"I Dance To Be A Vessel For Love, Empathy, Generosity and Healing"
When I'm dancing, I feel so alive, like every single part of me that makes me who I am is participating in moving my body.
When I was little, I wouldn't stop dancing if I could help it. One of my favorite things to do was to pretend to be Gene Kelly in the backyard on my parents' deck. As soon as a prairie sun shower came raining down I would drop everything and run out there to sing, laugh and listen to the echo of my tapping toes.
Dancing was my joy and my therapy. I grew up in a home that was often punctuated by anger and deep unhappiness. I often helplessly watched my dad struggle with bouts of depression and aggression.
His unhappiness was particularly hard for me; he was the parent I spent most of my time with and I loved him more than anything. Dance became my answer to this sadness.
While dancing and eventually pursuing my dreams of doing it for a living, I could both escape the darker realities of my life and bring healing into my family's lives. I recognized my joy in dance as a gift from God. I felt strong, intelligent and fearless when I moved my body.
Photo by Paul Kolnik
I dance because it is a language that transcends the language of the tongue. It connects with the heart, and it so beautifully and thoughtfully reflects the human condition. Dancing with the incredible Alvin Ailey American Dance Theater has taught me so much about this.
A favorite moment was when I was invited to perform Alvin Ailey's solo masterpiece Cry as part of an event hosted by a branch of the United Nations that focused on fighting human trafficking. This event brought experts together to use data and their collective intelligence to try to solve one of the world's most urgent problems.
I was there to use my body to offer a story of inextricable struggle, triumph and freedom in the form of 17 intense minutes of dance. I was there to influence hearts and minds in a way that perhaps words can't.
Photo by Andrew Eccles
My mantra when I'm in the wings before I step onstage is "Be generous, without fear or hope." Of course, there are times when I'm afraid I might execute a step poorly, especially if I'm exhausted or injured. And who doesn't hope to hear a roaring applause after something they've done onstage?
But at the end of the day, I believe that dance is an offering best committed to with a sense of purity. I dance to be a vessel for love, empathy, generosity and healing. That is why I dance!
Photo by Andrew Eccles
It's hour three of an intense rehearsal, you're feeling mentally foggy and exhausted, and your stomach hurts. Did you know the culprit could be something as simple as dehydration?
Proper hydration helps maintain physical and mental function while you're dancing, and keeps your energy levels high. But with so many products on the market promising to help you rehydrate more effectively, how do you know when it's time to reach for more than water?
Inside a bustling television studio in Los Angeles, Lindsay Arnold Cusick hears the words "Five minutes to showtime." While dancers and celebrities covered head to toe in sequins whirl around preparing for their live performances on "Dancing with the Stars," Cusick pauses to say a prayer to God and express her gratitude.
"I know that it's not a given, and I'm grateful for the opportunity to do what I love for a living," says Cusick, a member of The Church of Jesus Christ of Latter-day Saints. For her, prayer is a ritualized expression of her faith that she has maintained since she was a girl in Provo, Utah. Even with her seven-plus years of industry experience, she always takes a moment to steady herself and close her prayer in Christ's name before rushing onto the stage.
The hotly-debated Michael Jackson biomusical is back on. Not that it was ever officially off, but after its pre-Broadway Chicago run was canceled in February, its future seemed shaky.
Now, the show has secured a Broadway theater, with previews starting July 6 at the Neil Simon Theater.
In the October 1969 issue of Dance Magazine, we spoke with Jacques d'Amboise, then 20 years into his career with New York City Ballet. Though he became a principal dancer in 1953, the star admitted that it hadn't all been smooth sailing.