Congratulations to Dance Magazine Leadership Award Honoree Nigel Redden
General director of Spoleto Festival USA since 1995 and, for two decades (1998-2017), the director of the Lincoln Center Festival, Nigel Redden has an internationalist's point of view on the arts—expansive, curious, informed by the cultural wealth that the world has to offer.
He is the son of an American diplomat and grew up moving from place to place—Cyprus, Israel, Canada, Italy—until eventually setting of for Yale to study Art History. After visiting the Spoleto festival in Italy as a young man, and working there while he was still an undergraduate, he very quickly realized what he wanted to: direct festivals. And that's what he has done for most of the last quarter century.
How did you get drawn into the world of festivals?
I started at Spoleto in 1969, the summer after my freshman year. I had seen a certain number of the companies in other contexts, and I thought it was wonderful to see these performances in juxtaposition, and to see how, to some extent, they informed each other. In the final analysis, every performance is about a kind of human message. By the time I was 20, I knew I wanted to run a festival.
Where does your love of dance come from?
My own interest in dance began when I was in high school. I suppose I saw Nureyev and Fonteyn. My great-grandfather was part owner of Theatre Royal, in Australia. My mother had very vivid memories of the Ballets Russes de Monte Carlo coming to Australia; she had these wonderful stories of getting to know the dancers. It seemed natural to want to go.
Then, that first year at Spoleto I saw Merce Cunningham. I had read some of John Cage's work and was terrified of meeting him. I saw an "event," and it was totally mystifying. This was 1969. I didn't understand it at all. But then when I started working at BAM in 1973, there was a series of events at the Lepercq Space, and they were absolutely transformational. All of a sudden it made sense.
The wonderful thing about dance is that it's about seeing a body move in a way most of us can't and finding some way in which this means something to you. It's difficult to articulate with words, but you have this strong feeling that something has been revealed to you.
What is special about festivals—what do they provide that a regular season cannot?
I've found the pressure and intensity of a festival brings out the best in performers. A community of artists is being created. And they know the audience isn't just there because it was part of their subscription series. And also the best in audiences. The audiences come with the expectation that they're going to enjoy it. People are more open-minded. They're more prepared to see things they might not usually want to buy tickets for.
For a long time, you directed both Spoleto USA, based in Charleston, and the Lincoln Center Festival in New York. How did they fit together in your mind's eye?
I think they fit together by being different. The Spoleto festival takes over a small town, and the audience comes from all over. So what we have tried to do there is give a kind of wonderful banquet of the arts. In New York, the audience was more local and more aware of what was being performed throughout the year. So there, the idea was to extend the definition of Lincoln Center. I felt it was essential, in New York, to include classical traditions from other parts of the world: Kabuki, Noh, Pansori. And also, to include parts of the broader European tradition that aren't seen here.
What, to you, was the ultimate aim of the Lincoln Center Festival?
I think it was about discovery in the sense that one is discovering classicisms from around the world. The number of people who knew about Kunqu opera prior to our performances of the Peony Pavilion was mostly limited to people who came from that culture. A lot of people found out about it as a result of the Festival. The Japan Society does a great job bringing performing arts from Japan, but the audience tends to be less broad. When we brought over Kanze Noh Theatre last year, there was an intensity about that performance that was possible because Lincoln Center had the resources to build a Noh stage. When you're doing something at Lincoln Center you tend to do it right.
Where did the idea for last year's performances of Balanchine's Jewels by three companies—New York City Ballet, Paris Opéra and the Bolshoi—come from?
I'd been working on the idea for years and years. The idea was that Balanchine had worked in all three countries. Emeralds does seem to be inspired by French dance. And I think it's difficult to look at Diamonds and not think of imperial Russia.
It took a lot of cajoling. There are always logistical problems. The French dancers are usually off that time of year. So the dancers who danced here moved their vacations, which meant they weren't available to the company at the beginning of September. It all happened during the transition between Benjamin Millepied and Aurélie Dupont's directorship of the company. Benjamin had been quite enthusiastic, and fortunately Aurélie was too.
What is lost with the disappearance of a large, eclectic festival like Lincoln Center Festival?
I think inevitably there's going to be less programming at Lincoln Center. We were in discussion with several European companies as well as large Asian companies that now won't have a home in New York. I assume a home will emerge at some point. New York is too important a place for performers not to perform.
Is New York City in danger of slipping behind other cultural capitals?
I think it has already. The fact that there's only one opera company is a pity. But it still seems to be a place choreographers want to come to—there's still a kind of energy here. Even though the costs of studio space and living space are very high. When I first moved to New York I rented an apartment for $40 a month, which meant it really didn't matter how much money I earned, because the expenses were so low.
What is your advice to young festival directors?
I became director of the performing arts program at the Walker Arts Center when I was 25. We did a dance festival called New Dance America there, and the idea was to see if we could get an audience for Trisha Brown and David Gordon and Laura Dean and Lucinda Childs. So I feel that that is what a young festival director should do: find an audience for the people that person believes in.
