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How The Syncopated Ladies Found The Formula For Viral Success
In an unassuming industrial neighborhood east of downtown Los Angeles, five tap dancers are huddled in a bunker-turned-tap-studio. With concrete floors and a windowless, tunnel-like interior reminiscent of old London Tube stations, it feels like a place far below the earth.
Ciara's "Like a Boy" blasts through the speakers, and the dancers, dressed in camo and golden tap shoes, saunter into their positions facing the lights and camera, eyes focused forward, bodies vibrating with energy. "Wish we could switch up the roles," Ciara sings, and the Syncopated Ladies, led by choreographer Chloe Arnold, hit it—hard, again and again, as the cinematographer glides the camera along a track across the room, capturing their every move.
The Ladies are filming their latest video, the 15th in a series that have, by and large, gone viral. "The song is talking about switching roles," Arnold explains. "Walk a day in my shoes, and you'll have compassion and understanding for what it is to be a woman, battling oppressions on a daily basis. It's about breaking free, about not letting conditioning stop you."
It is the perfect song for this moment in history and for a company built on sisterhood, a philosophy that is not only articulated and danced about, but felt: Before filming begins, Arnold makes a point of warmly welcoming everyone to set (recalling everybody's name and role); the dancers get ready by chanting "Team work, dream work!" Despite the fact that the women perform the piece upwards of three dozen times full-out while shots are captured from various angles, nary a peep of complaint is heard. The joy and power they feel when they dance is infectious.
From left: Orialis Ashley, Assata Madison, Chloe Arnold, Anissa Lee, Maud Arnold. Photo by Cassandra Plavoukos
The Syncopated Ladies have been together for almost 15 years, but the company expanded its vision in 2012 after Arnold had saved money to invest in the group. Its formation, in fact, was born out of the realization that virtually all the celebrated tap dancers—Bill "Bojangles" Robinson, Gregory Hines, Savion Glover—were men.
"The irony," Arnold says, "is that I grew up dancing with women." It wasn't until she was 16 and studying with Debbie Allen—who has been her mentor ever since—that Arnold realized she, too, could be an artist. "She awakened my awareness that I could do this art form however I imagined. I didn't have to fit into a box to be successful."
In 2012, in collaboration with the other dancers—including her sister and company producer, Maud Arnold—the Ladies launched their first video, to Rihanna's "Where Have You Been." It garnered 70,000 views, which shocked them.
But it was a little nod from Beyoncé the following year that sent them into the stratosphere. The star shared their "End of Time" video on her Facebook page, with one simple declaration: "They killed it!" Much followed: appearances on "So You Think You Can Dance," a hair campaign for Cantu Beauty, an international tour and an invitation to perform at the 2016 Democratic National Convention.
Syncopated Ladies' videos celebrate strong and supremely talented women. Photo by Cassandra Plavoukos
It was the ideal helping hand for a company that is built on the principals of collaboration and support, but it didn't end there. When Beyoncé's "Formation" came out in 2016, Arnold knew that she had to choreograph to it. The end product not only features the company, but integrates footage of women from all over the world performing Arnold's steps. This time, Beyoncé showcased the dance on her website's homepage and her social media channels, and invited the Ladies to perform at a launch event for her clothing line, Ivy Park, at Topshop in London. "With the stroke of a button she provided a lane for women in tap to be heard," Arnold says.
Part of why these videos resonate so strongly is their message: "You, my sister, matter," Arnold explains. "Don't let anyone intimidate you." The Ciara piece, in particular, explores the complexity of gender roles—something most women can connect to. "We aren't limited to being girly. We are tough, but our toughness is not something that has to turn people off and doesn't have to be stigmatized as bad."
But the other appeal is purely aesthetic: These women can really dance. They've all been trained in multiple genres, and that comes through in their tapping.
Passion, vigor, energy. Photo by Cassandra Plavoukos
"Their passion and vigor and energy is undeniable," says video director Becca Nelson, who has been collaborating with the company on visual content for the past couple of years. "They're able to get it into the lens and out to people." She also emphasizes that they're working an untapped market incredibly skillfully—tapping to popular, recognizable music. It feels familiar to audiences, while introducing an art form they might not otherwise be drawn to.
The Ladies are currently in the studio composing original music and collaborating with other artists. And later this year, they plan to take their concert, Syncopated Ladies: Live, back on the road for U.S. and international tours.
But Arnold has an even grander vision for the company. She is determined to provide opportunities for girls around the world to tap, to lift up women the way others, like Debbie Allen and Beyoncé, have done for her. "We want to be leaders in how tap is seen and received. We want to teach girls to have their own voices. To be themselves. To not be afraid."
Coming up next: Original music, international tour and inspiration for girls around the world. Photo by Cassandra Plavoukos
Season 2 of World of Dance is almost here! The new season officially kicks off on Tuesday on NBC, and it's bringing a whole new crew of talented dancers with it (plus, some old favorites). Dance pro judges Jennifer Lopez, Derek Hough and Ne-Yo are back, too, with Jenna Dewan serving as the show's host.
Obviously we'll be watching, but just in case you're not completely sold, here's why you're not going to want to miss out:
JLo Might Be Performing
Earlier this week, JLo (who serves as the show's executive producer) posted this insane promo clip to her Instagram. Dancing to a mashup of Cardi B's "Bodak Yellow" and her new single "Dinero," JLo reminded us all of her dance skills while also leading us to believe she might just hit the stage herself for a performance.
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."
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
Considering we practically live in our dance clothes, there's really no such thing as having too many leotards, tights or leggings (no matter what our mom or friends say!). That's why we treat every sale as an opportunity to stock up. And thanks to the holiday weekend, you can shop all of your dancewear go-tos or try something totally new for as much as 50% less than the usual price.
Here are the eight sales we're most excited about—from online options to in-store retailers that will help you find the perfect fit. Happy Memorial Day (and shopping)!
Now through Monday, Danskin's site will automatically take 25% off your entire purchase at checkout. Even new items like their Pintuck Detail Floral Print Sports Bra and Pintuck Detail Legging (pictured here) are fair game.
"The sun may be shining brightly, but we are not in a very sunny mood today!" said New York State assemblywoman Linda Rosenthal during yesterday's rally for the Artists of Ailey.
The dancers and stage crew are demanding increased wages and more comprehensive benefits, what they have termed "reaching for the standard" and "fair wages."
Pain is an inevitable part of a dancing life and dancers have a high tolerance for it, according to Sean Gallagher, a New York physical therapist whose practice includes many professional performers. "So when dancers complain, it really means something," he says.
But women and men experience pain differently, and tend to be treated for it differently as well. Female dancers need to understand those differences before they go to a doctor, so they can make sure they get treated promptly and effectively.
Rebecca Warthen was on a year-long assignment with the Peace Corps in Dominica last fall when a storm started brewing. A former dancer with North Carolina Dance Theatre (now Charlotte Ballet) and Columbia City Ballet, she'd been sent to the Caribbean island nation to teach ballet at the Dominica Institute of the Arts and in outreach classes at public schools.
But nine and a half months into her assignment, a tropical storm grew into what would become Hurricane Maria—the worst national disaster in Dominica's history.
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.