Inside DM

Editors' Picks: Our Favorite Dance Magazine Stories from 2017

Jayme Thornton

2017 has been quite a year here at Dance Magazine. From launching our new website to celebrating the magazine's 90th anniversary, it's been a thrilling 12 months. To wrap up the year, the Dance Magazine team took a moment to share each of our favorite highlights.



Creative director Raymond Mingst: July's "The Hall of Fame"

I'll take any excuse to paw through decades-old issues of Dance Magazine. Our special 90th anniversary issue this July gave us just that opportunity. We reprinted some of our favorite covers—from Andy Warhol's illustration of Doris Humphrey (February 1959), to Baryshnikov on a motorcycle (January 1992).


Assistant editor, audience engagement Kelsey Grills: "The Problem With So You Think You Can Dance's Fast-Food Activism"

Veronica Jiao's smart piece shed light on a serious problem the dance world tends to ignore. Although "SYTYCD" does wonderful things for dance by providing a platform that allows various genres to reach broader audiences, the show sometimes fails to recognize the responsibility it has.



Assistant editor Lauren Wingenroth: October's Ryan Heffington cover story

I find Heffington to be one of the most fascinating figures in the dance world, and writer Brian Schaefer somehow managed to capture his inimitable quirk. Plus, he talked to Sia, who referred to herself as a "spaghetti woman."

Heffington photographed by Jacob Sutton, styled by Mindy Le Brock in Kenzo


Editor in chief Jennifer Stahl: "Why Are We Still So Bad at Addressing Mental Health?"

When writer Kathleen McGuire first pitched this story to me, she was super nervous about opening up and sharing her story about how untreated depression led her to quit dance. But as soon as we hit publish, we realized she was far from alone in feeling discarded by the dance world. The outpouring of support made us realize that dancers' mental health is a topic we need to cover further—so stay tuned for more in 2018.

Quinn Wharton


Assistant editor Marissa DeSantis: May's Wendy Whelan Cover Story

I always loved going to see Wendy Whelan perform at City Ballet, and thought it was interesting to hear how she's created a whole second career for herself after retiring from NYCB. Plus, it was cool to get a picture of how she works in the studio and what it's like collaborating with her.

Jayme Thornton


Assistant editor Courtney Escoyne: "Making Chicken Pot Pie with James Whiteside"

I really wasn't going to mention one of my own stories, but I had to include this, partially because James is a trip, partially because the recipe is fantastic, but mostly because going to his apartment and being fed homemade chicken pot pie for this article tops my list of the most ridiculous (and awesome) things I've done at Dance Magazine.


Managing editor Madeline Schrock: Our July cover with Michelle Dorrance

The accompanying 90th-anniversary cover line, "Looking Back and Leaping Forward," is also a spot-on description of Dorrance's boundary-breaking work, and I love how she's photographed in tails in homage to tap's early legends. This fusion is a reminder of what makes great art: perspectives that acknowledge and build on the past, while contributing something fresh to the conversation.

The Conversation
Dancer Voices
Raja Feather Kelly. Photo by Kate Shot Me

A little over a year ago, I wrote an op-ed for Dance Magazine about the grueling, oppressive grant cycle. It was crying into my pillow, really. I was complaining and desperate to share my story. I was fed up with 10 years of applying for grants and having never received one for the research or development of my work. I was tired of the copy-and-paste rejection letters, the lack of feedback, and what seems to be a biased, inconsistent system.

I couldn't stand that I was made to feel as if I had to ask for permission to be an artist.

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Hive by Boston Conservatory student Alyssa Markowitz. Photo by Jim Coleman

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.

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Dance on Broadway
Gabrielle Hamilton in John Heginbotham's dream ballet from Oklahoma! Photo by Little Fang Photo, Courtesy DKC/O&M

The connections dancers make in college are no joke. For recent alum Gabrielle Hamilton, working with guest choreographer John Heginbotham at Point Park University put her on the fast track to Broadway—not in an ensemble role, but as the lead dancer in one of this season's hottest tickets: Daniel Fish's arresting reboot of Oklahoma!

We caught up with Hamilton about starring in the show's dream ballet and her delightfully bizarre pre-show ritual.

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Rant & Rave
Sterling Hyltin and Amar Ramasar in George Balanchine's Who Cares. Photo by Paul Kolnik, Courtesy NYCB

Last Friday, through an appeal to an independent arbitrator, the American Guild of Musical Artists successfully reinstated NYCB principals Amar Ramasar and Zachary Catazaro, previously fired for allegedly circulating sexually explicit texts containing nude photos.

AGMA opposed Ramasar and Catazaro's terminations in order to prevent the setting of a dangerous precedent that would allow dancers to be fired under less understandable consequences. But we cannot allow future cases to dictate the way we handle this situation—particularly a union committed to "doing everything in [its] power to ensure you have a respectful environment in which to work."

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Sponsored by McCallum Theatre
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre

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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Health & Body
H+ | AK47 Division

Time after time we've been reminded that fueling our bodies with healthy food is absolutely essential to dancing our best.

But according to the H+ | The Hip-Hop Dance Conservatory, one in every three dancers in New York City lives under the poverty line, and may lack the resources to purchase the ingredients they need to make nutritious meals.

