12 Dance Stars Share the Worst Advice They Ever Received
Raise your hand if you've received bad advice from well-meaning friends or family (or strangers, tbh) who don't know anything about what it really takes to be a dancer.
*everyone raises hands*
Sometimes it's even dance insiders whose advice can send you down the wrong path. We've been asking pros about the worst advice they've ever received in our "Spotlight" Q&A series, and rounded up some of the best answers:
Miami City Ballet's Nathalia Arja
Arja in Symphonic Dances. Photo by Alexander Iziliaev
Her answer: "I've been told, 'be the best' but I completely disagree with that. I believe that the best advice you could give to a dancer is 'be YOUR best and every day try to be a little better than yesterday.' That's my mind set—I think that's a healthy way of thinking for a healthy career!"
B-girl and choreographer Ephrat Asherie
Photo by Christopher Duggan
Her answer: "Someone told me to always have another dancer in the corner of my eye to compare myself to 'because that will push you to be better.' I actually believe the opposite to be true. Your inner drive to grow has to far outshine any external stimuli or comparison you may draw with someone else. That will give you longevity and sustenance. As my breaking mentor Richard Santiago (aka Break Easy) once told me, 'The biggest battle you'll have will always be with yourself.' "
Pacific Northwest Ballet's Leta Biasucci
Biasucci in Coppélia. Photo by Angela Sterling
Her answer: "You should straighten your hair more often."
Commercial darling Emma Portner
Photo by Quinn Wharton
Her answer: "That I shouldn't move to New York."
The Washington Ballet's Ashley Murphy
Murphy in Giselle at The Washington Ballet. Photo by Theo Kossenas
Her answer: "Stay where you are comfortable."
Tap dancer and choreographer Caleb Teicher
Photo by Sally Cohn
His answer: " 'You'll sleep when you're dead!' is a common expression. I disagree—I have to sleep while I'm living, too..."
Former NYCB and freelance star Kaitlyn Gilliland
Photo by Don Norman @don_nor_man for L.A. Dance Project
Her answer: "Don't think too much."
Martha Graham Dance Company's PeiJu Chien-Pott
Photo by NYC Dance Project
Her answer: " 'You will never be able to dance again after you have a child.' As a matter of fact, I auditioned for the Martha Graham Dance Company twice, two years apart. The first audition was before I had my daughter, and I was not picked. The second time was right after I had my baby, and I was hired!"
Pennsylvania Ballet's Sterling Baca
Photo by Alexander Iziliaev
His answer: " 'The best thing you could do is just kinda mark the whole thing so you are able to get through it.' I would rather fall on my face giving everything I had."
Alvin Ailey American Dance Theater's Hope Boykin
Photo by Matthew Karas
Her answer: "I will never forget being told that I had learned all I could where I was studying at the time, and that I should go and try something else. Ultimately, that is what I had to do, but I never worked harder to stay on the path I knew was meant for me. I would never speak to a student in such a way, but it didn't deter me. It only pushed me toward my goals."
San Francisco Ballet's Sarah Van Patten
Photo via YouTube
Her answer: "That I'll never be able to do something or that a specific role isn't for me. Anything that makes me feel limited."
International guest artist Joy Womack
Photo by Vihao Pham
Her answer: "That the best thing an artist can be is a blank canvas."
Adji Cissoko has the alchemical blend of willowy limbs and earthy musicality you expect from a dancer in Alonzo King LINES Ballet. But she also has something more—a joy in dancing that makes every step feel immediate.
"She has this soulful quality of an ancient spirit coming through her body," says LINES chief executive officer Muriel Maffre, a former prima ballerina with San Francisco Ballet. "She's fearless, which is fun to work with," says artistic director Alonzo King. "I don't know how to put it into words— she's herself."
So you're on layoff—or, let's be real, you just don't feel like going to the studio—and you decide you're going to take class from home. Easy enough, right? All you need is an empty room and some music tracks on your iPhone, right?
Wrong. Anyone who has attempted this feat can tell you that taking class at home—or even just giving yourself class in general—is easier said than done. But with the right tools, it's totally doable—and can be totally rewarding.
When Jan Fabre's troupe Troubleyn presents his Mount Olympus: To glorify the cult of tragedy (a 24 hour performance) at NYU Skirball tomorrow it does so under a heavy cloud of controversy.
