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In The Studio: Dance Theatre of Harlem Keeps Geoffrey Holder's Legacy Alive
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among them is the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.
What does it mean to you to keep Geoffrey Holder's legacy alive?
Carmen de Lavallade: It feels so wonderful because I really miss him. He had this wonderful eye for color and sheer movement. His work was for the eyes and for the soul, and even though there's a story connected to it, it's not pageantry. It's something to sit back, relax and enjoy. Geoffrey was very large, with his paintings and with his movement, but he was always very generous with it. He was generous to everyone he met.
Leo Holder: It's thrilling! This is the first company to perform his work without him present and that was something that I had to tackle psychologically. The first time we had a run-though of the piece, I joined everyone together and passed around a ring of Geoffrey's so that everyone could feel his energy. It's a psychological thing but it works because it brings some sort of context to the piece. And that's very important especially once the choreographer is no longer there. The further and further away the generations get from the source the less they have the context.
What changes, if any, have you made to the revival of Dougla?
Holder: This company has had this piece for 46 years and in that time things morph and get lost in translation. There are a few things from his original solo performance in 1972 that have been edited out over time and I'm excited to see those phrases back in the work.
DTH in rehearsal for Geoffrey Holder's Dougla.
Carmen, you decided to forgo the White House reception after the Kennedy Center Honors last year—which was ultimately canceled.
De Lavallade: Well really it was Norman Lear. He started it, I finished it. That incident is when I grew up. I pretty much always go along with everything, but I saw "he who I won't mention" defending the people who were causing terror in Charlottesville and I said, "That's it. I'm not going." And I felt very good about it.
What are your thoughts on kids today speaking out against the government?
De Lavallade: Hallelujah! The government wants to argue with a teenager? Ha! They don't know what they're getting themselves into. These kids have so much energy and we need them to take over because we're tired of fighting these fights. I bet all this time the government didn't think they were paying attention but boy are they ever. They are articulate and they know what they're talking about. I think it's wonderful!
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
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.' "
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.
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"