Are there enough women running big festivals in the US?
I'm not sure there are enough women running things generally. After I left Spoleto my first boss was Ellen Stewart. She was amazing. But over time it became more and more clear that it was difficult for women to get these top leadership positions. I'm sure I've benefited from the fact that I'm male.
It's also an issue of people of a different color than mine. It's a big issue. I'm certainly aware of having white privilege. I didn't have those disadvantages of having to fight stereotypes. I still think they very much exist.
You speak a lot about classicism—what does that word mean to you?
I think it means work that has stood the test of time. That is, that somehow still has a resonance. Classicism has informed the world we live in; it's still a living tradition. On some level it's about a sense of history. I believe history is useful for us. We need to know where we came from. We didn't just invent ourselves. Life is richer if you have a more dynamic sense of the past.
Few people who are busier during the holidays than corps members of American ballet companies. December is officially Nutcracker season—a company's chance to earn a huge chunk of their revenue for the year, and a dancer's chance to go a little, ahem, nuts, waltzing and swallowing fake snow night after night for weeks on end.
But Nutcracker can also be an opportunity like no other, and for some corps members, it's the highlight of their year. Five dancers told us what helps them get through it all.
When Rambert, the United Kingdom's oldest professional dance company, announced Wednesday that Benoit Swan Pouffer had been appointed artistic director, it was hardly surprising news. Since April, two months after Mark Baldwin stepped away from Rambert after a 15-year tenure at its head, Pouffer has served as guest artistic director. That initial appointment was in and of itself a somewhat unexpected move, but the company had already brought the choreographer into the fold with a commission for its newly-formed junior company, Rambert2.
Given how regimented the Radio City Rockettes are, from their precise kick lines to their Christmas Spectacular season show schedule (which can include up to four performances a day), it's no surprise they're just as strict with their skincare routines. After all, sweating in stage makeup six days a week can cause dryness and breakouts for even the most easygoing skin types. We caught up with Rockettes Alyssa Lemons and Nina Linhart for all of their tried-and-true skincare picks.
Congratulations are in order for American Ballet Theatre star Gillian Murphy and her husband, former ABT dancer Ethan Stiefel, who are expecting their first child next June!
Murphy announced her pregnancy today on Instagram:
She will not be dancing in the company's upcoming tour or the 2019 Metropolitan Opera House season, but plans to return to the stage next fall.
We have no doubt that Murphy will be the ultimate cool mom. Here's why:
Since losing her eyesight due to an undiagnosed optic nerve atrophy, choreographer and performer Mana Hashimoto has dedicated her life's work to exploring how the body exists in space with or without sight.
Trained in ballet, jazz and Graham technique, she has performed all over the world, from her native home in Japan to New York City's Metropolitan Museum of Art and Jacob's Pillow. Hashimoto is also the founder of Dance without Sight, a series of workshops designed to discover movement through touch, sound and smell.
Dance Magazine recently say down with Hashimoto to learn more about her process, and what it's like to be a bridge between the seen and unseen worlds.
Get Dance Magazine in your inbox
Online video game Fortnite is involved in serious controversy over its "emotes" dance feature. Even if you're not a gamer, this is a case choreographers should keep close tabs on. Here's why.
Let us quickly introduce you to Fortnite Battle Royale: The video game sprung up in September 2017 and has grown to insane levels of popularity. It's free to play and features 100 users duking it out to be the last person standing. But here's the catch: If you want to get ahead, you have to make in-game purchases, trading real money for V-Bucks, which you use to redeem things like weapons.
So what's it got to do with dance? A whole lot. One of Fortnite's most popular—and lucrative—features is its emotes, animated dances that users can purchase to perform on the battlefield. Many are taken directly from pop culture, and Fortnite's developer, Epic Games, is in the midst of a heated lawsuit regarding its Swipe It emote. After much public debate, rapper 2 Milly filed a suit last week claiming that Epic Games stole—and is now largely profiting from—the Milly Rock, a dance move he created and popularized, without his permission. Take a look:
It's the 60th anniversary of the Alvin Ailey American Dance Theater, and their season at New York City Center is going strong with more than 20 works—including world premieres and company premieres.
Ronald K. Brown, who just received a Dance Magazine Award, has made his seventh work for Ailey, The Call. It's a gorgeous pastiche of three different types of music: Bach, jazz by singer Mary Lou Williams and Malian music by Asase Yaa Entertainment Group.
If a teacher or choreographer has ever commented that your dancing looks stiff, the problem could be that you aren't breathing effectively. "When dancers aren't breathing, their shoulders are up and there's no length in their movement. They start to look like they're just waiting to get to the next thing," says Maria Bai, artistic director of Central Park Dance in New York.
