Meet Budding Choreographer (and ABT Corps Member) Gemma Bond
Gemma Bond's intelligence—and knack for detail—never fails to shine through her dancing. It makes sense, then, that the American Ballet Theatre corps members is also a budding choreographer. After making works for ABT's Innovation Initiative and New York Theatre Ballet, as well as for her own pickup ensemble, her name is beginning to pop up with increasing frequency in ballet circles. She just made her first work for Atlanta Ballet, and was invited to take part in a festival at New York City's Joyce Theater. Next season she will create a work for The Washington Ballet. Her latest piece will be unveiled during a festival organized by fellow ABT dancer Isabella Boylston in Sun Valley, Idaho, August 22–24.
How did you get the Ballet Sun Valley commission?
Isabella has put together a wonderful program for the festival and wanted to do one new work. She has always come to see everything I've done; she's hugely supportive. She just said, "I want you to do this."
What is the idea behind the ballet?
There is this solar eclipse happening in Sun Valley on August 21, and we decided to use that as inspiration. There are two groups of dancers; Marcelo Gomes is the leader of one group and Isabella is the leader of the other. I call them the sun and moon. Judd Greenstein wrote the score. It's really about gravity and the tension and suspense that happens when everyone is there waiting for the eclipse to happen. It seems to take forever and then it happens and it's gone.
What drives your choreography?
For me it's more about the intent behind the steps—Why are you running to the corner? What are you saying when you run to the corner? How fast are you running? I want the audience to get the feeling behind the steps without having to look at a synopsis. I think it's because when I was younger I was watching Kenneth MacMillan's ballets, and I loved that way of telling a story.
Gemma Bond. Photo by Jim Lafferty for Pointe.
And you use classical technique?
I always want my ballets to be much cooler and sophisticated that I actually am. [Laughs.] In the beginning I would say, "We're going to do this in socks," and then I'd be like, "Can you put your pointes on? Can you turn out?" It would always go back to what I know and love.
You recently made your first work for Atlanta Ballet.
Yes, Denouement [premiered in March 2017]. I used a Benjamin Britten sonata for piano and cello. It was a bit of a point of contention because it isn't the most melodic piece. Actually, Alexei Ratmansky helped me a lot because I went to him and said that I'm hearing a few doubts about my music selection, and he said to go with how you feel and if you believe in it, you'll make the work that you want to make.
Do you feel like you're getting the opportunities that you deserve?
Yeah. I feel really fortunate that originally Diana Byer of New York Theatre Ballet was there to say, "You're doing something interesting. I'm going to give you studio space and dancers." I was talking to Kevin McKenzie recently and saying that I don't particularly like it when people are like, "Why aren't you doing a piece for ABT?" I'm very happy with the way my career is going. I learn so much from each experience.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.