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How to Actually Make Your Movement Look Effortless
Efficient movement is easy to recognize—we all know when we see a dancer whose every action seems essential and unmannered. Understanding how to create this effect, however, is far more elusive. From a practical perspective, dancing with efficiency helps you to conserve your energy and minimize wear and tear on the body; from an artistic point of view, it allows you to make big impressions out of little moments, and lasting memories for those watching.
So much struggle and determination goes into your training that it can be difficult for early-career dancers to recalibrate their priorities toward simplicity and ease, says Laurel Jenkins, freelance performer and Trisha Brown Dance Company staging artist. "Your aesthetic might shift, and you might have to find new things beautiful." Mastering the art of effortless movement requires a new perspective and a smart strategy—on- and offstage.
Use Your Transitions
As a teenager, New York City Ballet principal Anthony Huxley had an "aha" moment watching former NYCB principal Peter Boal demonstrate combinations. He learned from Boal how to guide his weight and momentum out of each step in ways that would help him begin the next one. Half the power necessary to execute a movement could be borrowed from the one before, and so on.
Anthony Huxley, photo by Paul Kolnik
"You'll make your transitions as easy, clean and fast as they can be by taking everything you don't need out of your dancing," says Huxley. This includes being unnecessarily fixated on specific shapes. Unless the choreography demands that you show a balance or stillness, "don't even worry about it. You'll just end up wasting time."
Dancers used to watching themselves in the mirror can develop the habit of looking straight ahead. But to achieve a feeling of effortlessness, it's essential to use your eyes onstage. "Release the neck so the head can move freely and the eyes can see," Jenkins suggests. "Making decisions based on what you see generates an easy, casual aesthetic. When this happens onstage, it's a sign of maturity—I'm drawn in and I want to know more."
Laurel Jenkins, Photo by Vincent Beaume
Do It Again
Use rehearsal run-throughs to sort your material and determine when to step on the gas, and when to coast, advises Huxley. "The first time I run something, I always give everything 100 percent, which wears you out both physically and mentally. That's not a pleasant experience, to feel like it's impossible to keep going."
Dancer and choreographer Jodi Melnick is fond of repetition as a tool that helps her understand a movement's essence. Each time she repeats a step, she relearns it and reexperiences it, "recording it physically and connecting with the sensation of it," she says.
Jodi Melnick, Photo by Stephanie Berger
Enough Is Enough
Movements have "sweet spots" when it comes to the amount of muscular engagement and release needed. Pause to ask yourself how much force you're using and, more often than not, you'll find there's some you can spare. "I often think about this as the balance between tension and attention," says Melnick.
"I'm a weakling, really," she says. "I don't have that explosive, muscular strength—it's all in direction and follow-through, like playing pool or throwing darts."
"The idea of release is not collapse—it's actually poise," Jenkins explains, "and by doing less, the dancer is a magnet for the audience's focus, rather than trying to capture the audience's attention. I think of it like a cat, that dynamic stillness it has before an attack—that awake poise, ready for decisive action."
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While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?
In the world of ballet, Arcadian Broad is a one-stop shop: He'll come up with a story, compose its music, choreograph the movement and dance it himself. But then Broad has always been a master of versatility. As a teenager he juggled school, dance and—after the departure of his father—financial responsibility. It was Broad's income from dancing that kept his family afloat. Fast-forward six years and things are far more stable. Broad now lives on his own in an apartment, but you can usually find him in the studio.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.