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After four decades in Germany, choreographer William Forsythe returns to the U.S.—and to his ballet roots.
William Forsythe is a man of mystery. Just when you feel like you start to “get" what he's doing, he surprises everyone by going in a completely different direction. After revolutionizing ballet as we knew it in the '80s, he began experimenting with contemporary, dance theater and even performance art as he explored everything from the Iraq war to his second wife's death from cancer. Now, after a combined 30 groundbreaking years at the helm of Ballett Frankfurt and then The Forsythe Company, he's left Germany and directing behind. At 67, he's launching a new chapter by returning to where it all began: He's back in the U.S. and back in ballet.
Where is “home" for you these days?
In Vermont, way up at the tippy top. I moved from Germany and I'm here now. I'm slowly adapting myself.
How's that going?
It's totally interesting because American companies have an entirely different way of operating. If you have a board, there are opinions involved, right? Whereas in Europe, your funding is decided by politics—which can often be very mercurial and ill-considered, too. But I totally enjoy learning something new. And actually trying to figure out how I can be helpful—seeing if there are other strategies companies haven't thought of that I can assist with, thinking of funding as a creative field rather than a daunting uphill thing.
Do you miss having your own company?
Setting work at PNB. PC Angela Sterling for Pointe
I miss the people. I had the luck to work with these incredible artists and I just miss their persons, you know?
But I like being back in ballet right now. And working with ballet dancers. My biggest epiphany recently was when I walked out of Paris, and I thought, Ballet is Olympian. You can't fake it. There's no “sort of."
Your Blake Works I last year at Paris Opéra Ballet had critics saying it “moved ballet into the future." How do you keep finding something new in ballet?
Well, that statement is a bit tricky because ballet is contemporary. Houston Ballet made me a T-shirt of this joke I said to them: “Somewhere, someone in the world is doing a tendu." Right now, this is the contemporary state of ballet. I didn't bring it someplace other than where it evolved on its own. I'm not working with special, extra-human ballet dancers at the Paris Opéra. I'm working with the history of the Paris Opéra, and their dancers and their traditions. I don't feel it's different than anyone else making a ballet now. And we're all friends—Justin and Alexei and Benjamin and Crystal. Everyone's trying to figure it out. People have these very different takes on it. We socialize and the conversations are very interesting.
SFB's Maria Kochetkova and Francisco Mungamba in Pas/Parts 2016. PC Erik Tomasson, Courtesy SFB.
Has teaching at the University of Southern California affected your approach?
What I really like about USC is that I get to practice legwork. The ideas that I was going to approach Paris Opéra with, I got to practice those at USC all year before I went. The USC students are like my lab. They learn the work, and also how I'm making the work. I really enjoy teaching, telling them everything I know about the subject. I didn't expect how much progress they'd make in a year. This generation is extremely…I'm thinking in German, I'm sorry. What is the word? Formed? Yep. Formed by popular culture, through YouTube and music videos. They apprehend new movement incredibly fast.
What do you hope to give to your students?
The same thing their parents sent them there for: self-reliance. I often put them in my position so they can understand why I said what I said, or why I'm seeing things the way I'm seeing them. And I ask them: In the future, how could you be the best possible person in the room in the sense of a collaborator, a leader, a person who's really able to communicate and build other people?
Last year's Blake Works I at the Paris Opéra Ballet. PC Julien Benhamou, Courtesy POB.
Do you have any new pieces in the works?
Oh, yeah, quite a few. I'm working on an evening with some of my ex-dancers and some urban dancers for Sadler's Wells. I'm working on a number of commissions for ballet companies. I've got big plans! But right now it's all smaller scale. Paris was a lot, which was really fun. Now I'm trying to make work that maybe doesn't need so much technical support.
Why go smaller?
I can very quietly start workshopping something here at home in my studio. I don't need to have a premiere date. I can just work on the piece itself, and then if I see something, I'll say something!
What is intriguing you as a choreographer right now?
Ballet. Ballet's fantastic. And actually, you know what's the most exciting thing? Good ballet dancers.
Leading a lecture-demonstration at USC. PC Rose Eichenbaum, Courtesy USC.
Have you noticed any changes in today's ballet dancers?
