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.
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Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
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 a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
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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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
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:
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.
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.