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In The Studio: Roy Assaf On His Greatest Fears As a Choreographer
As the sun beams into the beautiful John Cage & Merce Cunningham studio at the Baryshikov Arts Center, Roy Assaf and his dancers are exploding in the space preparing for their upcoming performance. The fact that Assaf grew up with no formal dance training would come as a surprise to anyone watching this rehearsal. Afterward, we sat down with Assaf to hear about his creative process and the fears he finds himself trying to overcome.
What do the initial stages of your creative process feel like?
The most important thing for me when entering the studio is overcoming the fear of creating. Because I am frightened each time I am coming to the studio. Frightened from not succeeding, not making a dance at all, or a good dance—a dance that I find good—or letting down the people who work with me. That they came into the studio with curiosity and then their curiosity went away somehow. After overcoming the fear, basically what I'm trying to do is create an environment where everybody feels secure and very much engaged.
Shlomi Bitton, Igal Furman and Roy Assaf in The Hill, Photo by Gadi Dagon
What happens when you are creating and something isn't working?
We try something else. We try to find out why the idea doesn't work. I don't believe in good or bad ideas. I believe that there is the right timing and the right people attacking an idea from a specific angle. So, if you are not at the right timing to use this idea, or you do not have the right collaborators in the studio and you don't try from the right angle then you will not succeed. It has happened so many times that I had an idea and it didn't work. I left it aside and then half a year or a year later in a new process I used the same idea and suddenly I found it great and significant for the piece.
Roy Assaf Dance performs October 12 - 13 at the Baryshnikov Arts Center.
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While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?
In the world of ballet, Arcadian Broad is a one-stop shop: He'll come up with a story, compose its music, choreograph the movement and dance it himself. But then Broad has always been a master of versatility. As a teenager he juggled school, dance and—after the departure of his father—financial responsibility. It was Broad's income from dancing that kept his family afloat. Fast-forward six years and things are far more stable. Broad now lives on his own in an apartment, but you can usually find him in the studio.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.