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Master the Convention Class
Whether you're attending your first convention or your 20th, spending a weekend in a crowded ballroom with hundreds of other dancers can be equal parts exciting, intimidating and overwhelming. Conventions are a chance to learn new styles, take classes from top teachers and network with the people who may someday hire you. So how do you take advantage of this opportunity and stand out from the crowd?
Dress the Part
Convention days are long, and you're likely to transition from jazz to hip hop, then on to tap and ballet. You won't have much time to change between classes, so your outfit should be one that's comfortable and works for multiple disciplines.
Make sure to dress for the atmosphere you'll be dancing in—which likely means a carpeted floor with sections of hardwood for the tap classes. “There are a lot of triangle-top bikinis happening that are not going to help you when you're dancing on carpet," says Jakob Karr, who assists at New York City Dance Alliance. Warm yourself up properly, make sure you've stretched, and don't wear slippery socks if you're doing contemporary on a hardwood floor. If you'll be dancing on carpet, consider forgoing bare feet in favor of socks that'll give you more freedom to turn. You want to look good, but make sure you're able to perform at your best.
Be Smart About Space
Everyone seems to think standing front-row center is a must-do at conventions because you're most likely to be spotted by the instructors. But no one likes—or wants to hire—a pushy dancer. Instead, try moving around the room. “I find that dancers who stay front and center the entire class don't use their space well," says NYCDA faculty member Joey Dowling-Fakhrieh. “Learn the combination in one spot, then change it up."
When the instructor breaks dancers into small groups to perform the choreography, stick to your assigned group, and while you're waiting for your turn, move all the way to the side so the dancers performing have enough room.
Yes, it's crowded. No, you don't want to whack your neighbor in the face with an overeager battement. Spatial awareness is absolutely necessary. Many instructors will keep this in mind with their choreography, but, if needed, move to another spot where you have more freedom. Consider learning the combination in the back, where there's more space, then really go full-out when you're broken into groups.
Resist the Selfie
The instructors' convention schedules are just as jam-packed as yours, which means they probably don't have time to pose for 100 photos after class. “We're typically running from room to room," says NUVO Dance Convention director Ray Leeper. “Photos with the instructor can be taken during a break or if you see the instructor outside of class. And a respectful 'thank you' at the end of class is always appropriate." Feel free to say your name and where you dance, too; just keep it brief.
Focus on Presence
Dowling-Fakhrieh says the biggest mistake she sees dancers making at conventions is obsessing over whether or not the teacher is watching. “It's uncomfortable for the teacher, and it makes it seem like you're there for the wrong reasons," she says. While validation is nice, make sure you have goals beyond getting noticed each weekend. “Talent and hard work speak for themselves," says Dowling-Fakhrieh. “Think about what you really want out of the convention. Remember you're there to get better—not to socialize or get onstage. If the teacher happens to pull you up there, great! But if not, work just as hard on the floor."
Ultimately, your presence matters as much as your ability. “There are times during class when I'll see a dancer so connected to what I'm saying—so present, so eager and so willing to work harder to be better," says Leeper. “I'm most drawn to dancers whose conduct in class is respectful, no matter their age or ability level."
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.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
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.
The #MeToo movement has made its way to France's biggest ballet company.
An anonymous survey recently leaked to the French press revealed major turbulence at the Paris Opéra Ballet. The Straits Times reports that the survey was conducted by an internal group representing POB's dancers. In it, there are numerous claims of bullying, sexual harassment and management issues.
Nearly all of the dancers (132 out of 154) answered the questionnaire, but they didn't know it would be made public. (Around 100 of them later signed a statement saying they didn't consent to its release.)
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"
Several weeks ago, Youth America Grand Prix announced that the lineup for tonight's Stars of Today Meet the Stars of Tomorrow gala at Lincoln Center's Koch Theater would include Bolshoi Ballet principal Olga Smirnova and first soloist Jacopo Tissi. But an article in Page Six published last night states that Smirnova and Tissi were denied visas to enter the US.
YAGP organizers "believe the Department of Homeland Security's decision may be motivated by the myriad tensions between the superpowers," says the piece, noting that "Smirnova is so revered in Moscow that her treatment could create a Russian backlash."
Is it any surprise a world premiere by choreographer Uri Sands and musician Justin Vernon, both renowned for the profound beauty and gorgeous musicality of their work, immediately sold out? We're hungry for creative collaborations that take reflective deep dives into what constitutes our humanity—and then there's the undeniable cool factor. Nine members of TU Dance will perform alongside Bon Iver (Vernon's band) during the evening-length piece. Presented as part of the Saint Paul Chamber Orchestra's Liquid Music Series. April 19–21. The work will also appear at the Hollywood Bowl Aug. 5. tudance.org.