to enter the discussion right away. "I want my mind to be free, and let myself feel what the piece needs and then scale it to the budget."
Working With a Costume Designer
Liz Prince dressed the dancers of Bill T. Jones' Analogy/Lance: Pretty aka The Escape artists. Photo by Paul B. Goode, courtesy Prince
What does a costume designer need from me? Abstract dance can be the most intimidating to dress, says Bessie Award–winning designer Liz Prince, whose costumes have dressed Liz Gerring's analytical Horizon, the fragile universe of Jane Comfort's Underground River, and the street style of Bill T. Jones' A Letter to My Nephew. "With such a clean, open slate, a designer can feel overwhelmed," she says. "I need a jumping-off point, something to riff off of to get us started." That could be a scrap of text or images that convey a mood.
How do we figure out what will work best? Prince finds that bringing garments into rehearsals is a great way to spark ideas. "We need to figure out if pants or a dress will work. I bring a lot of stuff to try," she says. She finds that can work better than a sketch for choreographers with limited time and budget. "The dancers need to feel comfortable, and we need to see how it looks on their bodies," says Prince. "We have to consider what the garment is saying on multiple layers." Function also matters: the costume needs to be danceable, washable and durable, especially if it needs to last on a long tour.
What if my budget is tiny? If money is a concern, Prince uses a limited color palette and texture to make up for pricier options, she says. Yet she warns against a too-beautiful costume, which can suck up all the attention onstage. "Color can also get in the way. It can't be about the costume."
Working With a Lighting Designer
Christina Giannelli designed the lighting for Christopher Bruce's Hush. Photo by Amitava Sarkar, courtesy Houston Ballet
What does a lighting designer need from me? Choreographers should give lighting designers as much info as possible about a piece, says former Houston Ballet lighting director Christina Giannelli, who's working with companies like Acosta Danza and Pittsburgh Ballet Theatre this season. She wants access to all the clues, whether it's a movement idea, an image that a choreographer has shared with their dancers or a particular feeling. "Let the designer in on the process," she says. "Don't keep it a secret." Giannelli even finds the idiosyncratic names that contemporary choreographers give their phrases revealing.
Should I have a specific idea? Giannelli doesn't mind when a choreographer requests a particular lighting effect, but she'll ask about the motivation behind it. Part of her job is to find out how to work best within each choreographer's communication style. With Ben Stevenson, she rarely heard from him, unless something wasn't right, and then he would be very specific. For Trey McIntyre, his poetic, descriptive language helped immensely in forming her plan. She doesn't discount anything a choreographer says: "When Jorma Elo talked about revealing and hiding, I created an isolated, floating-in-space stage."
Working With a Composer
The So Percussion Group performing David Lang's So-Called Laws of Nature. Photo courtesy Lang
Why should I hire a composer? Music can both support a choreographer's vision and add its own statement. "My job is to react to something, to figure it out through music, to heighten the emotional narrative, to deepen it, push or provide a counterpoint to the dance," says Pulitzer Prize–winning composer David Lang, who has created work for Benjamin Millepied, Susan Marshall and Pam Tanowitz, to name a few.
What does a composer need from me? To be useful, a composer needs space. State what you need, describe the emotional feeling over the arc of the piece, then let them be artists. But every relationship with a choreographer is different, says Lang: "Some want you to react to them, some want to react to you, some want the music and dance to coexist but not explicitly notice each other."
Should I choreograph the dance first? Lang generally doesn't want to see the dance before he writes the music. "Then it's like the dance is telling the music what to do, and that makes it harder for me to make the music have its own logic," he says. He finds that it works better to write a lot of music, perhaps more than needed, then go back and forth with the choreographer. "If I write an hour of music and the choreographer chooses the 20 minutes he or she likes best, then we both can be happy," Lang says.
What if I want changes to the score? Lang will try to make revisions if necessary, but hopes he doesn't have to. "Choreographers are used to working with music that already exists, and somehow they manage to figure out what to love. What makes that old, found music so powerful is that it is complete—it goes from start to finish musically, with a logic and commitment that makes us listen. I want my music for dance to have that same kind of logic. I hope that choreographers will treat me just like every other dead composer."
Four years of lectures, exams and classes can feel like a lifetime for college dancers who have their sights set on performing. So when a professional opportunity comes knocking, it can be tempting to step away from your academics. But there are a few things to consider before putting your education on hold.
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.
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.
But do you actually get yourself to the theater and sit through a 90-minute performance? The consensus, at this point, typically seems to be: No.
There is no clear correlation between a company's social media campaigns and how many seats they fill in the theater. That doesn't mean social media isn't, of course, vital. It simply means that "social media campaigns operating without other marketing campaigns don't cut it," says Rob Bailis, associate director of Cal Performances at UC Berkeley. "But campaigns without social media are far worse off."
Since the project was first announced toward the end of 2017, we've been extremely curious about Yuli. The film, based on Carlos Acosta's memoir No Way Home, promised as much dancing as biography, with Acosta appearing as himself and dance sequences featuring his eponymous Cuba-based company Acosta Danza. Add in filmmaking power couple Icíar Bollaín (director) and Paul Laverty (screenwriter), and you have a recipe for a dance film unlike anything else we've seen recently.
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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One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.
The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.
A woman passes three men in the street. The men pursue her. They thrust their pelvises at her. They continue to pursue her after she slaps one's hand and walks away. They surround her. She glances around at them in alarm. One snatches her purse (to review the Freudian significance of purses, click here) and saunters off with it, mocking her. She tries to take the purse back, and the three men toss it over her head among each other. They make her dance with them. Each time she indicates "No," the men try harder to force her submission to their advances.
This is all within the first 10 minutes of Jerome Robbins's Fancy Free, a 1944 ballet about three sailors frolicking on shore leave during World War II, beloved by many and still regularly performed (especially during the last year, since 2018 was the centennial celebration of Robbins's birth). Critic Edwin Denby, after the premiere with Ballet Theatre, called it "a remarkable comedy piece" and "a direct, manly piece."
When you're bouncing between hotel rooms without access to a kitchen, eating a pescatarian diet can be challenging. Stephanie Mincone, who most recently traveled the globe with Taylor Swift's Reputation Stadium Tour, told Dance Magazine how she does it—while fueling herself with enough energy to perform for thousands of Taylor fans.
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.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
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?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
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.
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.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
As more states legalize cannabis, it seems the sales pitch for cannabidiol—or CBD—gets broader and broader. A quick internet search turns up claims that CBD helps with pain, depression, acne, arthritis, anxiety, insomnia, heart disease, post-traumatic stress, epilepsy and cancer. But the marketplace is unregulated, which makes it tricky to find out what CBD actually does.
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.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.