Anna Halprin was always ahead of her time. She combined community, environment and improvisation in daring experiments. Driftwood City, a collaborative project that came out of a summer workshop she co-led with her architect husband Lawrence Halprin, landed on our cover in November 1966. They brought dancers and architects together to explore ways they could collaborate at various sites in both urban and natural environments. Jack Anderson’s cover story, “Dancers and Architects Build Kinetic Environments,” describes some of these experiments.
For one event, 40 of this interdisciplinary group infiltrated Union Square in San Francisco. At the stroke of 3 pm, they each walked slowly to the center of the square, inflated a balloon, let it go or gave it to a child, and walked away. Call it the first flash mob. But it was just another example of Anna Halprin’s passion for bringing dance into public life.
Another experiment, with the goal of finding “fresh sensory experience,” was a full day of silence—totally free of talking and writing. Imagine how that would go down in this day of iPhones!
Halprin’s belief that everyone can dance has been a signature of her choreography and teaching. “I want to make theater a shared experience,” she says in this article, “between performer and audience with content which deeply affects our sense of values.”
Automobile event, pictured in Nov. 1966. John Graham of San Francisco Dancers' Workshop partnering Volkswagen, photo Paul Ryan
She developed a method of healing through movement and drawing after she healed her own cancer in her 50s. She’s helped individuals with terminal diseases and she’s helped whole communities move toward well being.
Two years after the initial Driftwood City, the Halprins gave a seven-day workshop to rebuild it in Sea Ranch, California, as Driftwood Village Rebuilt. The California Historical Society recently had an exhibit focusing on this workshop.
Driftwood Village Rebuilt—Day 6, Lawrence Halprin Collection
Halprin, now 96, is still going strong as a teacher and we’ve tried to keep up. Read her “Teacher’s Wisdom” here, and see a follow up in my recent blog. Her Parades and Changes (1965-67) earned her a place in our "Shocking Dances of the Past” story for its use of nudity, and in our November 2012 Women’s Issue, she was profiled in “Nine Who Dared,” our round-up of particularly courageous women in the dance world.
We commend Halprin on 50 years (and more) of bravery, interdisciplinary exploration, and community and individual healing work. Long live Anna Halprin!
(Thanks to Graham Foundation for Advanced Studies in Fine Arts and the Architectural Archives of the U of Pennsylvania for use of above photo.)
Fox produced a live broadcast of Rent in January—but could an original musical be next? Photo by Kevin Estrada, Courtesy Fox
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?
Hive by Boston Conservatory student Alyssa Markowitz. Photo by Jim Coleman
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.)
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre
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.
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!
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.
When you're a foreigndancer, 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.
Still of Fonteyn from the 1972 film I Am a Dancer. Photo courtesy DM Archives
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.