Dancers Trending

Lar Lubovitch: Why I Want To Boldly Go Where No One Has Gone Before

Lar Lubovitch at the 2016 Dance Magazine Awards. Photo by Christopher Duggan.

Lar Lubovitch gave such a moving, thought-provoking speech at the Dance Magazine Awards this December that we felt compelled to share it with readers who weren't there. He gave us permission to present the entire text here.

At the age of 3 or 4 years old, I danced for the first time. It was a spontaneous a reaction that arose in me involuntarily in response to a fire.

My early life was spent in an area of Chicago known as Maxwell Street. It was Chicago's equivalent of New York's Lower East Side.

We lived in a second-floor apartment whose windows looked directly across the street into the second-floor windows of a Woolworth's five and ten cent store, sometimes referred to as the dime store.

One freezing winter night the dime store erupted in flames. Fire engines wailed through the night and inundated the conflagration with water.

In the morning when I awoke and looked across the street, giant cascades of water, gushing through the second story windows, had frozen solid into great arching waterfalls. And trapped within the gleaming cascades were tiny toys, tubes of lipstick, various little kitchen gadgets and pieces of broken dolls…but especially, one teddy bear, staring directly at me from within his ice palace suspended forever in crisis.

Something overwhelming happened in my body...an excitement too powerful to contain, that set me in motion.

I became the teddy bear—first singed by the fire, then lifted by the water, and then trapped within his frozen eternity.

I made up a dance for the first time. I don't know why I expressed my excitement at seeing this fantastical vision by dancing. I just did.

It was from a place before thinking.

Martha Graham put something like that into words:

“There is a vitality, a life force, a quickening that is translated through you into action and because there is only one of you in all of time, this expression is unique."

Lubovitch's The Wanderers at the Dance Magazine Awards. Photo by Christopher Duggan

I am not really sure why we dance, but it appears to be part of human nature that our bodies take over when something inexpressible needs to be said.

Primitive man, when faced with the mystery of what made water fall from the sky, that made crops grow so that they could eat, envisioned a power above them to which they could appeal for rain. They raised their arms to plead, they swayed and jumped, they fell to their knees in supplication.

And dance and God were given form at the same time.

Over the centuries humankind danced for many reasons: as a form of worship, as celebration, as a way of mourning, an expression of tribal identity, a social convention, as flirtation and seduction.

Ancient Egyptians recorded dances in hieroglyphics as a record of their history and beliefs.

Greek warriors danced in unison as a way to unite as one before going into battle.

Salome danced in exchange for the head of John the Baptist.

In the 13th century in Italy, the Tarantella was forbidden by the church, and its dancers were accused of demonic possession.

At about the same time, a disease called “Tanzmania" swept through Germany.

In the 1890's“Little Egypt" shocked the western world with her x-rated belly dancing.

A couple of decades later, a spy named Mata Hari danced to sabotage the enemy.

But long before that, Louis XIV danced to let all of France know that he was king of the sun. And his courtiers were required to learn to dance in order to secure his favor.

And right about then—give or take a hundred years or so—dance crossed a line and became something it had not been before. It became an art.

The arts of music, painting, sculpture and architecture had already existed for thousands of years. But once dance found its calling, it made up for lost time and grew very quickly from a manner of social behavior to the highly-evolved mode of expression we are celebrating tonight.

Of course, it didn't happen all at once. Dance became an art form the way a dance becomes a dance: By fluidly connecting a series of events, each event a thing in itself, but also the source from which the next event is born, each step along the way the summation of all that preceded it and simultaneously the mother of the step that follows. Always flowing forward but always referential to its past. Just as all of we who dance and make dances today are the sum of all that came before us.

My contemporaries and I were privileged to be the first generation of heirs to the legacies of innovators such as Balanchine, Graham, Tudor, Limón and Cunningham.

We are likely to think that those creative giants arose from nowhere, sudden genius, a departure from all that came before. But even geniuses such as those were the sum of all things that preceded them, until they took that unexpected leap of the imagination that opened a pathway to a future that had been unimagined by others.

