Dance Takes the Spotlight
Music videos are embracing concert dance more than ever.
It was the music video the world couldn’t stop talking about. Sia’s “Chandelier” featured “Dance Moms” star Maddie Ziegler moving with reckless abandon in a forlorn apartment. The video became the 17th most viewed on YouTube, and won the award for Best Choreography at the 2014 MTV Video Music Awards. After two more collaborations, Sia’s projects starring Ziegler and choreographed by Ryan Heffington have collectively garnered over a billion views on YouTube.
Though we don’t yet know who will take home a VMA this month, one thing is for certain: Dancers are no longer just a backdrop. They’ve become the heart of many videos, like in Taylor Swift’s dance mash-up “Shake It Off” and Carrie Underwood’s splashy “Something in the Water,” featuring the dancers of Shaping Sound.
Pop culture and dance have already come together in television, on shows like “So You Think You Can Dance” and “Breaking Pointe.” But music videos, generally with a three- to four-minute window, pack in only the most impressive movement. It’s a quick dose of culture packaged for consumption. “What we have been creating these past few years are products of evolution and sit in the confines of current culture. There is no chance I could have created this work a decade ago,” says Heffington, who has also choreographed for Arcade Fire, FKA twigs and Florence + the Machine. “The more people see dance in music videos, the more they can relate to it.”
But is boiling dance down to a few minutes of flash good for the art form? The success of a music video is generally determined by its director, says Jade Hale-Christofi, who choreographed a viral video to Hozier’s “Take Me to Church,”danced by Sergei Polunin. He says that director David LaChapelle’s understanding of dance helped give himself and Polunin the freedom to develop a powerful final product. “If it’s done right and it’s done with care and love for the art, more dancers would definitely go into music videos,” he says. “Anyone can look at it and understand the piece. And I think that if you can inspire enough people to watch ballet, that’s a great thing.”
New York City–based choreographer and director Jennifer Weber once worked on a project with a strict social media policy: " 'Hire no one with less than 10K, period'—and that was a few years ago," she says. "Ten thousand is a very small number now, especially on Instagram."
The commercial dance world is in a period of transition, where social media handles and follower counts are increasingly requested by casting directors, but rarely offered by dancers up front. "I can see it starting to show up on resumés, though, alongside a dancer's height and hair color," predicts Weber.
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
What happens during a performance is the product of the painstaking process of realizing an artistic vision. Whether held beforehand, afterward, offsite or online, audience discussions tend not to be so preordained, easily thrown off track without a skilled moderator at the helm.
"I'm someone who dreaded talkbacks and Q&As," admits Bill Bragin, former director of public programming at Lincoln Center. "While I was in New York, a lot of the time it was just audience members trying to show off how smart they were."
These events present a pile of difficult questions: How much do you reveal about a piece before it's shown? How can a conversation designed to hit key points feel casual and spontaneous? How do you cater to the needs of diverse attendees, from novice dancegoers to lifelong fans to scholars and critics? And how do you avoid smothering dance with language, flattening all its complexity?