Don't Get It Twisted: Dance Is An Intellectual Pursuit
People have a tendency to think of dance as purely physical and not intellectual. But when we separate movement from intellect, we limit what dance can do for the world.
It's not hard to see that dance is thought of as less than other so-called "intellectual pursuits." How many dancers have been told they should pursue something "more serious"? How many college dance departments don't receive funding on par with theater or music departments, much less science departments?
Perhaps that's because dance only leaves behind traces. The words and decisions that go into making dances have a hard time being accounted for, and choreographic notes and videos cannot fully capture a dance work. Dance depends on the presence of the body. Unfortunately, it's difficult to explain to non-dancers how corporal movement is a means of thinking and engaging with complex ideas. That's why it's so important that dancers can talk or write about their work, translating the corporal knowledge into language.
When we acknowledge that our bodies think, move, translate, react—often in conjunction with linguistic thought or prior to it—we can use dance as a tool.
Dance Can Share Our Stories Across Borders & Generations
Sharing dance shares stories from generation to generation. Photo by Joy Real/Unsplash
As dancers, we know that more than just emotions and physical training go into dancing. Cultural knowledge gets passed on through music and dance, particularly for cultures with strong oral traditions. The gestures, stories and symbolisms, passed from generation to generation, and across borders, help us connect and understand our own and others' histories.
Movement Creates Empathy in The Audience
A change in movement can affect our minds. Photo of a Dance Theatre of Harlem rehearsal by Quinn Wharton
Research has also shown that when we change our posture, we can change our state of mind, and gestures and movements influence our emotions. And that affects not only the dancer. Dance has a unique power to communicate through a process known as kinesthetic empathy. Recent discoveries in neuroscience prove that we can empathize, and even experience (through what have been termed "mirror neurons"), the movements we see someone else doing. Dance oversteps the need for language as a mediator.
Linguistic Intelligence Has Its Place in Dance, Too
Bill T. Jones has long used text to deepen his dance work. Photo by Liza Voll, courtesy BTJ/AZDC
That's not to say that language isn't part of dance. Choreographers craft dancers' intentions and movements with words, images and metaphors. Even in improvisation, a director dictates a score, and dancers translate the imagery into corporal form.
When choreographers layer dance and words, it engages the audience in new ways. As Bill T. Jones explains, "You see one thing and you hear another thing, and then the audience puts together what they mean."
Dance Can Help Us Better Understand Our World
Ananya Chatterjea's Shyamali was created as a tribute to women who've stood up to oppression. Photo via ananyadancetheatre.org
Many choreographers use dance to shed light on today's most pressing topics. Some use dance in conjunction with social activism, like Ananya Dance Theatre's Ananya Chatterjea, who recently created Shyamali as a tribute to women across the world who have stood up against oppression. Others explore the nuances of science: Michelle Dorrance's Myelination, for example, translates the biological process of a myelin sheath forming around a nerve into tap dance. Not to mention artists who use their dance practice as research, focusing on the process of dance making to explore a question or subject.
The Mind-Body Connection Is a Powerful Coping Tool
Movement can help us better cope with traumatic experiences. Photo via marylhurst.edu
In dance therapy, movement functions as a critical tool in understanding and coping with traumatic experiences. It relies on the fact that movement communicates, acknowledging the crucial mind-body connection.
Through Dance, We Can Embody a Brighter Future
Théogène Niwenshuti shared the healing powers of dance after the Rwandan genocide. Photo via Facebook.
On a community level, dance has been successfully used in reconciliation processes in previously divided or war-torn countries, such as Rwanda, Australia, South Africa and Colombia. We relate to others not just with language, but with gestures and physical contact.
Through dance, we can imagine new futures or ways of interacting with the world—in performance we can become anyone (or anything), which can be more than an escape, but a way of pushing beyond the status quo and finding new ways of moving through the world.
Dancers Connect Multiple Parts of Ourselves
Dance uses the connections between the cerebral, physical and emotional parts of ourselves to delve into our humanity. Photo by Matthew Murphy.
Dance intertwines the cerebral, physical and emotional; science tries to unravel the connections between these. Dance uses these inherent connections to delve deeper into our humanity, and create new ways of reflecting on the world. In that way, dance is a crucial tool in intellectual pursuits.
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- Dance - Dance In Intellectual Traditions - Century, Performance ... ›
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- Online CLE & MCLE | Dance as Intellectual Property ›
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:
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.
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.
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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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.
A recent trip I took to 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?
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.
The key is choosing your loaf wisely.
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:
"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.
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.
The heart of his message: Be generous.