Lubovitch's The Wanderers at the Dance Magazine Awards. Photo by Christopher Duggan.

All of us who dance and make dances are irresistibly drawn to that challenge—the obligation really—to engage in the act of discovery, to strive to find one's truthful voice, to be willing to risk, to take the million incremental steps that eventually and inevitably lead to a breakthrough.

The history of all art absolutely affirms that no matter how far we think we have come there is always another way, a new way, a better way, a further thought, an original vision, a startlingly different leap of the imagination taken by the one—that was unanticipated by the many—that elevates and changes the depth and breadth of creative possibilities.

During the 50 years that I have been creating dances, I have witnessed a number of great dance makers along the way that have added to and altered the look and reach of dance in new and surprising ways since the bedrock was laid by the earlier 20th-century visionaries that inspired their journeys.

When one embarks upon or is irrevocably driven to a life as an artist, the imperative to create something new and original is inherent. It is coded in the DNA of art. A natural creator does not need to be told, it is simply understood that is the very definition of what an artist does.

It takes a lot of courage to voluntarily dive into the unknown with only one's intuition as a guide, not to mention "chutzpah."

One may hope and pray for the elusive muse to arrive and when she does it feels miraculous, as though the dance is being revealed rather than invented.

But when she doesn't—which is more often than not—then the energy of fear must be put to use...and making a bargain with Satan is not too low to stoop.

Whether it is the cerebral heights of Balanchine revealing what music looks like, or Martha Graham's passionate essays on the human heart, or a universe of exquisite accidents as proposed by Merce Cunningham, or all the generations of dance makers that followed, the common thread that binds all of those souls together is that through the drama of line, shape, time and motion, all have attempted to say what is, to them, most truthful—and therefore most beautiful.

It may be that every dance I have ever made is an attempt to recapture the dance of the teddy bear— the moment of passion, the rapture, the freedom, the exhilaration that only dance could embody for me.

But with whatever I was given—some might call it a gift—I have done the best that I can. I will leave it to others to grade my score card when the tally is given. But whatever the measure of my contribution, I can say with great certainty that I have been true to myself whatever the prevailing fashion, and that I have loved and respected dancers and they have loved and inspired me in return.

Lar Lubovitch. Photo by Christopher Duggan.

At the age of 73 my aching damaged body is begging me to stop, but my mind has not yet been willing to cooperate with that plea.

“Maybe the next one will be the one...the one where I finally get it right." That's the thought that has goaded and driven me through all these terrible, fantastic years.

But whether in the best or worst of times I would be remiss, we would be remiss, if we did not acknowledge that we have been privileged to have been allowed a life in dance.

You may be surprised to know that I have been a life-long Trekkie.

I have seen every TV episode and Star Trek movie ever made of the voyages of the Starship Enterprise.

What captures my imagination and why I gleefully follow every voyage is the mission stated by Captain Kirk at the beginning of every episode: "To explore strange new worlds, to boldly go where no one has gone before."

For obvious reasons, every time I hear that I am hooked.

Whether or not I have succeeded in going where no one has gone before is a matter of conjecture. But that I have been engaged in that act of magical thinking and remained committed to the voyage for 50 years is the spirit in which I gratefully receive the acknowledgment being afforded me tonight by my colleagues at Dance Magazine.

I am humbled to be added to the list of superb artists who have received this esteemed award, and offer my gratitude for the affirmation.

Get more Dance Magazine.

The Conversation
News
Credits with photos below.

For the past few months, the dance world has been holding its collective breath, waiting for New York City Ballet to announce who will take over the helm as artistic director.

Though former ballet master in chief Peter Martins retired over a year ago after accusations of sexual harassment and abuse (an internal investigation did not corroborate the accusations), the search for a new leader didn't begin until last May.

Nine months later, the new director's name could be released any day now. And we have some theories about who it might be:

Keep reading... Show less
Irina Dvorovenko with Tony Yazbeck in The Beast in the Jungle. Photo by Carol Rosegg, Courtesy Sam Rudy Media Relations.

