"Good Morning America" Host Apologizes for Comments About Ballet, Interviews Male Dancers on Air. It's a Start.

On this morning's edition of "Good Morning America," host Lara Spencer did what the dance community has been clamoring for since last Thursday, when her flippant comments about Prince George enjoying ballet lessons provoked widespread outrage: She apologized live on air.


"The comment I made about dance was insensitive, it was stupid, and I am deeply sorry," she said. "I have spoken with several members of the dance community over the past few days. I have listened. I have learned about the bravery it takes for a young boy to pursue a career in dance."

The show then cut to a pre-recorded segment in which Spencer sat down with former New York City Ballet principal and soon-to-be Cats star Robbie Fairchild, Emmy-winning choreographer Travis Wall, and longtime Joffrey Ballet dancer Fabrice Calmels. Fairchild spoke candidly about the bullying he faced growing up because of his dance training; Wall expressed pride at the number of boys who have begun dancing as a result of "So You Think You Can Dance"; Calmels called for more open-mindedness and empathy. "I teach young kids," Calmels said, "and boys just drop because of the social stigma around the form. Children should be entitled to experience things without being bullied."

Wall advised any young men watching the segment who wanted to dance to "avoid the noise. Use that as inspiration. Look at anybody who has been through it: It gets better." Fairchild added his thoughts on how important it is for them to have male role models, like Gene Kelly had been for him. (Kelly's widow released a public statement responding to Spencer's comments.) At the end of the segment, Spencer apologized again, and expressed gratitude that her insensitive comments had created an opportunity for learning.

The importance of this apology happening on the same national platform where her comments were originally made cannot be understated. Spencer had previously apologized in a post to her personal Instagram; while this meant that the members of the dance community who called out her remarks online might see it, it did not necessarily follow that the rest of the "GMA" audience would.

This is an issue that goes beyond the "insensitive comments" of one person. As the immediate outpouring of responses from the dance community showed, this incident struck a nerve because it spoke to an underlying attitude towards dance that is more common than we would like to believe. There are those who think, wrongly, that it is an inherently feminine art form. There are those who think that it is not an appropriate recreational activity for boys. There are those who think that it is not an acceptable career path for anyone, but especially young men.

My hope is that the same audience who heard Spencer's comments last Thursday heard her apology today. More than that, I hope that they heard what Wall, Fairchild and Calmels had to say. I hope that this moment is a teachable one, not just for Spencer, but for the people who did not think to question her "joke." I hope that maybe, just maybe, they'll stop to question the culturally ingrained assumptions they might have about dance, and hesitate before making boys who do ballet the butt of the joke—not out of fear of the backlash, but out of empathy.

The dance community rose to this occasion beautifully. This morning, Wall, Fairchild and Calmels led a ballet class outside "GMA" in Times Square. As Fairchild told Spencer on today's segment, "We are a community of love, and in order for us to move forward, we have to move forward together." When we band together and support one another, we are capable of incredible things. Let's keep going.

There's still an ongoing petition for "GMA" to produce a segment amplifying the benefits of ballet for young men. (Since Friday, it has gathered over 35,000 signatures.) There are still minds and hearts left to change. Let this be our rallying cry. We've got work to do.

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Paul Liu, Courtesy Pilobolus

Could Augmented Reality Change How We Watch Dance?

Imagine being able to digitally project the world's greatest dancers into your home, and observe them performing virtually, in three dimensions, atop a living room table. Such is the potential of a new class of augmented reality (AR) technologies like the "Magic Leap," a headset that allows users to superimpose digital media atop their seen reality, innovatively combining recorded dance with real space.

Director and founder of the MAP Design Lab Melissa Painter recently collaborated with Pilobolus to produce a bonkers AR choreography called "YouDanceWeDance." This project, which began its life on the Magic Leap, allows viewers to use their smartphones to observe (from any angle, and anywhere) Pilobolus dancers moving according to selectable emotional themes.

What is your dance background?

Creative—not competitive—movement practices have always been where I lived. When I was little (in Northern California, back in the hippie days) my dance classes had provocations like, "Stand tall, like a tree" or, "Imagine that you're a frog, and folk dancing."

Today, my movement practice is yoga, and I feel like I'm still hearing the "stand like a tree" part. I also studied Graham technique, improvisation and Alexander techniques. While I was never a strong performer, I am a strong enthusiast.

Tell us about your collaboration with Pilobolus.

Pilobolus and MAP started playing together, doing motion capture and dreaming up augmented and virtual reality interpretations of their work over a year ago. I love their creative process, the emotional accessibility of their work, and how adventurous the artistic directors Matt Kent and Renee Jaworski are.

Youdancewedance.org (now also available for smartphones) is a good thing for people during this weird moment where everyone is stuck at home. We have a vision that it will foster a different kind of relationship between audiences and theater performance over time.

Next up, it will be part of the "Art Safari" they are staging in their (safely socially distanced) Five Senses Festival this summer (July 31-Aug 2) in Washington Depot, Connecticut. We really made this with kids and families in mind, and I hope people enjoy it. It basically reminds you to move your own body!

How has augmented reality and motion capture changed your view on what choreography is?

For me, augmented and virtual reality have honed my eye, and given me an opportunity to spend additional time with phrases in the context of motion capture. It's similar to how a dancer might live with movement in their body. It provides an opportunity to revisit live movements spatially, instead of through a flat YouTube video or even on a proscenium stage. It's about being able to look at it giant, and then look at it tiny, and from all angles. I adore it. I've always wanted people to view dance with the feeling of exhilaration and joy I've had as a watcher in the rehearsal studio.

Movement, to me, is the most beautiful, direct and instinctual form of human communication. I believe motion capture gets at the essence of who we are in a way that is elegant, accessible and impactful. Especially in this moment when so many people forget that their body is a beautiful, creative tool.

If COVID keeps theaters closed for the foreseeable future, might AR maintain a sense of dancerly liveness in performance?

Currently, live performance spaces being shuttered, it's important to think of ways that spatial computing, three-dimensional capture and immersive presentations can support the work of creators who work with bodies. We can explore potential new audiences and performance opportunities right now.

Once upon a time, there was less of a distinct line between dancers and watchers. I still believe that can be the case, and that it's good for non-experts to have as many chances to be inspired by experts as to move their own bodies.

Are there things that folks can do at home to explore in this new, virtual choreographic horizon?

Dance is one of the most loved, watched and shared forms of social media content that there is. So, share dance! I'm always up for more making and doing and moving, whether it's captured or not. There are emergent forms of dimensional capture and there are also off-the-shelf ways to turn flat videos spatial. They're not perfect, but they're getting better and better.

Who are some other people working in this space that you think Dance Magazine’s readers should know about?

There is a world of immersive makers out there. The media is ripe for it, and as creative technologists, we know that it is dancers and choreographers who are the collaborators we need as we create experiences and technologies of the future that honor embodiment. Some who come to mind are Heidi Bosivert, Michelle Ellsworth, Christine Marie and Gilles Jobin.

How can dancers prepare for this sort of work in the future?

Having inventive improvisational and collaborative skills is a good start. That's part of why Pilobolus translates so beautifully to virtual space. Motion capture can be used in as many ways as there are movers. There's no prescribed form. We have had lots of situations when people are doing complex partnerings, but someone's data for their head ends up attached to someone else's knee. You learn to work through!