Fabre is a celebrated Belgian multidisciplinary artist who has been honored as Grand Officer in the Order of the Crown, one of the country's highest honors. His visual art has been displayed at the Louvre and at the Hermitage in St. Petersburg. According to The New York Times, his dance company, Troubleyn, receives about $1 million a year from the Belgian government.
But in an open letter posted to Belgian magazine Rekto Verso just a few months ago, 20 of his company's current and former dancers outline a horrific culture of sexual harassment, bullying and coercion. This comes on the heels of similar accusations at New York City Ballet and Paris Opèra Ballet.
It's contest time! You could win your choice of Apolla Shocks (up to 100 pairs) for your whole studio! Apolla Performance believes dancers are artists AND athletes—wearing Apolla Shocks helps you be both! Apolla Shocks are footwear for dancers infused with sports science technology while maintaining a dancer's traditions and lines. They provide support, protection and traction that doesn't exist anywhere else for dancers, helping them dance longer and stronger. Apolla wants to get your ENTIRE studio protected and supported in Apolla Shocks! How? Follow these steps:
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
Earlier this week, New York City Ballet principal Tiler Peck gave us some major onstage makeup inspiration while attending an offstage event. While walking the red carpet at the CFDA/Vogue Fashion Fund gala, Peck's beauty look was still perfectly suited for the ballet with her top knot hairstyle and stage-worthy red lip. Peck's makeup artist for the night, Daniel Duran, shared his exact breakdown on the look, working exclusively with beauty brand Chantecaille. So, whether you're in need of a waterproof brow pencil, volumizing mascara or long-lasting red lip this Nutcracker season, we've got you covered.
There's a new tool that lets amputee ballet dancers perform on pointe. As reported in Dezeen, an architecture and design magazine, industrial designer Jae-Hyun An has created a prosthesis he calls the "Marie . T" (after Marie Taglioni, of course) that allows dancers with below-the-knee amputations to do pointe work.
A carbon fiber calf absorbs shock while a stainless steel toe and rubber platform allow a dancer to both turn and grip the floor to maintain balance. What it doesn't allow the dancer to do? Roll down to demi-pointe or flat.
Former chair of New York University's Tisch School of the Arts dance department Linda Tarnay died on Tuesday, November 6. Her wish was to have her ashes interred in the columbarium at St. Mark's Church-in-the-Bowery—the site of Danspace Project and just a few blocks away from the Tisch dance building.
Before her 35 years of teaching at NYU, Tarnay was a founding member of Dance Theater Workshop. She performed with choreographers like Anna Sokolow, Phyllis Lamhut and Jamie Cunningham. She also started her own company, Linda Tarnay and Dancers, and was an artist-in-residence at The Yard.
Margaret Selby never dreamed that her passion for dance would lead her everywhere from working on live TV specials like the Macy's Thanksgiving Day Parade to producing hip-hop musical Jam on the Groove, from Columbia Artists Management, Inc., to public TV's "Great Performances: Dance in America."
Now, through her company Selby/Artists MGMT, she helps clients like Dorrance Dance, MOMIX and Pacific Northwest Ballet navigate the behind-the-scenes elements that get their work onstage, like booking tours, marketing and planning upcoming seasons.
According to the new documentary DANSEUR, 85% of males who study dance in the United States are bullied or harassed. A quote in the film from Dr. Doug Risner, faculty member at Wayne State University, states, "If this scope of bullying occurred in any activity other than dance, it would be considered a public health crisis by the CDC."
So why is it allowed to persist in ballet? And why aren't we talking about it more? These are the questions that DANSEUR seeks to answer. But primarily consisting of dance footage and interviews with male dancers like ABT's James Whiteside, Houston Ballet's Harper Watters and Boston Ballet's Derek Dunn, the film only addresses these issues superficially, with anecdotes about individual experiences and generalizations about what it's like to be a male dancer.
When you're unable to dance, it's easy to feel like you're falling behind and losing out on opportunities. But this can be a time to reset your body and come back even stronger, says Ilana Goldman, BFA program director at Florida State University's School of Dance. "Some of the greatest leaps I made in my technique happened because of injuries," she says. "Learning how to deal with them is part of being a professional dancer."