Not to mention the fact that dancers are busy, and often running around from class to rehearsal to performance to side hustle, grabbing whatever they can get to eat on-the-go.

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Dancer Voices
Paloma Garcia-Lee has appeared on Broadway and in TV's "Fosse/Verdon" and will be in the new West Side Story film. Photo by Susan Stripling, Courtesy Garcia-Lee

I have a commitment, a romance, a love affair with dance, with the feeling that happens when the music and the steps so perfectly align and I can't help but get chills. That feeling when my partner and I are dancing as one, when everyone onstage feels the same heartbeat, when it's just me alone in my bedroom.

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Dance in Pop Culture
Michelle Williams as Gwen Verdon. Photo by Eric Liebowitz/FX Networks

You can see them in "Fosse/Verdon" episode one. Michelle Williams, playing Gwen Verdon, wears them with a cool, retro, forest-green jumpsuit. Tucked beneath a mop top of tousled Gwen Verdon locks, Williams sports a pair of discreet and tasteful onyx drop-earrings—the dancer's favorites. Verdon wore them all her adult life, according to her daughter Nicole Fosse, a co-executive producer of the FX series that puts a spotlight on a great woman of American dance.

"I have very little memory of my mother wearing other earrings. They were her Gwen Verdon earrings," says Fosse, speaking by phone from her home in Vermont. "She's wearing them in 99 percent of the pictures of her performing."

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Dance Training
Courtesy CalArts

Four years of lectures, exams and classes can feel like a lifetime for college dancers who have their sights set on performing. So when a professional opportunity comes knocking, it can be tempting to step away from your academics. But there are a few things to consider before putting your education on hold.

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Career Advice
LA Dance Project. Photo by Jonathan Potter, courtesy LADP

We've all been there: You see the craziest/most beautiful/oddest/wildest clip of a dance on Facebook and you simply have to see more.

But do you actually get yourself to the theater and sit through a 90-minute performance? The consensus, at this point, typically seems to be: No.

There is no clear correlation between a company's social media campaigns and how many seats they fill in the theater. That doesn't mean social media isn't, of course, vital. It simply means that "social media campaigns operating without other marketing campaigns don't cut it," says Rob Bailis, associate director of Cal Performances at UC Berkeley. "But campaigns without social media are far worse off."

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Dance in Pop Culture
Carlos Acosta in a still from Yuli. Photo by Denise Guerra, Courtesy Janet Stapleton

Since the project was first announced toward the end of 2017, we've been extremely curious about Yuli. The film, based on Carlos Acosta's memoir No Way Home, promised as much dancing as biography, with Acosta appearing as himself and dance sequences featuring his eponymous Cuba-based company Acosta Danza. Add in filmmaking power couple Icíar Bollaín (director) and Paul Laverty (screenwriter), and you have a recipe for a dance film unlike anything else we've seen recently.

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News
Ramasar and Catazaro, photos via Instagram

One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.

The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.

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Rant & Rave
Pittsburgh Ballet Theatre in Fancy Free. Photo via pbt.org

A woman passes three men in the street. The men pursue her. They thrust their pelvises at her. They continue to pursue her after she slaps one's hand and walks away. They surround her. She glances around at them in alarm. One snatches her purse (to review the Freudian significance of purses, click here) and saunters off with it, mocking her. She tries to take the purse back, and the three men toss it over her head among each other. They make her dance with them. Each time she indicates "No," the men try harder to force her submission to their advances.

This is all within the first 10 minutes of Jerome Robbins's Fancy Free, a 1944 ballet about three sailors frolicking on shore leave during World War II, beloved by many and still regularly performed (especially during the last year, since 2018 was the centennial celebration of Robbins's birth). Critic Edwin Denby, after the premiere with Ballet Theatre, called it "a remarkable comedy piece" and "a direct, manly piece."

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25 to Watch
Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt

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.

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Rant & Rave
Social media validates extremes over clean, solid technique. Photo by David Hofmann/Unsplash

The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."

My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.

This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?

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Cover Story
Courtesy Khoreva

The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?

Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.

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What Dancers Eat
Courtesy Bloc Talent Agency

When you're bouncing between hotel rooms without access to a kitchen, eating a pescatarian diet can be challenging. Stephanie Mincone, who most recently traveled the globe with Taylor Swift's Reputation Stadium Tour, told Dance Magazine how she does it—while fueling herself with enough energy to perform for thousands of Taylor fans.

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Dancers Trending
Hamrick rehearsing Port Rouge in St. Petersburg. Photo courtesy Hamrick

Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.

So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.

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Advice for Dancers
Photo by freestocks.org/Unsplash

What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?

—Anonymous

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Career Advice
Stephen Mills' Grimm Tales, which premiered last month, is the first ballet funded by the Butler New Choreography Endowment. Photo by Anne Marie Bloodgood, Courtesy Ballet Austin

As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.

So where can companies find the money?

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Dance History
Merce Cunningham in his Changeling (1957). Photo courtesy DM Archives

Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.

Courtesy DM Archives

Dance in Pop Culture
Courtesy MPRM Communications

A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.

But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."

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