Some people take this profession as just a chapter of their life. They feel like dance is a job—a fun job, but a job. Other people live their life through dance. I never considered being a ballerina a profession. It's a lifestyle.

If I don't have a performance, I feel like a tiger trapped in a cage. I have so many emotions, I feel I need to give them to somebody, to exhaust myself—I need to cry or laugh, or else it's suffocating. Other people might scream or throw bottles into the wall. We dancers scream onstage through our movement. For me, it's like sweeping off the dust in my soul.

Keep reading... Show less
Dance & Science
Amar Odeh/Unsplash

Back in 2011, Yale University's dean of science was thinking about refreshing the program's offerings for non-majors when he happened upon a Pilobolus performance. A light bulb went off: Dance is full of physics.

That realization led to what has become an eight-year collaboration between particle physicist Sarah Demers and former New York City Ballet dancer Emily Coates, both professors at Yale who were brought together to co-teach a course called The Physics of Dance. Their partnership has involved everything from directing a short film to presenting a TedX Talk and performing a piece that Coates created, commissioned by Danspace Project. This month, they're publishing a book about what they've discovered by dialoging across two seemingly disparate disciplines.

Keep reading... Show less
Career Advice
Umi Akiyoshi Photography, Courtesy Sidra Bell Dance New York

Sebastian Abarbanell remembers being asked as an undergrad at Trinity Laban in London to perform wearing only a dance belt. "I said no," he says, "because I felt uncomfortable." Now a performer with Sidra Bell Dance New York, he's performed partially nude several times, without reservation. The difference? "It comes with more experience and maturing as a dancer," he says. "When you see a dancer living in their skin, you don't need to put anything else on them. When I said no in college, I wasn't in my skin yet."

Getting in your skin—and getting comfortable wearing only your skin onstage—requires a particular alchemy of vulnerability, agency, preparation and practice.

Keep reading... Show less
Dancers Trending
Courtesy Birmingham Royal Ballet

Birmingham Royal Ballet announced today that international star Carlos Acosta will be taking over as director in January of 2020. Current BRB director David Bintley will be stepping down this summer, at the end of the company's 2019 season, after a 24-year tenure. "It is a tremendous honor and privilege to have been appointed to lead Birmingham Royal Ballet," Acosta said in a statement.

Since retiring from The Royal Ballet in 2015, Acosta has focused much of his attention on his native Cuba, where he's proven his directorial abilities at the helm of Acosta Danza, the contemporary company that he founded in 2016. In 2017 Acosta also opened his first Dance Academy through his foundation, which provides free training to students. We don't yet know how Acosta will balance his time between his projects in Cuba and his new role at BRB.

Keep reading... Show less
Advice for Dancers
When you spend most of your day at the theater, it's challenging to find time to date. Photo by rawpixel/Unsplash.

My personal life has taken a nosedive since I broke up with my boyfriend. He's in the same show and is now dating one of my colleagues. It's heartbreaking to see them together, and I'm determined never to date a fellow dancer again. But it's challenging to find someone outside, as I practically live in the theater. Do you have any advice?

—Loveless, New York, NY

Keep reading... Show less
News
Carol Channing in the original 1964 production of Hello, Dolly! Photo by Eileen Darby, Courtesy DM Archives.

The inimitable Carol Channing, best known for her role as the titular Hello, Dolly!, passed away today at 97.

Though she became a three-time Tony winner, Channing was born in Seattle, far from the Great White Way, in 1921. After growing up in San Francisco, she attended the famed Bennington College, studying dance and drama. She later told the university, "What Bennington allows you to do is develop the thing you're going to do anyway, over everybody's dead body." For Channing, that meant decades of fiery, comical performances, bursting with energy.

Keep reading... Show less
News
It includes this familiar face! (Erin Baiano)

Something's coming, I don't know when
But it's soon...maybe tonight?

Those iconic lyrics have basically been our #mood ever since we first heard a remake of the West Side Story film, directed by Steven Spielberg and choreographed by Justin Peck, was in the works. THE CASTING. THE CASTING WAS COMING.

