Is Your Pre-Show Ritual Uninspired? Take A Cue From These 12 Pros
But pre-show routines are also highly individual, and involve artists preparing their heads for performance just as much as their bodies. That could mean anything from listening to a favorite song, bonding with cast members or meditating.
Feeling like your pre-show ritual could use a bit of inspiration? These 12 pros shared their tried-and-true routines with us:
Choreographer and Entrepreneur Jacob Jonas
Miami City Ballet's Nathalia Arja
Dancer and Choreographer Emma Portner
The Washington Ballet's Ashley Murphy
Dancer and Choreographer Ephrat Asherie
Pacific Northwest Ballet's Leta Biasucci
"For roles that are accompanied by nerves, I like to find time before a performance to spend visualizing the piece. I close my eyes and imagine how the 'perfect' performance would feel. I find this practice to be meditative and allows for me to feel more excited than nervous.
"Not necessarily a ritual, but I have to double-check my performance shoe ribbons and re-sew ones that look like they might possibly come unsewn. Who wants to spend a show worrying about shoes falling off?"
Martha Graham Dance Company's PeiJu Chien-Pott
"I usually arrive at the theater much earlier than the call time. I set up my dressing room to create a feels-like-home space. I do my makeup and hair while I listen to some calm music. And right before I get onstage, I meditate for five minutes and 'talk' to Martha. Finally, I give the stage a kiss."
Alvin Ailey American Dance Theater's Hope Boykin
"My most important ritual is prayer. I simply ask that the audience will see the most honest artist in me. Despite the frustrations, feelings, aches and pains I may be experiencing, I long for the best performance to resonate in the hearts of those watching."
Dancer and Choreographer Caleb Teicher
"I usually improvise to a couple songs by myself to get some creative juices flowing. Then, I try to find some quiet time so that listening to music onstage feels fresh and focused. I may eat some gummy bears, too."
Ballet Dancer Joy Womack
Dutch National Ballet's Michaela DePrince
Choreographer James Alsop
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
Chiara Valle is just one of many dancers heading back to the studio this fall as companies ramp up for the season. But her journey back has been far more difficult than most.
Valle has been a trainee at The Washington Ballet since 2016, starting at the same time as artistic director Julie Kent. But only a few months into her first season there, she started experiencing excruciating pain high up in her femur. "It felt like someone was stabbing me 24/7," she says. Sometimes at night, the pain got so bad that her roommates would bring her dinner to the bathtub.
Michele Byrd-McPhee's uncle was a DJ for the local black radio station in Philadelphia, where she was born. As a kid she was always dancing to the latest music, including a new form of powerful poetry laid over pulsing beats that was the beginning of what we now call hip hop.
Byrd-McPhee became enamored of the form and went on to a career as a hip-hop dancer and choreographer, eventually founding the Ladies of Hip-Hop Festival and directing the New York City chapter of Everybody Dance Now!. Over the decades, she has experienced hip hop's growth from its roots in the black community into a global phenomenon—a trajectory she views with both pride and caution.
On one hand, the popularity of hip hop has "made a global impact," says Byrd-McPhee. "It's provided a voice for so many people around the world." The downside is "it's used globally in ways that the people who made the culture don't benefit from it."