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.
Four years of lectures, exams and classes can feel like a lifetime for college dancers who have their sights set on performing. So when a professional opportunity comes knocking, it can be tempting to step away from your academics. But there are a few things to consider before putting your education on hold.
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.
We've all been there: You see the craziest/most beautiful/oddest/wildest clip of a dance on Facebook and you simply have to see more.
But do you actually get yourself to the theater and sit through a 90-minute performance? The consensus, at this point, typically seems to be: No.
There is no clear correlation between a company's social media campaigns and how many seats they fill in the theater. That doesn't mean social media isn't, of course, vital. It simply means that "social media campaigns operating without other marketing campaigns don't cut it," says Rob Bailis, associate director of Cal Performances at UC Berkeley. "But campaigns without social media are far worse off."
Since the project was first announced toward the end of 2017, we've been extremely curious about Yuli. The film, based on Carlos Acosta's memoir No Way Home, promised as much dancing as biography, with Acosta appearing as himself and dance sequences featuring his eponymous Cuba-based company Acosta Danza. Add in filmmaking power couple Icíar Bollaín (director) and Paul Laverty (screenwriter), and you have a recipe for a dance film unlike anything else we've seen recently.
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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One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.
The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.
A woman passes three men in the street. The men pursue her. They thrust their pelvises at her. They continue to pursue her after she slaps one's hand and walks away. They surround her. She glances around at them in alarm. One snatches her purse (to review the Freudian significance of purses, click here) and saunters off with it, mocking her. She tries to take the purse back, and the three men toss it over her head among each other. They make her dance with them. Each time she indicates "No," the men try harder to force her submission to their advances.
This is all within the first 10 minutes of Jerome Robbins's Fancy Free, a 1944 ballet about three sailors frolicking on shore leave during World War II, beloved by many and still regularly performed (especially during the last year, since 2018 was the centennial celebration of Robbins's birth). Critic Edwin Denby, after the premiere with Ballet Theatre, called it "a remarkable comedy piece" and "a direct, manly piece."
When you're bouncing between hotel rooms without access to a kitchen, eating a pescatarian diet can be challenging. Stephanie Mincone, who most recently traveled the globe with Taylor Swift's Reputation Stadium Tour, told Dance Magazine how she does it—while fueling herself with enough energy to perform for thousands of Taylor fans.
Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
As more states legalize cannabis, it seems the sales pitch for cannabidiol—or CBD—gets broader and broader. A quick internet search turns up claims that CBD helps with pain, depression, acne, arthritis, anxiety, insomnia, heart disease, post-traumatic stress, epilepsy and cancer. But the marketplace is unregulated, which makes it tricky to find out what CBD actually does.
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.