Keerati Jinakunwiphat performing in Kyle Abraham's Live! The Realest MC. Ian Douglas, Courtesy A.I.M.

Meet the A.I.M Dancer Whose Choreography Kyle Abraham is Investing In

Kyle Abraham's powerhouse A.I.M has recently been expanding its model. Last spring, the company invited Andrea Miller to create a work, A.I.M's first commission by a guest choreographer. The program also included pieces by Bebe Miller and Doug Varone—marking a shift from all-Abraham repertory shows.

This fall, for its Joyce season, A.I.M is again trying something new: company member Keerati Jinakunwiphat, who graduated from SUNY Purchase in 2016, is creating a new group work, Big Rings, for six of her A.I.M colleagues.


Big Rings premieres on a shared program with Trisha Brown's Solo Olos and solo works by Abraham, including a new one for himself and, on opening night, a solo for Misty Copeland. We recently had the chance to speak with Jinakunwiphat about her inspiration and mentors and what she's looking forward to about her Joyce choreographic debut.

A.I.M dancers in rehearsal for Jinakunwiphat's Big Rings.

Alice Chacon, Courtesy A.I.M.

How She Got Into Choreography

During her senior year of college at Purchase, Jinakunwiphat says that "having Doug Varone as a composition teacher really did a lot for me. He had so many great tools and guidance, and had us really trust our instincts, and I found that really exciting. I stuck to it from there."

Since that first foray while an undergraduate, she's continued to cut her choreographic teeth, making works on her friends and on students back at Purchase and at the Martha Graham School's summer intensive program. Earlier this summer, she presented a work at Battery Dance Festival, "an all-boys piece that I created for my senior project at school," she says.

Inspiration from Her Colleagues

For Big Rings, her biggest opportunity yet, Jinakunwiphat is sourcing inspiration from her A.I.M colleagues. "I love the people that I work with, and that has a big part to do with the new piece that I'm making, finding inspiration from them. I genuinely feel like there's nothing they can't do."

Jinakunwiphat's interest in sports is also an influence: "I really love the teamwork, the high physicality" she says, which she notes are shared characteristics with dance and dancers. "You know how the world kind of sees athletes like superheroes? That's really how I feel about my teammates and my coworkers. I really want to present them in that way."

A.I.M dancers in rehearsal for Jinakunwiphat's Big Rings.

Alice Chacon, Courtesy A.I.M.

Her Joyce Choreographic Debut

As conversations with her design team progress, Jinakunwiphat's excitement continues to grow. "I just went costume shopping recently with Karen Young, who's designing for me," she says, adding, "she's amazing."

Jinakunwiphat's design team includes another frequent A.I.M contributor, lighting designer Dan Scully, who has masterfully lit many Abraham works. And for music, she's working with Zach Berns, "a friend and collaborator from SUNY Purchase, who edits and manipulates a lot of my music."

Support from Her Mentors

Varone has remained a choreographic mentor since her Purchase days. "Even now, rehearsing this new piece, I had him come in," Jinakunwiphat says. "He makes himself so accessible and so supportive."

Abraham, who approached Jinakunwiphat with the opportunity to create this new work for A.I.M, has also been an ongoing supporter of her choreographic pursuits. He first saw her work in a Dance Gallery Festival presentation in 2017, and attended "as a supportive friend and was really excited by it after, which I was really flattered by," she says.

After her Dance Gallery Festival engagement, he went to Purchase to see a piece she was commissioned to do there. About a year after first seeing her work, while the company was on tour in Akron, OH, Abraham asked her to make a work for A.I.M. Remembering the moment he posed the question, she says, "I definitely cried."

Jinakunwiphat notices that she and Abraham "use a few of the same tools, like manipulating material." For her new piece, she notes Abraham has given her space to exercise full agency over her creative process, while also making himself available to offer feedback and support. "He wants to make sure that I feel like I'm in control of everything, and it's definitely my piece," she says.

As noted in The New York Times, Abraham has refused invitations to have his work included on all-male mixed-repertory programs, remaining committed to elevating the work of female choreographers. By offering Jinakunwiphat the opportunity to test her own dance-making skills and show her work at a leading New York dance house, Abraham continues to walk the talk.

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Rachel Papo

Our 8 Best Pointe Shoe Hacks

It turns out that TikTok is good for more than just viral dance challenges. Case in point: We recently stumbled across this genius pointe shoe hack for dancers with narrow heels.

Dancers are full of all kinds of crafty tricks to make their pointe shoes work for them. But don't fear: You don't need to spend hours scrolling TikTok to find the best pro tips. We rounded up a few of our favorites published in Dance Magazine over the years.

If your vamp isn't long enough, sew an elastic on top of your metatarsals.

Last year, Pacific Northwest Ballet principal Elizabeth Murphy admitted to us that her toes used to flop all the way out of her shoes when she rose up onto pointe(!). "I have really long toes and stock shoes never had a vamp long enough," she says.

Her fix? Sewing a piece of elastic (close to the drawstring but without going through it) at the top of the vamp for more support...and also special-ordering higher vamps.

Solve corns with toe socks

Nashville Ballet's Sarah Cordia told us in 2017 that toe socks are her secret weapon: "I get soft corns in between my toes because I have sweaty feet. Wearing toe socks helps keep that area dry. I found a half-toe sock called 'five-toe heelless half-boat socks' that I now wear in my pointe shoes."

(For other padding game-changers, check out these six ideas.)

Save time by recycling ribbons and elastics.

Don't waste time measuring new ribbons and elastics for every pair. Washington Ballet dancer Ashley Murphy-Wilson told us that she keeps and cycles through about 10 sets of ribbons and crisscross elastics. "It makes sewing new pairs easier because the ribbons and elastic are already at the correct length," she says. Bonus: This also makes your pointe shoe habit more environmentally friendly.

Close-up of hands sewing a pointe shoe.

Murphy-Wilson sewing her shoes

xmbphotography, by Mena Brunette, courtesy The Washington Ballet

Tie your drawstring on demi-pointe.

In 2007, New York City Ballet's Megan Fairchild gave us this tip for making sure her drawstring stays tight: "I always tie it in demi-pointe because that is when there's the biggest gap and where there's the most bagginess on the side."

Find a stronger thread.

When it comes to keeping your ribbons on, function trumps form—audiences won't be able to see your stitches from the stage. Many dancers use floss as a stronger, more secure alternative to thread. Fairchild told us she uses thick crochet thread. "Before I go onstage I sew a couple of stitches in the knot of the ribbon to tack the ends," she says. "I do a big 'X.' I have to make sure it's perfect because I'm in it for the show. It's always the very last thing I do."

Don't simply reorder your shoes on autopilot.

Even as adults, our feet keep growing and spreading as we age. Atlanta podiatrist Frank Sinkoe suggests going to a professional pointe shoe fitter at least once a year to make sure you're in the right shoe.

You might even need different sizes at different times of the year, says New York City Ballet podiatric consultant Thomas Novella. During busy periods and in warm weather, your feet might be bigger than during slow periods in the winter. Have different pairs ready for what your feet need now.

Fit *both* feet.

Don't forget that your feet might even be two different sizes. "If you're getting toenail bruises, blood blisters or other signs of compression, but only on one foot, have someone check each foot's size," Novella says. The solution? Buy two pairs at a time—one for the right foot and one for the left.

Wash off the sweat.

Blisters thrive in a sweaty pointe shoe. Whenever you can, take your feet out of your shoes between rehearsals and give them a quick rinse off in the sink. "If feet sweat, they should be washed periodically during the day with soap and water and dried well, especially between the toes," says Sinkoe.