What This DM Editor Learned From Choreographing on ABT Dancers
"Is everyone okay?" was my most used sentence during my time with American Ballet Theatre. There I was, leading world-class ABT dancers through my own choreographic process. I knew that it was unlike anything they'd ever experienced, but I think half of the time I was asking that question, it was really directed to myself.ABT Incubator is a two-week choreographic program created by principal dancer David Hallberg. Supported by The Howard Hughes Corporation, this process-oriented lab gave me and four other choreographers the opportunity to generate ideas for the work we have been inspired to create.
Auditioning for a panel of pros
I don't think I've ever been at an audition where the panel seemed genuinely happy to be there. Photo by JJ Geiger, Courtesy ABT Incubator.
At the audition, David came into the room where I waited anxiously with the seven other selected choreographers and gave us the warmest welcome. One by one we performed a short excerpt of our work and spoke to the panel, including Jessica Lang, Lar Lubovich, Judy Hussie-Taylor and Kevin McKenzie, about our inspiration and goals for the workshop. I don't think I've ever seen a panel so genuinely happy to be there—a testament, I quickly learned, to ABT's welcoming company culture.
I couldn't have asked for a more relaxed, inviting and open environment. Even though I was invited to the second round based on video footage sent in, I wasn't sure how they would react in person to my movement. But I made a promise to myself to be authentic to the work I intended to create—which wasn't exactly ballet.
I applied to ABT Incubator because I had a choreographic itch I hadn't been able to scratch. A friend introduced me to Sarah Ruhl's Eurydice, and it resonated with me on a level so profound I knew the only way I would be able to grapple with it fully would be to explore it through movement. I was specifically interested in the theme of re-education presented in the play: how people are constantly remembering and reconstructing important moments in their lives.
Entering the unknown
It was important for me to let my dancers know their thoughts and opinions were valued in the creative process. Photo by JJ Geiger, Courtesy ABT Incubator.
I've spent the past five years alone in the dance studios of New York City choreographing on myself. In that time I've had a lot of internal conversations, exploring my own body and the ways that feel the most natural for me to move. So when given a group of ABT dancers—Erica Lall, Kiely Groenewegen, Luis Ribagorda and Virginia Lensi—to choreograph on, it felt like a bit of a culture shock.
My process is collaborative, a culmination of task-based exercises I've collected from working with other dancemakers that I feel most authentically generate movement. I wrote quotes from Eurydice on note cards and asked the dancers to interpret them; some chose to develop abstract phrases while other took a more literal approach. Later on, I asked them to write a letter to someone they love and someone they can't love (something Orpheus does for Eurydice throughout Ruhl's play), then asked them to interpret one through movement. At first, these tasks seemed foreign to them. But throughout the entire process we kept a dialogue going and went into each rehearsal with an open mind. They all expressed early on in the workshop that they weren't used to working collaboratively. But they were excited about the opportunity to bring their own ideas to rehearsal.
Every day, I brought Eurydice, The Sentient Archive (a wonderful collection of essays on bodies, performance and memory) and Florence Welch's Useless Magic (just for fun) and encouraged the dancers to refer back to those books if they ever felt removed from the work we were doing. I was pleasantly surprised when they asked to take the books home.
Pushing through self-doubt
I went into this process with the intention of bringing out the humanity in dance. Photo of Erica Lall by JJ Geiger, Courtesy ABT Incubator.
Gabrielle Lamb (the other freelance choreographer invited to the program) and I were at a bit of a disadvantage from the beginning because we had to spend half of the two week workshop getting to know our dancers and their movement styles. The other three choreographers were ABT dancers (Duncan Lyle, Sung Woo Han and James Whiteside) creating on people they knew well.
Halfway through the process, I started doubting myself. Was I using the dancers to their fullest potential? Were they being challenged? After a panicked call to fellow dancer/choreographer Rena Butler, I was reminded of what David had said from the very beginning: The purpose of this program is to explore and question. The exchange is between myself and my dancers, and how we can learn from one another. The viewers at the end of this would only be there to witness that exchange.
Finding a groove
Photo of Kiely Groenewegen in rehearsal by JJ Geiger, Courtesy ABT Incubator.
After I let go of that doubt, things seemed to really click for us in rehearsal, and I started to feel like it truly was a collaboration of ideas. The dancers were excited more and more each day, and eager to reconstruct the movement in different ways based on the task at hand. When I finally gave them choreography, they approached it with humanity, which was my goal from the beginning.
I was also being wildly inspired by the resources that David and the ABT Incubator team provided. I took class with the company each morning and attended events that they arranged for us, like a rehearsal of Sasha Waltz & Guests at BAM, a performance from Lucinda Childs and a tour of Judson Dance Theater: The Work Is Never Done at MoMA.
Reaching a vision
David Hallberg and Kelsey Grills at the ABT Incubator showing. Photo by JJ Geiger, Courtesy ABT Incubator.
At the end of the workshop we had a showing where each choreographer presented their work to an intimate audience that included donors, ABT staff and noted choreographers such as Alexei Ratmansky and Okwui Okpokwasili. Though it felt like the other choreographers' work was presented with a sense of completion, I went into this process with no intention of creating a fully-realized piece.
After each piece David invited the choreographer onto the floor to speak about their experience. He opened our conversation by asking, "How vulnerable do you feel right now?" To which I replied, "Well, this is a very accomplished group of people I'm looking at."
The biggest takeaway for me from this entire experience was my dancers. They invested themselves fearlessly in the whole process—as a choreographer, what more could you ask for? You want to be able to ask the artists you are working with to push themselves and go beyond what they think they can give, but that can only happen when it's a safe and open environment. Ultimately, that synergy is the only way I can be completely open as well.
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.