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As a reigning ballerina of Dance Theatre of Harlem, Ashley Murphy put in her time. A dancer of razor-sharp technique and plush musicality, she first joined the company before its 2004 disbanding—when Arthur Mitchell was in charge—and continued during its rebirth under Virginia Johnson. Murphy served as a bridge between the old and the new.
But the new, she discovered, could be a grind: Beyond financial constraints, she found herself dancing on less-than-ideal stages—an awkward rake here, an unsprung floor there—during tours that moved quickly from one city to the next. Even so, Murphy wasn't searching for another job. It found her.
Now a member of The Washington Ballet, Murphy, 31, is expanding her horizons. When artistic director Septime Webre was looking for a new dancer, her name was recommended. He had seen her dance with DTH, and was a fan. “She's got a certain fierceness in her barre work and a softness in her upper body," he says. “I just love that combination of steely legwork and strong turns and technique and a really determined approach. She also has a beautiful look."
When Murphy couldn't attend the audition, Webre watched her take class at Steps on Broadway. She had brought along her boyfriend, Samuel Wilson, also a member of DTH, for moral support. Webre offered each a contract. “We didn't want to leave DTH on a bad note," Murphy says. “It was like our family. But it was just time, for me in particular, to try something new."
As the most experienced member of DTH, she'd reached a plateau. “I wasn't really growing anymore—they didn't need to pay attention to me as much because they knew I would work on things on my own. I felt like I'd become everybody's mom. That's not the role I really want to have yet. I'm not that old." She laughs. “I need to be in a setting where I'm more equal with other people."
Being in a union company doesn't hurt. But Murphy insists that her decision had less to do with money than new opportunities. “I want to do a full-length ballet one day and that's not going to happen in the near future at DTH," she explains. “I just felt like we were still transitioning. I want to be somewhere where I can just dance and not worry about all the other stuff."
Last year, DTH decreased its dancers from 18 to 14, a move that coincided with the dismissal or departure of seven dancers, including Murphy and Wilson. As a touring company, Johnson notes, a smaller roster “can mean the difference between getting an engagement and not."
Johnson calls it a temporary reduction, but realizes that it wasn't an ideal situation for Murphy, who she said deserved a chance to spread her wings. “This has been a really good year for DTH, but it's also a really challenging year," says Johnson. “At Ashley's time in her development as an artist, yes she does need to do different things. It was, of course, heartbreaking, but I think it's what she should do. I also knew that it was an opportunity for people here at DTH to not only have Ashley in front of them."
Still, Murphy was one of DTH's greatest assets. Offstage, the Louisiana-born dancer is something of a southern belle. As Johnson fondly recalls, “She was always 2,000 percent coordinated—hair, outfit, earrings. It's so gorgeous! She probably wakes up like that."
As unruffled as she appears, Murphy, who started with The Washington Ballet in August, says that her new job was rough at the beginning. “The caliber of dancer here is so high, I felt like I was a little bit behind," she admits. “You're trying to impress a new boss and look good in front of other dancers and feeling like you're being judged constantly because they're wondering why you got hired. And I think it all just comes from insecurity. It's gotten so much better."
With boyfriend Samuel Wilson (in gray tank) and Daniel Roberge.
For one, she and Wilson, who love living in Washington, DC—their apartment is a 10-minute bike ride from work—have found a strong circle of friends. Performing is what drives Murphy, and for her, life began to improve after the company presented its first program of the season. “A lot of people here perform in the studio, during rehearsal," she says. “They go 100 percent—smile and makeup and everything—and coming from DTH, I wasn't really used to that." She laughs. “I think when we got onstage, they were like, Wow, I've never seen you do that before." As she adjusts her technique to conform to Webre's taste, she is constantly working on her arms, which are a little too Balanchine, and her extension. “He loves a high leg," she adds with a laugh.
Her confidence, she now realizes, has long been an issue. While at DTH, she constantly found reasons not to audition for other companies. “There was something I felt I was lacking to even be considered in another company," she says. “When I got the offer from Septime, I was like, 'Are you sure?' When you stay somewhere for so long you feel like, This is where I belong."
