How To Nail Your First Dance Composition Class
Whether or not you see yourself choreographing in your future, you can gain a lot from studying dance composition. "Many companies ask you to generate your own content. Choreography is more collaborative now," says Autumn Eckman, a faculty member at the University of Arizona.
Look beyond the rehearsal studio, and you'll find even more benefits to having dancemaking skills. "Being a thinker as well as a mover is what creates a sustainable career," says Iyun Ashani Harrison, who teaches at Goucher College. "Viewing dance with a developed eye and being able to speak about what you're seeing is valuable whether you're a dancer, a choreographer, an artistic director or a curator."
Succeeding in composition class often has more to do with attitude than aptitude. Above all, you need "a willingness to play along and explore," says Kevin Predmore, who teaches at the Ailey/Fordham BFA program. "You have to let go of the desire to create something extraordinary, and instead be curious."
Go Back to Basics
Tamara Dyke-Compton has her students work in silence. Photo by Christian Blue, courtesy University of Arizona
Beginner courses tend to focus on process over product. That means breaking down choreography into its simplest components—shape, level, space, time, energy—and creating short studies exploring each concept. Focus on the task you're given to develop that skill, rather than trying to make every assignment a complete dance.
The back-to-basics approach of many first-year composition classes often means stripping away anything you might be tempted to use as a crutch. Harrison encourages dancers to learn to trust the sensations in their body rather than rely on the mirror. Tamara Dyke-Compton, a faculty member at the University of Arizona, has her beginner students work in silence. "I want the dancers to create movement that speaks for itself, rather than letting a piece of music dictate meaning," she explains.
Use Improv for Exploration
Harrison suggests filming yourself improvising. Photo by Willow Pinkerton, courtesy Harrison
Improvisation can help when you get stuck or find yourself overthinking. "It's instinctual, which makes it a good starting point," says Predmore. "The point of improv is to create material that can be defined, refined and edited."
Harrison introduces each new choreographic concept with an improv circle, throwing out verbal cues. He advises dancers to return to improv if they're feeling uninspired while making their homework phrases; they can even record their improvisations and mine them for material. "With video, you don't have to remember what you're doing as you're doing it," he says. "That can get rid of some of the anxiety involved."
Focus on Feedback
Learning to give feedback can be as helpful as learning to receive it. Photo courtesy Predmore
In order to improve, you have to be able to accept and implement criticism. Learning to give thoughtful critiques can be almost as valuable. Think of feedback time as a conversation, rather than a confrontation. For instance, "I discourage statements like 'I liked this' and 'I didn't like that,' " says Eckman. If you use more descriptive language, detailing what you saw or didn't see, you'll give the choreographer more to work with. When it's your turn in the hot seat, Harrison recommends asking questions: "If you say, 'I'm thinking about this—were you able to see it?' we can answer yes or no, and move forward from there."
Be ready to reimagine your work on the spot. Dyke-Compton sometimes treats in-class showings as a lab. "I might ask the choreographer to try changing the ending, or to have one dancer do the phrase lying down instead of standing," she says. "Then we all can analyze what was different and how it impacted the viewer."
Look to the Greats
Use visual art as inspiration for your choreography. Photo via Unsplash
Composition class can also be an opportunity to research influential choreographers of the past and present. Some professors may have you watch a lot of dance, and respond through writing, discussion and movement. You may also be asked to engage with other types of art by listening to music, reading and going to museums.
Look for elements you can borrow and adapt. For example, you might investigate how Merce Cunningham's use of chance could shake up your own choreographic process, or how your movement would evolve if you thought of it as a Monet versus a Picasso.
"Gaining exposure to what has happened and is happening now in our field is a way to start thinking differently," Harrison says. "If you want to do an arabesque, how is this arabesque different from any other arabesque?" Drawing inspiration from those who've come before will help you discover your unique voice—and in the end, that's what composition class is all about.
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.)
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.
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
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!
—Andrea, New York, NY
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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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.
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:
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.
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.