5 Strategies To Help You Adapt to Any Choreographic Process
One choreographer wants to explore ideas through improvisation; another demands quick pickup of specific steps. One might demonstrate ideas physically; another may rely on language and gestures imbued with feeling. Puzzling out how to thrive in ever-changing creative environments is an ongoing practice, but a little preparation and the right mindset can go a long way.
Yusha-Marie Sorzano. Photo by Chris Cameron
Demote Inner Critics
Moving past internal expectations and fantasies of instant perfection expands your ability to participate in generating work. "It's okay if you don't get it at first," says Yusha-Marie Sorzano, who dances with Camille A. Brown. Repeating phrases over time, or even getting some distance from them, can help material start to feel natural, Sorzano says. Letting go of expectations can take some anxiety out of the learning experience.
Build the Right Warm-Up
Finding an individualized pre-rehearsal routine is key. "If I were talking to my college-age self, I'd tell her to solidify a personal warm-up much sooner," says Megan Wright, a dancer with Stephen Petronio Company. Before every rehearsal, Wright works through what she calls a "nondenominational" series of exercises ranging from push-ups to tendus. Taking as little as 20 minutes to make her own movement choices and ready her mind and body to move outside the pathways of any one technique is especially helpful in an unfamiliar process, she says.
Megan Wright, Photo by Marica Kolcheva
Do Your Homework
Ballet Hispanico dancer Jenna Marie Graves found out early in her career that she needed to spend time after rehearsal writing notes from the day, repeating phrases and reviewing video. "The harder I worked at home," she says, "the easier and less stressful it was in rehearsal." Once the choreographer had finished making new material, that extra work gave her more freedom. "I had a chance to really investigate and grow through the movement without thinking of what the next step was."
Weigh the Trade-Offs
Having a firm idea of what you want from an experience can help take the sting out of otherwise frustrating aspects of a choreographer's work style. "I get really headstrong and resistant when I feel like the room is tipping into a nondemocratic place," says Wright. "I've had to remind myself: What are the larger reasons I'm here?" It might be as transactional as good pay or international travel. Or it might be a desire to work alongside dancers who help you grow, or a strong belief in a choreographer's product, if not her process.
Nathan B. Makolandra. Photo by Morgan Lugo, Courtesy LADP
Know Your Power
"You only have so much control, and sometimes you have to go along for the ride," Sorzano says. That doesn't leave you powerless, however. Nathan B. Makolandra, a dancer with L.A. Dance Project, recalls a time at The Juilliard School when he struggled with partnering in a new work. Physical pain from the proposed choreography led him to resist the vocabulary of the piece altogether. "I internalized the frustration I was feeling until I was too angry to participate," he says. Now, Makolandra has a more empowered mindset. Choosing to be less attached to material generated early on and striving to keep his mind open to choreographers' different practices allows him to continuously work on being a more generous collaborator.
In the end, a difficult process can make performing that much more rewarding, Wright says. "Dancers have all the agency in the world once that curtain goes up."
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?
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.)
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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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
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.