Meet The Ballet Dancer Teaching Hurricane Maria Survivors
Rebecca Warthen was on a year-long assignment with the Peace Corps in Dominica last fall when a storm started brewing. A former dancer with North Carolina Dance Theatre (now Charlotte Ballet) and Columbia City Ballet, she'd been sent to the Caribbean island nation to teach ballet at the Dominica Institute of the Arts and in outreach classes at public schools.
But nine and a half months into her assignment, a tropical storm grew into what would become Hurricane Maria—the worst national disaster in Dominica's history.
Students in Dominica taking class at a makeshift barre. Photo courtesy the Peace Corps
The Peace Corps sent her home to South Carolina for two months while they assessed the situation.
"I spent much of the next few weeks worrying what had become of my coworkers, students and community, finding out only bits and pieces through news and social media," says Warthen. "Many people evacuated to neighboring islands or the U.S. but even more stuck it out through the aftermath without roofs or enough food and water."
When the Peace Corps asked her to return in December, she instantly agreed, even if that meant living without electricity.
"Some people probably thought I was crazy for wanting to return to a place that people were still evacuating from," she says, "but I was just excited to round up my students and start teaching again." So excited, in fact, that she extended her service until January 2019.
Warthen dancing at Dominica School of the Arts before the storm. Photo courtesy the Peace Corps
She shares in a blog post for the Peace Corps that during her first week back, she held a "return to dance workshop" for the kids. She asked the students to write a poem describing their experiences, then had them choreograph to their own words. She writes:
Many students had traumatic tales of what happened during the storm, yet it was the things that were missing they most wanted to talk (and dance) about. Many were staying with neighbors since their homes were unlivable. One girl never found her pet puppy. Another missed the flowers in her garden. And they all longed for the normal things: eating fruits, going to school and taking dance class.
She's found that teaching them has been transformational: "For these children whose lives have been so disrupted, ballet brings stability, a positive focus, friendship, joy, dreams, goals and something beautiful when much of the outside is still recovering from disaster."
The dance studio's roof, floors and mirrors were all damaged. The total cost of repairs is estimated at $30,000. Photo courtesy the Peace Corps
Unfortunately, Dominica School of the Arts' dance studio—the only one on the island—was completely destroyed. The dancers are now taking class in an art gallery while Warthen raises money through a Peace Corps Partnership Program grant to help rebuild the studio. Fortunately, she just found out that her $8000 fundraiser to repair the floor and mirrors is now fully funded.
"The people living in Dominica have adapted to a 'new normal,'" says Warthen. "Most schools have yet to be repaired, so students are sharing space on shift schedules. Many businesses have closed and with them many jobs have been lost. Agriculture systems were quite literally uprooted. Maria did a lot of damage, but she also managed to instill a sense of resiliency in everyone that survived her."
Meanwhile, Warthen's found that her work in Dominica has not only been a way to empower her students and help them process this traumatic experience, bot it's also reignited her own love of dance.
"I get to witness the total joy they emit when they dance," she says. Teaching them has allowed her to feel the wonder of being a beginner again: "It's the joy of jumping really high and relishing a slow port de bras. It's synergy and dancing with other people that share your passion. This experience has reminded me how lucky I am that this is my life."
Warthen is known in the community as "ballet teacher." Photo courtesy the Peace Corps
- Dancing after Maria ›
- Dancer Refuses to Let a Hurricane Get In the Way of Ballet ›
- Ballet Dancers in the Streets of a Post-Hurricane Maria Puerto Rico ›
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:
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.
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.
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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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.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.