Five Former Atlanta Ballet Dancers Have Taken Their Careers Into Their Own Hands. Now What?
This past spring, Atlanta gave birth to a brand-new dance company: Terminus Modern Ballet Theatre. Embracing a do-it-yourself spirit in a city fond of entrepreneurship, its five founding members created Terminus following last year's leadership change at their former home, Atlanta Ballet.
When John McFall announced that he would retire from Atlanta Ballet at the end of the 2015–16 season, after 21 years, a search for the next artistic director began. The search committee included prominent dancers Tara Lee, Christian Clark, Heath Gill and Rachel Van Buskirk. On the short list was John Welker, McFall's protégé and a veteran company member. Welker had founded and spent several years producing Wabi Sabi, Atlanta Ballet's summer company, and the four dancers felt that he would be the ideal choice. When the board named Gennadi Nedvigin the new artistic director instead, Welker chose to retire and focus on finishing his degree at Kennesaw State University while the other four began to mull over a plan B. "We felt a drastic pivot in process and culture," says Welker. "We were also all at a point in our careers where we were recognizing time was short. So we asked ourselves, 'What do we want? How do we make this a positive thing?' "
As a result, Lee, Clark and Van Buskirk chose to leave Atlanta Ballet at the close of the 2016–17 season to start Terminus with Gill and Welker. (Gill was let go.) The small, collaborative troupe has already secured some funding from a private donor and homes at both the Westside Cultural Arts Center (in town) and the Serenbe Institute (south of Atlanta). "All these past relationships started lining up," says Welker, who is the de facto leader. "The work, in a sense, was already done, and so it became a matter of timing."
With a goal of thriving year-round and building up a brand-new audience, TMBT will debut an evening-length work this month at the Westside Cultural Arts Center, choreographed by Lee and Gill. After this inaugural performance, they will perform outdoors at Serenbe in November. The group is looking to perform in venues beyond the traditional proscenium stage. "There are whole generations of people who did not grow up going to the theater, so how do you reach out to this audience?" asks Welker. "There is a whole world of possibility that is untapped, that should have life and will make our art more relevant." And while Atlanta Ballet's repertoire appears to be skewing more classical, Terminus has a mission of bridging the divide between classical ballet and the more conceptual modern dance scene in Atlanta.
As the group coalesces, Welker expects it will remain a company of five core dancers, performing in-house choreography. But there are plans for growth—including expanding the number of dancers and repertoire as their budget grows. Given how auspicious and surprising their start has been, audiences should prepare to expect the unexpected.
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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.