When Can We Finally Talk About Why Boys In Dance Get Bullied?
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.
The film often comes across as tone-deaf: Though there is lots of discussion about the challenges that professional male dancers face (not having their career taken seriously, being a "prop" onstage for women, etc), there's no acknowledgment that ballet is almost entirely run by men, who often ride a "glass escalator" into positions of power in the field. (And yes, ballet may be a traditionally feminine art form, but one of the country's major companies is currently being sued for having a "frat-like" culture.) Nor does it tackle other complex gender dynamics at play, like the fact that alongside being bullied, boys often receive scholarships and preferential treatment from teachers because they are so scarce, or that women face outsized competition due to sheer numbers.
DANSEUR accomplishes an important goal: To show boys facing bullying that they're not alone, and to present role models of (mostly gay) professional male dancers. We spoke to one of these roles models, Boston Ballet principal John Lam, about the film, why his parents still haven't seen him dance as a professional, and why ballet's issues don't end with bullying:
What He Thought of the Film
"I thought it was a powerful message for our youth, especially now within our political temperature," Lam says. "Bullying has essentially been a growing pain of being a male dancer. People don't discuss it or allow kids to know that others have gone through it." Director and producer Scott K. Gormley was inspired by his son's experience with bullying to make the film, according to Lam. "I'm a father myself so it hits me a little deeper," he says.
Why His Parents Won't Go See Him Dance
Early in the film, Lam mentions that his parents have never seen him dance as a professional. As a viewer, it's easy to assume that this is because they don't approve of men doing ballet, or of Lam being gay. But the reality is more complicated: "The American culture says that our parents are going to be there in anything that we do," says Lam. "My parents are refugees from Vietnam. Coming here, all they cared about was making sure I was safe, fed and doing well at school. They do love me dearly. But in terms of what I do for a living, they haven't really come through with that. I think it's a lack of a cultural education, and I don't blame them. It's sad but at the same time it helps me become a stronger person. I think that has been a blessing in disguise."
Why We Need to Talk About More Than Just Bullying
The film implies that ballet is just as competitive for men as it is for women. When asked if he agrees with that sentiment, Lam brought up another important facet of the argument: "I believe that if you're a white male that's tall and can partner, your career is going to be much easier than a dancer from any other ethnicity," he says. "I only say that from personal experience. I've dealt with things like, Oh we don't want you in that part. They can't tell you it's because you have Asian eyes and dark hair but the presumption is that an Asian dancer has never done that role before."
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When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
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.
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
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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It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
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:
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.
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.