Well, last night—after an extensive search process that focused on finding the best actors within the Puerto Rican/Latinx community—the WSS team finally revealed who'll be playing Maria, Anita, Bernardo, and Chino (joining Ansel Elgort, who was cast as Tony last fall). And you guys: It is a truly epic group.

Keep reading... Show less
Cover Story
Leta Biasucci's on and offstage charm has made her a company favorite. Photo by Jayme Thornton for Dance Magazine.

Rehearsal is in full swing, and Leta Biasucci, Pacific Northwest Ballet's newest principal dancer, finds herself in unfamiliar territory. Biasucci is always game for a challenge, but choreographer Kyle Davis wants her to lift fellow dancer Clara Ruf Maldonado. Repeatedly. While she's known for her technical prowess, lifting another dancer off the floor is a bit daunting for Biasucci, who stands all of 5' 3". She eyes Maldonado skeptically, then breaks into a grin.

"It's absolutely given me a new appreciation for the partner standing behind me!" Biasucci says with a laugh.

Looking at Biasucci, 29, with her wide smile and eager curiosity, you think you see the quintessential extrovert. In reality, she's anything but. "I was an introverted kid," Biasucci says. "That's part of the reason I fell in love with dance—I didn't have to be talkative."

It's only one of the seeming contradictions in Biasucci's life: She's a short, muscular ballerina in a company known for its fleet of tall, long-legged women; she's also most comfortable with classical ballet, while taking on a growing repertoire of contemporary work.

Keep reading... Show less
News
Aurelie Dupont explained she did not share Polunin's values. Photo via Instagram

Sergei Polunin, whose recent homophobic and sexist Instagram posts have sparked international outrage, will not be appearing with the Paris Opéra Ballet as previously announced.

POB artistic director Aurélie Dupont sent an internal email to company staff and dancers on Sunday, explaining that she did not share Polunin's values and that the Russian-based dancer would not be guesting with the company during the upcoming run of Rudolf Nureyev's Swan Lake in February.

Keep reading... Show less
Dance Training
Balanchine technique will challenge your footwork and musicality. Photo by Rosalie O'Connor, courtesy SAB

Before spending a summer at Los Angeles Ballet School, Lillian Glasscock had never learned a Balanchine variation. "The stylistic differences, like preparing for a pirouette with a straight back leg, were at first very challenging," says Glasscock, 17. "But it soon got easier."

Los Angeles Ballet company members were in class daily, motivating and inspiring her. Trying out a new style and expanding her repertoire gave Glasscock more strength, and a better understanding of the varied demands of ballet companies today. Months later, the Balanchine variations she learned are now personal favorites.

While the early years of training are typically spent diligently working through the syllabus of a single ballet technique, when you start to prepare for a professional career, versatility is key. There isn't just one correct version of each step. And as ballet companies continue to diversify their repertoires, directors need dancers who can move fluidly between an array of styles.

Keep reading... Show less
News
Kristin Damrow and Company's Allegra Bautiste. Photo by RJ Muna, Courtesy John Hill PR

If one of your New Year's resolutions was "See more dance" (and really, shouldn't that be everyone's?), never fear. We picked five shows certain to get 2019 off to a brilliant start.

Keep reading... Show less
Dance Training
Sin #2: Misaligning the spine. Photo by Erin Baiano

Throughout your dancing life, you've heard the same corrections over and over. The reason for the repetition? Dancers tend to make the same errors, sometimes with catastrophic results. Dance Magazine spoke to eight teachers about what they perceive to be the worst habits—the ones that will destroy a dancer's technique—and what can be done to reverse the damage.


Rolling In

To get a 180-degree first position, dancers will sometimes let their arches roll forward. But turnout is not about forcing your feet open; it's about opening up in the hips. “Turning out is an activity, not a position," says Irene Dowd, who teaches anatomy at the Juilliard School. “If we stop sustaining that movement, our feet will passively roll in." Rolling in places stress on the tendons of the feet and leads to injury because the rest of the body compensates for the imbalance when your knees can't line up over your toes.