But Webre is sure Murphy belongs at The Washington Ballet, where his aim, for years, has been to develop a more diverse company. In December, she danced the Snow Queen and Sugar Plum Fairy in The Nutcracker, and this month, she'll perform as a demi-soloist in Balanchine's Theme and Variations, as well as in a role in Webre's Carmina Burana. But while Murphy's African-American status is an obvious asset, Webre—who is actually leaving his post with the company when his contract is up this June—is first and foremost enamored by her onstage persona, which contrasts with her normally quiet demeanor.
Diversity is a complicated word for Murphy. At DTH, she says, it was eye-opening to be in a relationship with Wilson, the only white male in the company where he didn't have a chance of being cast in works documenting the African-American experience. “It's almost the opposite of what we go through in companies that are primarily white," she says. “I think when people are trying to do this diversity thing now, we have to figure out a way to include everyone. It's not trying to make a black company or a white company. Didn't we fight about this years ago? That's segregation."
At the same time, integration in the ballet world can't just be limited to dancers. “There need to be more African-American teachers and accompanists and artistic directors and ballet masters in companies that aren't DTH," Murphy adds. “When those things start to happen, you will have more dancers. Everything will fall into place."
It can be hard to focus when Alice Sheppard dances.
Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.
And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
When most people think of dance students, they imagine lithe children and teenagers waltzing around classrooms with their legs lifted to their ears. It doesn't often cross our minds that dance training can involve an older woman trying to build strength in her body to ward off balance issues, or a middle-aged man who didn't have the confidence to take a dance class as a boy for fear of bullying.
Anybody can begin to learn dance at any age. But it takes a particular type of teacher to share our art form with dancers who have few prospects beyond fun and fitness a few nights a week.
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).
José Greco popularized Spanish dance in 1950s and '60s America through his work onstage and on screen. Ensemble Español Spanish Dance Theater's American Spanish Dance & Music Festival is honoring the icon in recognition of what would have been his 100th birthday. As part of the tribute, Greco's three dancing children are reuniting to perform together for the first time since their father's death in 2000. Also on the program is the premiere of contemporary flamenco choreographer Carlos Rodriguez's Mar de Fuego (Sea of Fire). June 15–17, North Shore Center for the Performing Arts. ensembleespanol.org.
Dance Theatre of Harlem dancers Christopher McDaniel and Crystal Serrano were working on Nacho Duato's Coming Together in rehearsal when McDaniel's foot hit a slippery spot on the marley. As they attempted a swinging lift, both dancers went tumbling, injuring Serrano as they fell. She ended up being out for a week with a badly bruised knee.
"I immediately felt, This is my fault," says McDaniel. "I broke my friend."
What's on the minds of college students today?
I recently had the honor of adjudicating at the American College Dance Association's National College Dance Festival, along with choreographer Dana Tai Soon Burgess and former National Endowment for the Arts dance specialist Douglas C. Sonntag. We chose three winners—one for Outstanding Choreography and two for Outstanding Performance—from 30 pieces representing schools throughout the country. It was a great opportunity to see what college dance students are up to—from the issues they care about to the kinds movement they're interested in exploring.
Here were the biggest trends and takeaways:
It's summer festival season! If you're feeling overwhelmed by the dizzying array of offerings, never fear: We've combed through the usual suspects to highlight the shows we most want to catch.
Subscription box services have quickly gained a dedicated following among the fashion and fitness set. And while we'd never say no to a box with new jewelry or workout wear to try, we've been waiting for the subscription model to make its way to the dance world.
Enter barre + bag, a new service that sends a curated set of items to your door each season. Created by Faye Morrow Bell and her daughter Tyler, a student in the pre-professional ballet program at University of North Carolina School of the Arts, this just-launched service offers dance, lifestyle and wellness finds in four themed bags each year: Spring Performance, Summer Study, Back-to-Studio and Nutcracker. Since all the products are specifically made for dancers, everything barre + bag sends you is something you'll actually use, (Plus, it all comes in a bag instead of a box—because what dancer can ever have enough bags?).
barre + bag's Summer Collection