Dancers are human, which means they're bound to make mistakes from time to time, both on and off the stage. But what happens when those mistakes burn bridges? In an industry so small, is it possible for choreographers and performers to recover?In a moment of vulnerability, three-time Emmy Award winning choreographer Mia Michaels opened up to Dance Magazine about some of the bridges she herself has burned, the lengths she's gone to in order to rebuild and the peace she's made with the new direction her career has taken because of them. —Haley Hilton
Are auditions rigged? Sometimes I see mediocre dancers make it into a company, and I just don't get it. The audition process is unnerving for me without feedback or any understanding of the rules.
—Madison, Santa Monica, CA
Where in the world is Miko Fogarty? Just three years ago, she seemed unstoppable. After being featured in the 2011 ballet documentary First Position, she became a teenage social-media star, winning top prizes at competitions in Moscow and Varna and at Youth American Grand Prix, and dancing in galas around the world. Last most of us heard, it was 2015 and she had just joined the corps of Birmingham Royal Ballet. A year later, she dropped off the ballet radar.
Turns out Fogarty, now 21, was taking time off to reevaluate her life, including the role she wanted ballet to play in it. She is now starting her junior year as a biology major at University of California—Berkeley and is considering going to medical school. (Her brother and fellow First Position subject, 19-year-old Jules, is a junior in the Berkeley economics department.) On the side she teaches private ballet lessons and gives master classes, and is the part-time conservatory director at San Jose Dance International, a new school in the San Francisco Bay Area led by artistic director Yu Xin. We caught up with her by phone.
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
A few months ago, your teacher snapped at you for smiling too much. Today, you're keeping your expression neutral when your teacher abruptly cuts the music and walks over to you, pretending to knock on your forehead. "Hello? Is anyone in there? Your face is always blank." Your classmates look just as frozen as you feel, their eyes darting back and forth between you and your teacher until the music resumes and class goes on.
Being bullied by a dance teacher can be painful—and confusing. You may have more questions than answers. What's happening? Am I just too sensitive? Is this really bullying?
In dance, pushing through pain is often glorified. Dancers can be reluctant to take time off when sick or injured for fear of missing out on opportunities. It can feel even harder to justify when the pain isn't physical. Though it's becoming more commonly acknowledged that mental health is just as important as physical health, a dance career doesn't leave much time to address mental or emotional issues.
But dancers need to take care of their mental well-being to be able to perform at their best, says Catherine Drury, a licensed clinical social worker for The Dancers' Resource at The Actors Fund. So what can you do if you need a mental health day?
The fall performance season continues at breakneck speed with everything from an international ballet company making its U.S. debut to a retrospective on one of New York City's most iconic dancemakers—not to mention more than a few intriguing new works. Here's what we've got pencilled in.
Yabin Wang converts movement into liquid that spills across the stage. A celebrity in her home country of China, this choreographer, dancer and actress has helped to pioneer modern dance there by blending Chinese classical and contemporary dance. Wang's international career was kick-started in 2010 at American Dance Festival, where she returned this summer to perform on a shared program with Michelle Dorrance, Aparna Ramaswamy, Rhapsody James and Camille A. Brown. She has also worked with Sidi Larbi Cherkaoui on Genesis and was commissioned by English National Ballet to create a piece for its Olivier Award–winning She Said program. This month, she is back stateside for the U.S. premiere of her Moon Opera, Nov. 3 in Pittsburgh.
It's the casting news we didn't know we needed until we heard it. Ever since it was announced that Wayne McGregor would be choreographing the new film adaptation of CATS, we've been anxiously waiting to hear whether any recognizable names from the dance world would be joining the A-list cast (which, in case you missed it, already includes Jennifer Hudson, Sir Ian McKellan, Taylor Swift and James Corden). But never in our wildest dreams did we think that a Royal Ballet principal would be the first dancer to sign on.
The wait for Disney's reimagining of The Nutcracker is over. Although The Nutcracker and The Four Realms is not a full-length ballet, woven into the plot is a five-minute performance by megastars Misty Copeland and Sergei Polunin alongside 18 supporting dancers, with a CGI Mouse King moved by jookin sensation Lil Buck (aka Charles Riley). Royal Ballet artist in residence Liam Scarlett led the film's choreography in his first major motion picture experience. "It was a call I didn't expect to get," says Scarlett. "I really am the biggest Disney fan, so I couldn't believe it!"