Dowd warns against using only the arch to combat rolling in. “Dancers will try to lift up their arches and pull up on the inside of the ankle," she says. This can result in the inflammation of the tendons in the ankle and lead to tendinitis, a painful overuse injury that's common in dancers. What she feels are “Victorian furniture feet—feet that aren't fully in contact with the ground" should be solid in three areas: the heel, the ball of the big toe, and the ball of the little toe. Imagine how your weight is being transferred from above, through the body and down the legs, rather than gripping the foot and lifting from the arch.

Misaligning the Spine

Distorting the back, either by crunching the lumbar vertebrae and splaying the rib cage open or by hunching the shoulders forward and tucking the pelvis under, affects every other part of the body. Since the proper placement of the torso is the foundation of any movement, a dancer with a misaligned spine will develop other deadly technique sins. Problems can ripple all the way down to the extremities and upward to the neck and head. The core will be loose, unable to provide essential support. A pelvis that either tips back or tucks under will limit the range of motion in the hips.

Christine Spizzo's students at the North Carolina School of the Arts constantly work on their placement. “The one directive I give in class more than any other," she says, “is tailbone down, navel muscles lifted." She emphasizes that the tailbone lengthens downward without tucking under, and the navel muscles lift upward, not inward. This opposition allows the external rotator muscles to be actively engaged at the top of the thigh. Spizzo uses the expression the Four Ts—“no tucking, tipping, tilting, or twisting of the pelvis"—as a reminder for students.

Clenching the Toes

Clenching, curling, knuckling—no matter what it's called, this condition hampers a dancer's ability to articulate the feet. Clenched toes also make the feet an unstable platform to stand on, creating problems for the rest of the body. The muscles and tendons of the foot, knee, and ankle must work together to perform a relevé or jump, says Edward Ellison, director of Ellison Ballet Professional Training Program in New York. Clenched toes will place unwanted stress on the joints of the legs, leading to imbalance and overuse injuries. On pointe, knuckling over can damage the bones and tendons of the feet.

Master ballet teacher Sara Neece of Ballet Arts in New York says that when the first joint of the toe presses down into the floor too hard, the second joint of the toe jams into the metatarsal. For Neece, the key to remedying clenched toes lies in “bringing sensation to those unused tendons" beneath the second joint, and teaching the toes how to work in a careful and deliberate manner. While seated, a dancer should prick the back of each clenched toe with a fingernail about 20 times. Sitting on a chair with the foot on the ground, she should drag it back toward the body, slowly raising it to demi-pointe with a forced arch. Teachers must pay attention to the response of the feet to this localized work, since overstressing the tendons can damage them. Another way to teach the toes to stretch out is to weave a strip of cloth over the second toe and alternate below and above successive toes, leaving it there during barrework and nondance activities.

Giving In to Extreme Hyperextension

Hyperextended legs, in which the straightened knee naturally curves behind the thigh and calf muscles, are prized in the world of extreme ballet bodies. Christine Spizzo sings the praise of a moderately hyperextended leg line, as the leg fits snugly in fifth position, and the arabesque looks gorgeous, with that slight curve offsetting the arch of the foot. However, dancers with extreme hyperextension must take special care. “The hyperextended dancer tends to have weak external rotator muscles," she says, so the legs are more prone to collapse in on themselves when landing from a jump, letting the body weight fall on the knees. This can result in damage to the joints that maintain the alignment of the leg, including twisted knees and sprained ankles. Even if the dancer understands how to avoid giving in to her hyperextension, she has to learn how to express herself fully while restraining her legs.

But Spizzo points to dancers such as international star Sylvie Guillem, who has used her extreme hyperextension to her advantage. The dancer must think of lengthening rather than straightening or locking the knee, even if it feels slightly bent. She must develop a heightened awareness of the turnout muscles from the top of the thigh down to the calf. “The muscles must be activated to not allow the dancer to give in to the hyperextension," says Spizzo. She uses the image of the barbershop pole to encourage dancers to apply that feeling of an infinite spiral to their legs. Somatic practices such as Pilates can help to strengthen those stabilizing turnout muscles. Spizzo insists that dancers stand with the heels together in first position and never be allowed to press back into that knee joint. To do this, “the quadriceps must remain soft. As soon as you grip, it pulls that kneecap back dangerously."

