What Makes Sidra Bell's Dancers "Artist Citizens"
Sidra Bell is one of those choreographers whose movement dancers are drawn to. Exploring the juxtaposition of fierce athleticism and pure honesty in something as simple as stillness, her work brings her dancers to the depths of their abilities and the audience to the edge of their seats.
The tasks that you throw out to the dancers are really interesting. Is that something you have ever considered keeping in the structure of the performance?
Every now and then we talk about what it would feel like if I was present in the space. There have been times when I've used recordings of myself and laced some of that text into the music of the piece. I've always been very verbal and language is my love so I've always used it as a way of creating portals into movement ideas.
SBDNY performer Sebastian Abarbanell, Umi Akiyoshi Photography
Did you ever struggle with your identity as a non-performer or has it always felt clear to you to be the dancemaker?
It was really clear to me. I always had this sensibility of being the maker and I stepped out of the idea of performing in my work very early. I've always had a connection to physical research but I really love team-building and that has created a fullness for me. Now I feel more full in my movement and it's because I've continued researching through my body with the dancers in the creative process.
SBDNY performer Misa Kinno Lucyshyn, Umi Akiyoshi Photography
You have a pretty eclectic group of dancers that you work with. Is there anything specific you look for when creating an ensemble?
It's a truly intimate process. I've been thinking a lot about company culture. It's really important for me to be able to foster and nurture each of the dancers. So the size of the company is really important to me because I feel I can speak to each of them individually. In the process of creating ensembles—I've had three or four transitions of having a company—the one thing that binds them all is that they all move with purpose. They bring not only a really strong sense of physicality but honesty, rigor, curiosity and they are unafraid. I talk a lot about "artist citizens" and I feel like that is something that is consistent with all the dancers I've worked with.
It's important to me to have my dancers feel like they have a strong voice in the room. That doesn't always manifest into actual dialogue, but it's the ability for them to have agency in the work. It feels like it brings a currency to the work. So I try to let myself evolve through them.
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Capezio, Bloch, So Dança, Gaynor Minden.
At the top of the line, dancers have plenty of quality footwear options to choose from, and in most metropolitan areas, stores to go try them on. But for many of North America's most economically disadvantaged dance students, there has often been just one option for purchasing footwear in person: Payless ShoeSource.
When Sonya Tayeh saw Moulin Rouge! for the first time, on opening night at a movie theater in Detroit, she remembers not only being inspired by the story, but noticing the way it was filmed.
"What struck me the most was the pace, and the erratic feeling it had," she says. The camera's quick shifts and angles reminded her of bodies in motion. "I was like, 'What is this movie? This is so insane and marvelous and excessive,' " she says. "And excessive is I think how I approach dance. I enjoy the challenge of swiftness, and the pushing of the body. I love piling on a lot of vocabulary and seeing what comes out."
Back when Robbie Fairchild graced the cover of the May 2018 issue of Dance Magazine, he mentioned an idea for a short dance film he was toying around with. That idea has now come to fruition: In This Life, starring Fairchild and directed by dance filmmaker Bat-Sheva Guez, is being screened at this year's Dance on Camera Festival.
While the film itself covers heavy material—specifically, how we deal with grief and loss—the making of it was anything but: "It was really weird to have so much fun filming a piece about grief!" Fairchild laughs. We caught up with him, Guez and Christopher Wheeldon (one of In This Life's five choreographers) to find out what went into creating the 11-minute short film.
When Hollywood needs to build a fantasy world populated with extraordinary creatures, they call Terry Notary.
The former gymnast and circus performer got his start in film in 2000 when Ron Howard asked him to teach the actors how to move like Whos for How the Grinch Stole Christmas. Notary has since served as a movement choreographer, stunt coordinator and performer via motion capture technology for everything from the Planet of the Apes series to The Hobbit trilogy, Avatar, Avengers: Endgame and this summer's The Lion King.
Since opening the Industry Dance Academy with his wife, Rhonda, and partners Maia and Richard Suckle, Notary also offers movement workshops for actors in Los Angeles.