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The Most Influential People in Dance Today: Michelle Dorrance
Michelle Dorrance has just returned from Stockholm, where she was teaching without pause for much of the previous week. Before that, she had a pit stop in New York, a quick gig in Los Angeles and performances in New Hampshire. "It was relentless," she says in a huskier-than-usual voice, owing to a cold. The breakneck itinerary is an apt illustration of what an in-demand artist she has become, especially since receiving a prestigious MacArthur Fellowship in 2015.
While that recognition may have introduced her to a new audience, dance fans and critics were already swooning for her sophisticated musicality, thrilling ensemble arrangements and layered choreography that hits a wide range of emotional notes.
Yet Dorrance would rather not be the subject of this profile. Though a proud ambassador for her art form and always eager to promote it, she resists the false narrative that often accompanies stories about her of a so-called tap revival, and the impulse to identify a "lone ranger" to represent it. "Tap's always been around. There's always been brilliant artists, it's just not in the spotlight," she says. "It was the same conversation when I was a teenager in the '90s." (Then, Savion Glover, with whom Dorrance has performed, was the "It" tapper.)
Part of what makes Dorrance, 37, such an influential figure is precisely this resistance to being singled out. One of the ways she deals with the attention is by redirecting it to her community. She constantly name-checks the people who influence her—from her parents to her mentor in North Carolina, Gene Medler, to heroes like Dianne Walker and Brenda Bufalino, collaborators like Derick K. Grant and Dormeshia Sumbry-Edwards, the members of her company, Dorrance Dance, and contemporaries like Chicago dancer Jumaane Taylor, who, she gushes, "is at the top of his game." You can tell she's genuine by the way her voice clears and perks up when talking about her colleagues, as though celebrating others is chasing away the cold.
Collaboration and tradition are the pillars of Dorrance's art, but it doesn't stop there. "She's also an innovator," says Linda Shelton, the executive director of New York City's Joyce Theater, one of several venues that have nurtured Dorrance. "She's honoring the traditions of tap, but she's also making it relevant to a new generation."
A prime example of her artistic values can be found in The Blues Project, which Shelton brought to The Joyce in 2015 for three performances and again in 2016 for two weeks, a rare feat that also speaks to Dorrance's popularity with audiences. Dorrance co-created the work with musician Toshi Reagon plus Grant and Sumbry-Edwards, weaving together nods to the past with inventive configurations and invigorating energy.
Another acclaimed work, ETM: The Initial Approach and its follow-up, ETM: Double Down, cleverly merged tap and technology ("ETM" stands for "electronic tap music"), and was created with longtime company member Nicholas Van Young, who praises Dorrance for her focus and openness. "Michelle is very clear with her intentions," he says, "yet in collaboration she always makes you feel free to explore, develop, share and express."
The mutual respect is clear. "We're loyal to her and she's loyal to us," says rehearsal director Elizabeth Burke, who has known Dorrance since age 6 and danced with her company since it was founded in 2011. "She has an uncanny ability to bring different people together with different skill sets and energies and make it feel like a cohesive art that makes sense."
Burke recalls the early days of Dorrance Dance, rehearsing at night in various studios on the Lower East Side and touring in an old minivan with mismatched doors. By that time, Dorrance was already a familiar face on the tap scene, having worked with Glover and performed with STOMP for years. Starting a company allowed her to experiment and work with dancers she admired, though its speedy path to success has surprised everyone involved.
For all her humility, Dorrance has expanded the possibilities of tap in significant ways. Moving forward, she's mindful of keeping tap history at the center of her work. "I want to further refine my vision so my influence is rooted in the integrity of our form," she says. And she's eager to refocus on her own dancing, which she feels has been neglected due to the administrative duties of the past few years. But she's not feeling rushed. "What I love about tap dancers is that they die in their 90s with their shoes on," she says. "We're a breed of dancers that doesn't retire with age."
Season 2 of World of Dance is almost here! The new season officially kicks off on Tuesday on NBC, and it's bringing a whole new crew of talented dancers with it (plus, some old favorites). Dance pro judges Jennifer Lopez, Derek Hough and Ne-Yo are back, too, with Jenna Dewan serving as the show's host.
Obviously we'll be watching, but just in case you're not completely sold, here's why you're not going to want to miss out:
JLo Might Be Performing
Earlier this week, JLo (who serves as the show's executive producer) posted this insane promo clip to her Instagram. Dancing to a mashup of Cardi B's "Bodak Yellow" and her new single "Dinero," JLo reminded us all of her dance skills while also leading us to believe she might just hit the stage herself for a performance.
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
Considering we practically live in our dance clothes, there's really no such thing as having too many leotards, tights or leggings (no matter what our mom or friends say!). That's why we treat every sale as an opportunity to stock up. And thanks to the holiday weekend, you can shop all of your dancewear go-tos or try something totally new for as much as 50% less than the usual price.
Here are the eight sales we're most excited about—from online options to in-store retailers that will help you find the perfect fit. Happy Memorial Day (and shopping)!
Now through Monday, Danskin's site will automatically take 25% off your entire purchase at checkout. Even new items like their Pintuck Detail Floral Print Sports Bra and Pintuck Detail Legging (pictured here) are fair game.
"The sun may be shining brightly, but we are not in a very sunny mood today!" said New York State assemblywoman Linda Rosenthal during yesterday's rally for the Artists of Ailey.
The dancers and stage crew are demanding increased wages and more comprehensive benefits, what they have termed "reaching for the standard" and "fair wages."
Pain is an inevitable part of a dancing life and dancers have a high tolerance for it, according to Sean Gallagher, a New York physical therapist whose practice includes many professional performers. "So when dancers complain, it really means something," he says.
But women and men experience pain differently, and tend to be treated for it differently as well. Female dancers need to understand those differences before they go to a doctor, so they can make sure they get treated promptly and effectively.
Rebecca Warthen was on a year-long assignment with the Peace Corps in Dominica last fall when a storm started brewing. A former dancer with North Carolina Dance Theatre (now Charlotte Ballet) and Columbia City Ballet, she'd been sent to the Caribbean island nation to teach ballet at the Dominica Institute of the Arts and in outreach classes at public schools.
But nine and a half months into her assignment, a tropical storm grew into what would become Hurricane Maria—the worst national disaster in Dominica's history.
Sidra Bell is one of those choreographers whose movement dancers are drawn to. Exploring the juxtaposition of fierce athleticism and pure honesty in something as simple as stillness, her work brings her dancers to the depths of their abilities and the audience to the edge of their seats.