Using Unnecessary Tension

“Tension," says Daniel Lewis, dean of dance at the New World School of the Arts, “pulls you off balance. It tightens the muscles and causes injury." Stiff muscles are injury-prone muscles, which make free and confident movement impossible.

Unwanted stiffness can also limit your versatility as a dancer. “Modern dance is concerned with trying to go into space off-center and off-balance," says Mary Cochran, chair of the dance department at Barnard College. “If you spend too much time holding your body stiffly, it's hard to make the transition from working in-balance to working off-balance."

Rhythmic breathing helps dissipate tension. Think of the lungs as another limb and pace the breath with the dynamics of the music. Sustain a sense of motion in the body, even when you are still, advises Cochran. Doing so will help reverse the muscle memory of using tension as a form of stability.

Pinching Your Shoulder Blades

Although used as a strategy to open the chest in front, pinching your shoulder blades together immobilizes the back. The serratus anterior on the sides of your rib cage is so overstretched that it can't work. Edward Ellison says that pinched shoulder blades impede the freedom of the arms and the support of the upper spine. He feels that they “cause your weight to fall behind your axis, and strain the trapezius and rhomboid muscles of the back."

Irene Dowd suggests thinking about widening the tips of the shoulders to the side, to allow plenty of room for the chest. “It helps to think about the chest—full of your lungs, your heart, all those organs—as a sphere," says Dowd. “We need to have enough room for all those precious organs to breathe." To relax shoulder blades, sometimes she will tell students to focus on the movement of the hands. “Is the hand really a lively part of my being?" Dowd has her students ask. “The shoulder blade should support that hand."

Getting Stuck in a Rut

While physical habits impede progress, the deadliest sin is losing the drive to improve technique at all. Franco De Vita, principal of American Ballet Theatre's Jacqueline Kennedy Onassis School, says good technique begins with a dancer's approach to class. Being present and focused enables the dancer to learn combinations quickly—and correctly. “Not listening and changing the exercise is unacceptable," says De Vita.

Michael Vernon, chair of the ballet department at Indiana University, feels the worst thing a dancer can do “is to get fixed into doing something a certain way, being safe. I love young dancers who understand that you have to dance for tomorrow, and not yesterday." Keeping an open mind means more than just trying a different preparation for a pirouette. “Being open to new styles of dance and new ways of moving the body is vital to keeping the art relevant."

25 to Watch
Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt

What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.

Here they are: the 25 up-and-coming artists we believe represent the future of our field.

Keep reading... Show less
The Creative Process
Forsythe's in the middle, somewhat elevated uses the battement like an attack. Photo by Alexander Iziliaev, courtesy Pennsylvania Ballet

Just before retiring in 2015, Sylvie Guillem appeared on "HARDtalk with Zeinab Badawi," the BBC's hard-hitting interview program. Badawi told Guillem,

"Clement Crisp of the Financial Times, 14 years ago, described your dancing as vulgar."

Guillem responded,

"Yeah, well, he said that. But at the same time, when they asked Margot Fonteyn what she thought about lifting the leg like this she said, 'Well, if I could have done it, I would have done it.' "

They were discussing Guillem's signature stroke—her 180-degree leg extension à la seconde. Ballet legs had often flashed about in the higher zones between 135 and 160 degrees before. But it wasn't until the virtuoso French ballerina regularly
extended her leg beside her ear with immaculate poise in the 1980s that leg extensions for ballet dancers in classical roles reached their zenith. Traditionalists like Clement Crisp were not taken with it.

Keep reading... Show less
The Creative Process
Company Wayne McGregor dancers follow an avatar's instructions for movement at the Google Arts and Culture Lab. Screenshot via experiments.withgoogle.com

When coming up with phrases of movement, choreographers all have their habits: certain patterns they return to again and again, tendencies that repeat themselves whether they mean for them to or not.

