I come from a lineage of survivors: African Americans who endured the brutality of slavery, Native Americans who survived forced genocidal migration, and my Jewish grandmother who escaped the Holocaust. My ancestors' enduring spirits live inside of me, giving me an indelible foundation of strength and compassion.
On the bookshelves my mom filled in our one-bedroom apartment in inner-city Washington, DC, sat a book called To Be Young, Gifted and Black, written by Lorraine Hansberry. Those words were aspirational, and empowered me to imagine a place beyond our limited conditions.
A panel at Youth America Grand Prix. Photo by Rachel Papo for Pointe
At competitions, the people who are scoring you can be the biggest industry leaders in the room. But is there a way to network with them with these judges? Three top competition judges share their advice on how to do it in the most strategic way—and the pet peeves that turn them off.
Mandy Moore at the 2017 Creative Arts Emmy Awards, during which she took home her first Emmy. Photo courtesy Inline/AP
Every year, as soon as the Emmy Award nominations are announced, the first thing I do is scroll down (way, way, way down) to find the nominees for Best Choreography. Last week's announcement was no different, and it was a delightful surprise to see tap queen Chloe Arnold become a first-time nominee for her work on "The Late Late Show With James Corden." Alongside Arnold, Mandy Moore, Travis Wall, Al Blackstone and Christopher Scott received nominations for their dances on awards heavy-hitter "So You Think You Can Dance." (Shout-out to Blackstone for his first Emmy nod!)
I do, however, have a bone to pick with the Emmys. Namely, that the routines for which these choreographers were nominated do not appear on the nominations section of the site. Worse, not even the episodes in which the Emmy-nominated dances appear are listed.
The Syncopated Ladies on the set of their latest viral video. Photo by Cassandra Plavoukos
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.