It's Time to Acknowledge the Muses
Watching FX's "Fosse/Verdon," one thing comes across very clearly: Gwen Verdon was far more than just an extraordinary dancer—she was a creative force.
The series, adapted from Sam Wasson's 2013 biography "Fosse," originally planned to focus solely on the choreographer. But the creators retooled it to highlight Verdon and Fosse's creative partnership after they researched the pair and learned just how much Verdon's vision shaped Fosse's (and, well, after the #MeToo movement made his behavior seem especially unsavory). As producers Lin-Manuel Miranda, Andy Blankenbuehler and Thomas Kail said in a joint statement prior to the premiere:
"Bob Fosse ignited a revolution in American dance, theater and film. But, in contrast to the well-worn myth of the visionary artist working in solitude, Fosse's work would not have been possible without Gwen Verdon, the woman who helped to mold his style—and make him a star."
Much of Verdon's contributions came from her work as an uncredited assistant and dance coach. But they also happened in the studio where, working one-on-one with Fosse, she offered her creative ideas and instinctual sense of style.
"Fosse/Verdon" highlights this right from the opening scene of Episode 1: Fosse is setting a phrase on Verdon for "Big Spender" and asks her to bend a leg. She sinks into her standing hip and turns out the working leg in a subtle plié; he asks her to turn it in, takes a look, then says, "Yours was better."
It's not hard to guess which version he went with.
Anyone who's been in a dance studio during the creation of a new work knows the process is typically a two-way street, with the choreographer playing off of whatever the dancers in front of them have to offer. Dancers are not passive receptacles for genius choreographers—they're collaborators.
Yet how often do the dancers get recognition for their contributions?
"Although she'd never call herself a choreographer, her intuitive suggestions and her instincts contribute on an exceptional level," says Brooks.... He had an epiphany recently while watching Wheeldon's After the Rain...he could see Whelan in the choreography, particularly her physical sense of timing. "Her urge to suspend, pause, elongate—I saw that integrated, and I feel it when collaborating with her."
Wendy Whelan with Craig Hall in Christopher Wheeldon's After the Rain
Paul Kolnik, courtesy NYCB
Sometimes, dancers' contributions are far more than phrasing suggestions, or a tweak or adjustment here or there. Particularly in modern or more experimental dance contexts, whole movement phrases are often entirely created by the dancers themselves, while the choreographer curates, molds and directs.
In the downtown dance world, choreographers who particularly lean on their dancers for movement ideas commonly credit their work as choreographed "with the dancers." Kyle Abraham recently brought this practice to New York City Ballet—2018's The Runaway is officially cited as being choreographed by "Kyle Abraham in collaboration with NYCB."
It's just a simple few words, but there's something powerful in specifying that dancers are collaborators. It affects how we see the work—the dancers become part of the piece, not just performers of it.
Recognizing dancers this way could change how we think and talk about new work. It could put an end to the stereotype of the lone genius, which underplays the role dancers have in a piece's (and choreographer's) success. It could make dancers feel far less taken advantage of. It could give fans a whole different kind of appreciation for their favorite pieces.
I'll admit that even I, as someone who thoroughly understands how the creative process works, never once thought about Verdon's influence on the moves I love to imitate in my kitchen. Until now. And it only makes me love them even more.
- Dancer Gwen Verdon's under-appreciated work for Broadway ... ›
- FX: Fosse/Verdon To Challenge the 'Mythology of the Solo Male ... ›
- 'Fosse/Verdon' Muddies the Myth of Great Men - The Atlantic ›
Thirty years ago, U.S. Joint Resolution 131, introduced by congressman John Conyers (D-MI) and Senator Alphonse D'Amato (R-NY), and signed into law by President G. W. Bush declared:
"Whereas the multifaceted art form of tap dancing is a manifestation of the cultural heritage of our Nation...
Whereas tap dancing is a joyful and powerful aesthetic force providing a source of enjoyment and an outlet for creativity and self-expression...
Whereas it is in the best interest of the people of our Nation to preserve, promote, and celebrate this uniquely American art form...
Whereas May 25, as the anniversary of the birth of Bill "Bojangles" Robinson is an appropriate day on which to refocus the attention of the Nation on American tap dancing: Now therefore, be it resolved by the Senate and House of Representatives of the United States of America in Congress that May 25, 1989, be designated "National Tap Dance Day."
Happy National Tap Dance Day!
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.
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
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?
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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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 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.