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.
What do Percy Jackson, Princess Diana and Tina Turner have in common? They're all characters on Broadway this season. Throw in Michelle Dorrance's choreographic debut, Henry VIII's six diva-licious wives and the 1990s angst of Alanis Morissette, and the 2019–20 season is shaping up to be an exciting mix of past-meets-pop-culture-present.
Here's a look at the musicals hitting Broadway in the coming months. We're biding our time until opening night!
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
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.
Ah, stretching. It seems so simple, and is yet so complicated.
For example: You don't want to overstretch, but you're not going to see results if you don't stretch enough. You want to focus on areas where you're tight, but you also can't neglect other areas or else you'll be imbalanced. You were taught to hold static stretches growing up, but now everyone is telling you never to hold a stretch longer than a few seconds?
Considering how important stretching correctly is for dancers, it's easy to get confused or overwhelmed. So we came up with 10 common stretching scenarios, and gave you the expert low-down.