It may seem like a no-brainer—of course you can't move without breathing. But beginning dancers often hold their breath because they are so focused on picking up choreography, says Sarah Skaggs, director of dance at Dickinson College. Even advanced dancers can benefit from focusing more on their breath. "Sometimes they are paying so much attention to what their limbs are doing that they forget about the lungs, the chest, the trunk. Breath is the last thing they're thinking about, but really it should be the first," says Skaggs. The more integrated your breathing is, the more relaxed and present you will feel.
I've been a fan of Jordan Isadore's for about a decade. His gorgeous, spine-contorting renditions of Christopher Williams' repertory are legendary, and for many years I had the privilege of making dances with him and producing his works through DanceNOW[NYC].
Over the last year or so, as he began winding down his performance career, Isadore began making odd, phenomenal objects: dribs of Labanotation scores rendered as hung mobiles, gorgeously crafted in stained glass and metal. The designs are stunning, imbued simultaneously with a hipster-nonsense contemporaneousness and reverence for dance history.
I spoke with Isadore about his retirement from the stage, and transition to crafting full time.
There's always that fateful day each year, usually in February or March, when ballet contracts are renewed. Dancers file into an office one by one, grab an envelope and sign their name on a nearby sheet of paper to signify the receipt of their fate. Inside that envelope is a contract for next season or a letter stating that their artistic contribution will no longer be needed. This yearly ritual is filled with anxiety and is usually followed by either celebratory frolicking or resumé writing.
Whenever I received my contract, I would throw up my hands joyfully knowing that I would get to spend one more year dancing. In 14 years at Boston Ballet, I never once looked at my pay rate when signing a contract. The thought of assessing my work through my salary never crossed my mind.
Watching Bohemian Rhapsody through the eyes of dancer, there's a certain element of the movie that's impossible to ignore: Rami Malek's physical performance of Freddie Mercury. The way he so completely embodies the nuances of the rock star is simply mind-blowing. We had to learn how he did it, so we called up Polly Bennett, the movement director who coached him through the entire process.
In a bit of serendipitous timing, while we were on the phone, she got a text from Malek that he had just been nominated for a Golden Globe. And during our chat, it became quite clear that she had obviously been a major part of that—more than we could have ever imagined.
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
We caught up with Alsop for our "Spotlight" series:
It's become a colloquialism—or, we admit, a cliche—to say that dance can heal.
But with a new initiative launched by British Health Secretary Matt Hancock, doctors in the U.K. will soon be able to prescribe dance classes—along with art, music, sports, gardening and more—for patients suffering from conditions as various as dementia, lung problems and mental health issues.
If the news about the upcoming CATS movie has your head spinning, we're right there with you. It seems like every week we have a bit more to share about the new film adaptation, which is set to release in December 2019. So, in order to keep it all straight, we present you with our master list of everything we know—our version of "The Naming of Cats," if you will. We'll add updates as they emerge.
People have a tendency to think of dance as purely physical and not intellectual. But when we separate movement from intellect, we limit what dance can do for the world.
It's not hard to see that dance is thought of as less than other so-called "intellectual pursuits." How many dancers have been told they should pursue something "more serious"? How many college dance departments don't receive funding on par with theater or music departments, much less science departments?
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
Each year, The New York Times Magazine shines a spotlight on who they deem to be the best actors of the year in its Great Performers series. But, what we're wondering is, can they dance? Thankfully, the NYT Mag recruited none other than Justin Peck to put them to the test.
Peck choreographed and directed a series of 10 short dance films, placing megastars in everyday situations: riding the subway, getting out of bed in the morning, waiting at a doctor's office.
On busy performance days, international guest artist Joy Womack always makes time for one activity after class and rehearsals: a nap. "I like to feel well-rested when I need to be in the spotlight at night, not dragging at the end of the day," she says. "It helps me recover and refocus."
With her earbuds tuned to a guided meditation app, she can squeeze in a nap wherever she needs to. "One time I even took a nap on the floor of the tour bus in Siberia," she says. "Dancers can sleep anywhere."
Joy Womack prioritizes napping before a show. Photo by Quinn Wharton for Pointe magazine.
As research has revealed the benefits of short daytime naps, power-napping advice has proliferated, and more dancers are choosing to include a nap in their pre-performance routines. Approaching napping strategically will help you get the most out of an afternoon snooze.
On Monday night, a memorial was held at Riverside Church to honor the life and achievements of Dance Theatre of Harlem co-founder Arthur Mitchell. With nearly three months to process and grieve (Mitchell passed away on September 19) the atmosphere was not that of mourning as much as reflection, reverence and admiration for who he was, what he built and what remains. (Watch the full livestream here.)
The church filled with family, artistic friends, fans and admirers. What was most gratifying was the volume of DTH alumni from the school, company and organization who traveled across the globe to pay their respects, from founding members to present dancers and students. The house of worship was filled with the sentiment of a family reunion. As Mitchell was sent home, it was a homecoming for many who have not shared air together in decades. What was palpable was the authentic bonds that Dance Theatre of Harlem and Mitchell fostered in all.
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.