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Should Dancers Get Political Online?
Lurking on dancers' social media pages, among the video clips of superhuman pirouettes and the photos that immortalize them above the stage in grand jeté or crouched on a windowsill wearing lingerie, pointe shoes and a sultry expression, is the occasional political post.
It's hard not to have a political opinion in the age of Trump. And on social media, opinions are easy to express. We might have to thumb the history book all the way back to Abraham Lincoln to find a more polarizing president (alas, the two leaders' similarities decisively end there).
In my lifetime, no president has been so far removed from the arts as our current one. Ronald Reagan was, of course, an actor before becoming a politician and GOP deity (although he, like Trump, sought to abolish the National Endowment for the Arts). Bill Clinton had decent chops on the tenor saxophone. George W. Bush paints. Barack Obama actually wrote his own books. Trump's closest proximity to anything artistic was through the highbrow sophistication of reality television, or maybe via the foul creativity of his "locker room talk" and the free-wheeling fictions of his tweets.
So should dancers share their political views on social media?
"Dance and the arts are of no value to the current administration," Wendy Whelan observes. "Of course, I think it's up to the individual artist whether to get political or not. But I do think we, as artists, have developed a voice, and that we're capable of communicating on the deepest levels with the world around us."
Misty Copeland echoes that sentiment: "I don't think it's our responsibility to speak about politics as artists. But if you feel strongly about your opinion, I think there are people in the public that feel empowered and supported when someone that has the platform to be heard uses it."
Many dancers are troubled not just by Trump's apathy toward the arts, but by his swerve away from the progressive mores that artists largely share. "This recent election has been a huge stimulus to stand up even more for my beliefs," Ashley Bouder tells me. "I feel that too many groups, women and the LGBTQ community in particular, are fighting a war with the leaders of this country. If I add my voice to the noise, perhaps we can create real change."
Any foray into the political discussion is a kick to the hornets' nest; the reactions are swift and sometimes uncivil. But Bouder considers the stakes high enough to be worth a few stings. "I think I've alienated some followers," she says. "I've alienated some family too, actually. But, in my opinion, the political situation in the U.S. is so extreme and intolerant, I just cannot imagine not doing all I can to bring about positive change." She adds that she doesn't mind debate, but that she's received "some truly hateful comments"—mostly from individuals with anonymous online profiles.
For Copeland—whose public image, to some people, intrinsically involves politics—losing fans who reject her values isn't necessarily a bad thing; it lets the chaff winnow from the grain. "I feel like I'm very open and honest and my political views don't differ from my daily practices, beliefs, and the way I present myself to the public. So if there are people out there who support me but are bigoted and racist, then it's not a loss for me to 'alienate' them."
The alienation burns both ways. One dancer, after posting on social media in support of Trump, experienced such a backlash, online and from her colleagues, that she turned down a request to be interviewed, even anonymously, for this article. In fact, most of the dancers I contacted declined to comment. Maybe they were too busy, or they felt there was nothing further to add to this mosh pit of a conversation, or they didn't wish to estrange any fans. Or maybe they recognized the incongruity of speaking out against a right-wing administration while performing in a theater named after a powerful right-wing figure.
Professional ballet, at least in the U.S., exists because of the generosity of patrons. By voicing their views publicly, do dancers risk losing not only fans but also sponsorship, guesting opportunities, or endorsement deals? Where should dancers' primary loyalties lie? Is it in poor taste to publicly oppose a patron's views—or is it, in some instances, a moral obligation? (Is taste now a moot consideration, given the leader of our country's boorishness, the savagery of the political discourse, and the sense of urgency many people feel about our planet's problems?) The answers to these knotty questions are as elusive as certain income tax returns.
I think we can all agree that a beautifully danced and crafted performance will always be the strongest argument for the value of ballet. And maybe, in a way, it can offer a gesture toward a broader kinship. "I think artists hold a lot of power," Copeland says. "Speaking or not, performing in times of stress, weakness and turmoil, we definitely can bring people together." I agree. Watching a ballet is a shared experience. A theater is a kind of church, where folks gather to examine or escape their world, and—to paraphrase Oskar Eustis—to remember the dream of who they can be. For a few magical hours, as they wax into a single audience, the distinctions between right and left, red and blue fade away.
So how to lure President Trump into a theater to see a ballet today? Do we get tricky and tell him he's attending a beauty pageant or Wrestlemania? The man adores Twitter, so maybe dancers' political posts will find him, after all. But let's be real. The only way President Trump will ever attend a ballet is if Putin takes him to the Bolshoi.
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.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
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.
The #MeToo movement has made its way to France's biggest ballet company.
An anonymous survey recently leaked to the French press revealed major turbulence at the Paris Opéra Ballet. The Straits Times reports that the survey was conducted by an internal group representing POB's dancers. In it, there are numerous claims of bullying, sexual harassment and management issues.
Nearly all of the dancers (132 out of 154) answered the questionnaire, but they didn't know it would be made public. (Around 100 of them later signed a statement saying they didn't consent to its release.)
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"
Several weeks ago, Youth America Grand Prix announced that the lineup for tonight's Stars of Today Meet the Stars of Tomorrow gala at Lincoln Center's Koch Theater would include Bolshoi Ballet principal Olga Smirnova and first soloist Jacopo Tissi. But an article in Page Six published last night states that Smirnova and Tissi were denied visas to enter the US.
YAGP organizers "believe the Department of Homeland Security's decision may be motivated by the myriad tensions between the superpowers," says the piece, noting that "Smirnova is so revered in Moscow that her treatment could create a Russian backlash."
Is it any surprise a world premiere by choreographer Uri Sands and musician Justin Vernon, both renowned for the profound beauty and gorgeous musicality of their work, immediately sold out? We're hungry for creative collaborations that take reflective deep dives into what constitutes our humanity—and then there's the undeniable cool factor. Nine members of TU Dance will perform alongside Bon Iver (Vernon's band) during the evening-length piece. Presented as part of the Saint Paul Chamber Orchestra's Liquid Music Series. April 19–21. The work will also appear at the Hollywood Bowl Aug. 5. tudance.org.