What if artificial intelligence could be used to help choreographers mix things up by suggesting thousands of other options—and ones that still fit their choreographic style, no less?

Keep reading... Show less
What Wendy's Watching
Concert #13, A Collaborative Event, Judson Dance Theater, 1963. PC Peter Moore, Courtesy MoMA

In the early 1960s, a group of dancers started questioning the existing rules of choreography. Influenced by John Cage, they created dances that were startling in their simplicity and risk-taking. Yvonne Rainer, Steve Paxton, Trisha Brown, David Gordon, Deborah Hay, Elaine Summers and Lucinda Childs were all part of this group. Most of them had studied or danced with Anna Halprin or Simone Forti. Visual artists like Robert Rauschenberg and Alex Hay were part of this cauldron of experimentation as well as composer Philip Corner.

The Museum of Modern Art has mounted an expansive exhibit called "Judson Dance Theater: The Work Is Never Done." It gathers photos, artwork, scores, objects and films that bring the period alive. If you get there before January 16, you'll see the films of Brown's early work. Her piece Walking on the Wall was so disorienting that it was almost hallucinatory. (Actually, this film and most of the Brown pieces are from the 70s.) Playing with perception was a big part of the Judson and post-Judson eras.

Keep reading... Show less
The Creative Process
Glenn Kotche of Wilco created and performed the score for Danielle Agami's calling glenn. Photo by Cheryl Mann, courtesy Ate9

Balanchine and Stravinsky. Cunningham and Cage. Graham and Copland. Twentieth-century dance was dotted with memorable partnerships between musicians and choreographers that wrought magical, full-bodied, brilliant works.

Today's composer-dancemaker duos, though, have gone in a decidedly different direction. In ever-growing numbers, mainstream musicians are this century's dance collaborators. Sufjan Stevens has aligned himself with New York City Ballet's Justin Peck; Bon Iver's brought his signature indie folk to Minnesota contemporary troupe TU Dance; and even Sia's getting in on the act, working with Akram Khan on a dance theater piece premiering this summer.

What is it that's drawing pop artists to the dance floor?

Keep reading... Show less
Dancers Trending
Photos via Polunin's Instagram

If you follow Sergei Polunin on Instagram, you've probably noticed that lately something has been...off.

Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:

Keep reading... Show less
Dance History
The Mariinsky Ballet in Balanchine's "Rubies," photo courtesy Mariinsky Ballet

Dear Editor,

I've just read Emma Sandall's piece on hyperextension and the 180-degree position. It's intelligent, interesting, well-written. But there are a few mistakes and some misleading remarks. I can't resist writing the following.

1. If Guillem says Fonteyn said would have lifted her leg higher if she could, then that's what Guillem says.

But she's wrong. Keith Money's book "Margot Assoluta" (published in 2000) includes a photo of Fonteyn in rehearsal doing a seconde almost to shoulder-height: she told Money "I can get the leg that high—but it ruins the line." Fonteyn wanted level hips, something crucial to many ideas of placement but not discussed by Sandall.

Keep reading... Show less
Dance History
In the 1987 television program The Ballerinas, Carla Fracci, here with Peter Ustinov, embodied nearly a dozen ballet icons, from Marie Taglioni to Tamara Karsavina. Photo courtesy DM Archives

The cover star of the January 1974 issue of Dance Magazine was beloved Italian ballerina Carla Fracci. She was adored by ballet fans in the U.S. for her guest appearances with American Ballet Theatre, and a bona fide celebrity in her hometown of Milan. But she nevertheless made time for her director husband and their young son, who often accompanied her on tour. "I don't like to be only ballerina," she told us. "I say: the dance—all right. I like it. I like my work, and I do the best that I can. But it is not 'all' for me...Most dancers are closed, in a way, because it takes so much to dance, the physique is under so much stress, that often they are too tired, even to read, or to go to the theaters, the museums, to hear music, to be with people. But you can't be a dancer without these things...You can't just close your eyes and go to the barre. You get lost in this obsession with the barre and toe shoes. Your life can be destroyed that way."

mailbox

Get Dance Magazine in your inbox