How do you turn writing into a dance? How do you mine your own trauma without re-experiencing it? Dance Magazine talked to Dorsey and two other choreographers making biographical and memoiristic work to hear about their unique processes
Remembering award-winning dancer, director, choreographer and teacher Chet Walker, an expert in the work of Bob Fosse.
The college dance scene can be a great resource for early-career choreographers looking to dip their toes into teaching or make new work on students, as it usually comes with a flexible schedule and considerable artistic freedom.
Generating feedback that feels aligned with the goals of your work can be a challenge—as can knowing what to do with that information once you get it.
How much should you personalize the audition material, imbue it with a sense of who you are, express? After all, isn’t that exactly what art asks of artists?
My recent book, Shifting Cultural Power: Questions and Case Studies in Performance, imagines equity-based models in dance that decenter whiteness.
Getting commissioned to create a brand-new piece sounds like a dream to most freelance choreographers. You get to work with talented dancers, in studio space you don’t have to reserve yourself, sometimes with carte blanche regarding choreographic themes, music and even cast size. But, at least in concert dance, these gigs typically operate on a […]
An artistic residency sounds like a dream: You get concentrated time and space to work on your choreography, often with artists of other disciplines to serve as collaborators or encourage new modes of thinking, usually within an idyllic and distraction-free setting. It’s no surprise, then, that the application process can be competitive and daunting. Do […]