Larry Keigwin Made Us A Playlist & His Musical Taste Is Just As Fun As His Choreography
If you've ever seen Larry Keigwin's work, you probably guessed that he's a fun guy. His choreography is cheeky and humorous; unexpected and electrifying. And though his aesthetic is decidedly contemporary, there's a touch of that classic modern dance style that makes his partnerships with troupes like Paul Taylor Dance Company and Martha Graham Dance Company so fitting.
His musical taste is pretty similar: eclectic feel-good bops from the contemporary (Justin Bieber) to the classic (Dionne Warwick.) He made us a playlist of the songs that make him move, whether in the studio or in his bedroom:
What He's Doing When He's Listening to These Songs:
"I am most likely dancing 'like nobody is watching' in my bedroom. I listen to this playlist to let go, to warm up, as a motor to generate new moves or to shake up a creative block."
Why He's Always Loved Sheila E's "The Glamorous Life"
"I remember jamming to this song as a teenager. Imagine a 12-year-old boy lip-syncing into a hairbrush....that was me."
Why His Playlists Are So Eclectic
"Variety is the spice of life. I enjoy mixing genres and decades. I like to keep my playlists full of surprises."
On His "Knock On Wood" Nightclub Act
"I actually choreographed to this song and cast one dancer as lightning and another as thunder, both completely covered in body paint."
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
Every dancer knows there's as much magic taking place backstage as there is in what the audience sees onstage. Behind the scenes, it takes a village, says American Ballet Theatre's wig and makeup supervisor, Rena Most. With wig and makeup preparations happening in a studio of their own as the dancers rehearse, Most and her team work to make sure not a single detail is lost.
Dance Magazine recently spoke to Most to find out what actually goes into the hair and makeup looks audiences see on the ABT stage.
On a sunny July weekend, hundreds of Seattle-area dance fans converged on tiny Vashon Island, a bucolic enclave in Puget Sound about 20 miles from the city. They made the ferry trek to attend the debut performance of the fledgling Seattle Dance Collective.
SDC is not a run-of-the-mill contemporary dance company; it's the brainchild of two of Pacific Northwest Ballet's most respected principal dancers: James Yoichi Moore and Noelani Pantastico. The duo wanted to create a nimble organization to feature dancers and choreographers they felt needed more exposure in the Pacific Northwest.