The Inside Scoop on How We Pick Our "25 to Watch"
By now, you're probably as obsessed with the artists on our 2018 "25 to Watch" list as we are. But how do we decide who makes it? One answer is: carefully. Another: It's a long, long process.
It all starts (officially) with an email. Over the summer, we ask Dance Magazine contributors and editors which young dancers, choreographers and companies have broken through over the last year—or who might be right on the verge of doing so. We thumb through the programs of shows we've seen (and we see a lot of shows) and look back on casting announcements. As nominations roll in from around the world, we trawl through reviews, read bios, and dig up YouTube and Vimeo and Instagram videos—we see snippets of flamenco performances and contemporary improvisation, watch variations and choreography reels.
And then the editorial team sits down with a massive stack of nominations and faces the daunting task of coming up with a list of 25.
Sometimes a few of the picks are obvious—dancers who skyrocket into prominence so quickly that we feel like we're running to catch up to them, like Cesar Corrales or Angelo Greco, two of this year's picks who are already principal dancers at their respective companies.
Erica Lall. Photo by Nathan Sayers
Others have been on our radar for a while, artists who we've watched grow until they seem on the cusp of something big. This was the case with Alice Klock, a luminous dancer at Hubbard Street Dance Chicago whose choreography is taking off, and American Ballet Theatre corps member Erica Lall, who we've had our eye on since her days in ABT's Studio Company.
Some have recently snagged our attention at performances here in New York City: Alston Macgill had our jaws dropping with her performance in Balanchine's Symphony in C while still an apprentice with New York City Ballet, while Leal Zielińska was impossible to get out of our heads after we saw her in a Sidra Bell Dance New York show. Others we have yet to see in person but came with sparkling recommendations from our contributors abroad, such as flamenco artist Eduardo Guerrero or Mariinsky Ballet trainee May Nagahisa.
Leal Zielińska. Photo by Nathan Sayers
At the end of the day, the issue isn't so much coming up with a list of 25—it's narrowing it down that far. After our first round of picks we watch even more videos, ask the opinions of even more writers and do even more research, comparing our findings and debating our stances until we've agreed on our final choices. Then comes the months of assigning, writing, editing, fact-checking, proofreading—but that's a whole other story.
Historically, we've done a pretty good job, and we've enjoyed watching artists we singled out so early in their careers blossom into that promise. But we also have the pleasure of watching the dancers who didn't make the cut go on to have amazing careers of their own. And that's maybe my favorite part of organizing this behemoth of a feature every year: It gives us all a chance to get to know the wider dance community we love so dearly just a little bit better.
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.