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Dance/NYC Symposium Gets Down
Stepping into the annual Dance/NYC Symposium last Sunday was an adrenaline rush for dance educators. With a record number of 500 attendees, we were all embracing old friends and respected colleagues. Sprawling out over six studios at the Gibney Dance space on Chambers Street, the all-day affair covered topics from technology to fundraising to diversity initiatives. The glamour event of the day was a simulcast talk between Misty Copeland and Virginia Johnson; the film event was the showing of the Emmy-nominated documentary PS Dance!
Misty Copeland and Virginia Johnson, all photos by Christopher Duggan
I attended two back-to-back events that I would call serious fun. The serious part was the panel on diversity and inclusion in dance education, and the fun part was Camille A. Brown’s exhilarating master class titled “Journey through Juba and other social dances.” (See this wonderful “Choreography in Focus” with Camille.)
The first was moderated by Camille, who asked the panelists to spread themselves around the room rather than up on a pedestal (as it were). They were Theresa Ruth Howard, Joan Finkelstein, Maria Bauman, Ananya Chatterjea, and Zazel-Chavah O’Garra. Also in the room were dance educators Charmaine Warren, Ron Alexander, Davalois Fearon and many more. The tone ranged from strident to uplifting, but the comments were always stimulating. Some memorable moments:
Ananya Chatterjea speaking
Theresa Ruth Howard: “The small dance studios are feeders to the big companies, but they are not part of the conversation. They are doing the work of diversity, but the big studios get the funding.”
Joan Finkelstein: “From my experience, the dance community is the most diverse of all the arts in NYC.”
Ananya Chatterjea: “There is no support to bridge the gap between studios and the university. The university system collects students of color. The women of color are the bodies of excess.”
Davalois Fearon: “A photo of me was posted on the University of Milwaukee’s website even before I got there. But the training was all about pointed feet and erect spines. It was European-based and everything else was Other. So I said, ‘If you’re gonna put me on your website, you can’t ignore my perspective.’ Then they started to listen.”
Davalois Fearon speaking
A disabled dancer: “The groups working to find their place in the diversity agenda are sometimes pitted against each other. We’re the new kids on the block. Dance pedagogy, casting directors etc have the opportunity to enrich the conversation but we’re seen as a problem. We need to talk openly about these ideas.”
A public school teacher: “I don’t need my students to perform at the Joyce. I want them to become responsible, caring citizens.”
Maria Bauman: “We need to undo racism through community organizing, not because dance world is flawed but because we are a microcosm of the community.”
Theresa Ruth Howard: “College should teach the complete dance history. Stop segregating the information.”
Maria Bauman: “I am not always an advocate of diversity. Disabled dancers can get together, black dancers can get together, feeling affirmed and getting together at the same time. Sometimes I just want to dance with my folks.”
Maria Bauman speaking, Charmaine Patricia Warren at left. (I am behind Maria.)
This was a rich discussion with everyone listening to each other and no one shouting down anyone else.
Nevertheless, after hearing these points of view, it was a sweet release to follow the charismatic Camille Brown in a series of shoulder moves, knee-knocking, and clapping with your whole body pitched forward. (For my body, the forward-tipping stance is more comfortable than the held-up spine of ballet.) The drummer kept the momentum up so our energy never flagged. With a positive and encouraging demeanor, Camille showed us basic structures that we could riff off of in our own ways. Her shoulders and hips kept in constant motions while she talked gently about how slave dances evolved. “Find the freedom in oppression.”
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
José Greco popularized Spanish dance in 1950s and '60s America through his work onstage and on screen. Ensemble Español Spanish Dance Theater's American Spanish Dance & Music Festival is honoring the icon in recognition of what would have been his 100th birthday. As part of the tribute, Greco's three dancing children are reuniting to perform together for the first time since their father's death in 2000. Also on the program is the premiere of contemporary flamenco choreographer Carlos Rodriguez's Mar de Fuego (Sea of Fire). June 15–17, North Shore Center for the Performing Arts. ensembleespanol.org.
Dance Theatre of Harlem dancers Christopher McDaniel and Crystal Serrano were working on Nacho Duato's Coming Together in rehearsal when McDaniel's foot hit a slippery spot on the marley. As they attempted a swinging lift, both dancers went tumbling, injuring Serrano as they fell. She ended up being out for a week with a badly bruised knee.
"I immediately felt, This is my fault," says McDaniel. "I broke my friend."
What's on the minds of college students today?
I recently had the honor of adjudicating at the American College Dance Association's National College Dance Festival, along with choreographer Dana Tai Soon Burgess and former National Endowment for the Arts dance specialist Douglas C. Sonntag. We chose three winners—one for Outstanding Choreography and two for Outstanding Performance—from 30 pieces representing schools throughout the country. It was a great opportunity to see what college dance students are up to—from the issues they care about to the kinds movement they're interested in exploring.
Here were the biggest trends and takeaways:
It's summer festival season! If you're feeling overwhelmed by the dizzying array of offerings, never fear: We've combed through the usual suspects to highlight the shows we most want to catch.
Subscription box services have quickly gained a dedicated following among the fashion and fitness set. And while we'd never say no to a box with new jewelry or workout wear to try, we've been waiting for the subscription model to make its way to the dance world.
Enter barre + bag, a new service that sends a curated set of items to your door each season. Created by Faye Morrow Bell and her daughter Tyler, a student in the pre-professional ballet program at University of North Carolina School of the Arts, this just-launched service offers dance, lifestyle and wellness finds in four themed bags each year: Spring Performance, Summer Study, Back-to-Studio and Nutcracker. Since all the products are specifically made for dancers, everything barre + bag sends you is something you'll actually use, (Plus, it all comes in a bag instead of a box—because what dancer can ever have enough bags?).
barre + bag's Summer Collection
Today, American Ballet Theatre announced a new initiative to foster the development of choreography by company members and freelance dancemakers. Aptly titled ABT Incubator, the program, directed by principal David Hallberg, will give selected choreographers the opportunity to spend two weeks workshopping new dances.
"It has always been my vision to establish a process-oriented hub to explore the directions ballet can forge now and in the future," said Hallberg in a press release from the company. Interested? Here's how you can apply to participate.
Back in January, Chase Johnsey grabbed headlines when he resigned from Les Ballets Trockadero de Monte Carlo, where his performances had garnered critical acclaim for over a decade, alleging a culture of harassment and discrimination. (An independent investigation launched by the company did not substantiate any legal claims.) Johnsey, who identifies as genderqueer, later told us that he feared his dance career was at an end—where else, as a ballet dancer, would he be allowed to perform traditionally female roles?
But the story didn't end there. After a surprise offer from Tamara Rojo, artistic director of English National Ballet, Johnsey has found a temporary artistic home with the company, joining as a guest at the rank of first artist for its run of The Sleeping Beauty, which continues this week. After weeks of working and rehearsing with the company, last week Johnsey quietly marked a new milestone: He performed with ENB's corps de ballet as one of the ladies in the prince's court.