Yeah, their musicality has changed. Because each successive generation has been exposed more and more to popular music, their sense of timing is more sophisticated. Even at a place like Paris Opéra, where people get sort of isolated, they're touched by that change. Some of the best dancers there, like François Alu, also have a hip-hop background. People who are exposed to that usually are more sensitive to counterpoint and syncopation, obviously, but there is also a better sense of isolation and complicated coordination. I hope it'll boost people's creativities in the field, without doing hip hop, but just making ballets that reflect the beauty of urban musicalities.
With so many different projects, what do you do to relax?
Number one is to come to Vermont. I work in the woods, chopping up trees. The thing about woods is that they fall down. Trees grow up and trees fall down. We always forget that. I really like taking care of the forest. It's very rewarding and also very relaxing. And it's physical, too, so you're not sitting around. I don't like sitting around.
Where Is William Forsythe?
Teaching: As a faculty member at USC's Glorya Kaufman School of Dance and artistic advisor of the Choreographic Institute, he teaches for several weeks each semester.
Upcoming ballets this season:
• San Francisco Ballet, Pas/Parts 2016, Jan. 26–Feb. 5
• Boston Ballet, Artifact, Feb. 23–Mar. 5
• Pacific Northwest Ballet, New Suite, Mar. 17–26
• English National Ballet, In the middle, somewhat elevated, Mar. 23–Apr. 1
• The Washington Ballet, In the middle, somewhat elevated, Mar. 29–Apr. 2
• Paris Opéra Ballet, Trio and Herman Schmerman, Apr. 14–May 13
• New York City Ballet, Herman Schmerman (Pas de Deux), May 16, 20–21
• The Royal Ballet, The Vertiginous Thrill of Exactitude, May 18–31
Art installations: Now represented by the prestigious Gagosian gallery, Forsythe is currently showing two of his interactive art installations (which he calls “Choreographic Objects"): Doing and Undergoing at Brussels' Bozar Centre for Fine Arts, and The Fact of the Matter at Berlin's Akademie der Künste.
Film: His recent short film, “Alignigung," for Paris Opéra Ballet's online stage, 3e Scène, features former Forsythe Company dancer Riley Watts and L.A. dancer/acrobat Rauf “RubberLegz" Yasit.
The revival of everything '90s has been in full-swing for a while now—we saw Destiny's Child reunite at Coachella, Britney Spears is headed back on tour, and the Spice Girls miiight be performing at the Royal wedding next month. But Hollywood saved the best '90s moment for last, bringing *NSYNC back together to receive their official star on the Hollywood Walk of Fame on April 30.
Because we love a good dance #TBT, we're reliving five of the boys' best dance moments.
"I Want You Back"
The band's first single from their self-titled debut album in 1998, "I Want You Back," was the start of their takeover (and their choreographed dance moves).
Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Gina Gibney runs two enormous dance spaces in New York City: Together they contain 23 studios, five performance spaces, a gallery, a conference room, a media lab and more. Gibney is now probably the largest dance center in the country. It's not surprising that Dance Magazine named Gina Gibney one of the most influential people in dance today.
One of the biggest myths about ballet dancers is that they don't eat. While we all know that, yes, there are those who do struggle with body image issues and eating disorders, most healthy dancers love food—and eat plenty of it to fuel their busy schedules.
Luckily for us, they're not afraid to show it:
What does a superstar like Carlos Acosta do after bidding farewell to his career in classical ballet? In Acosta's case, he returns to his native country, Cuba, to funnel his fame, connections and prodigious energies back into the dance scene that formed him. Because of its top-notch, state-supported training programs and popular embrace of the art of dance, Cuba is brimming with talented dancers. What it has been short on, until recently, are opportunities outside of the mainstream companies, as well as access to a more international repertoire. That is changing now, and, with the creation of Acosta Danza, launched in 2016, Acosta is determined to open the doors even wider to new ideas and audiences.
There's so much more to the dance world than making and performing dances. Arts administrators do everything from raising money to managing companies to building new audiences. With the growing number of arts administration programs in colleges, dancers have an opportunity to position themselves for a multifaceted career on- or offstage—and to bring their unique perspective as artists to administrative work.
While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?