Dancer/choreographer Ephrat "Bounce" Asherie's background is a melting pot of cultures from all over the world—which you can vividly see reflected in her work. But the recent Harkness Promise Awardee attributes the cross-pollination of genres in her work to more than just her background.
Choreographer Loni Landon is no stranger to the enticing power of social media. Instagram, for example, makes it very easy for Landon to connect with other artists. "I feel torn about it," says Landon. "On one hand, I think it can be used in a really positive way. I have received so many jobs through connecting with people on social media. But I do think sometimes people are on it for the wrong reasons and it becomes a popularity contest."
Choreographer Sidra Bell, Photo courtesy David Flores Productions
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.
Lar Lubovitch Dance Company performing Men's Stories. PC Steven Schreiber
Since starting his company in 1968, Lar Lubovitch has stood at the forefront of modern dance—although he is hesitant to label his work as "modern."
"I've always felt I've been making dances," he says. "I've always called them dances and I've never been one to exclude any language of movement. When I'm making a dance it's sort of an essay of all the movement I have in my body of all the dance I've studied."
After 50 years of creating dances, his work is still as technical and humanistic as ever.
John Heginbotham never walks into rehearsal unprepared. Photo by Janelle Jones, courtesy the Watermill Center
Back in 2012, after 14 years dancing with Mark Morris Dance Group, choreographer John Heginbotham ventured out on his own. Don't think of it as going solo, though.
Almost from the outset, Heginbotham has embarked on a series of fruitful collaborations with other artists, via his namesake company, Dance Heginbotham, and through a stream of independent projects. His creative partners have covered a range of talents and genres: illustrator Maira Kalman (in 2017's The Principles of Uncertainty), opera director Peter Sellars (for Girls of the Golden West, which debuted at San Francisco Opera in November), and contemporary-music luminaries such as Tyondai Braxton and Alarm Will Sound.
Here's What He Has To Say: About starting his company, his rehearsal process and why he's drawn to creative mash-ups.
Gaga teacher Amy Morrow says investigative styles can help any dancer. PC Ascaf Avraham
In today's dance world, it seems to go without saying: The more varied the training, the better. But is that always the case? Rhonda Malkin, a New York City–based dance coach who performed with the Radio City Rockettes, thinks trendy contemporary techniques that emphasize improvisation and organic movement quality are detrimental to the precision and strength needed to be a Rockette, in a traditional Broadway show or on a professional dance team. Her view is controversial: "If you really want to work, making $40,000 in three months for the Rockettes or $25,000 in one day filming a commercial, you need ballet, Broadway jazz, tap, hip hop—not contemporary," she says.
On the flip side, techniques that allow dancers more freedom may help them connect more deeply with their body and artistry, while providing release for overused muscles. We broke down the argument for both sides:
What is "dance theater"?Is it Pina Bausch's raw examinations of everyday life? Is it performance that mixes movement and text? Is it dance that tells a story? Dance Magazine talked with four choreographers who use elements of dance and theater—but whose work escapes easy categorization—about playing with narrative, integrating movement and words, and what "dance theater" means to them.
Dance theater, to me personally, means that there's no hierarchy of materials you can use to make a piece. Movement is not more important; text and narrative aren't more important. I feel this complete free range as I try to express something, to use a whole variety of theatrical elements, like relationship, cause and effect, clothes, dance, singing, talking, found text, plays, literature—this cornucopia of theatrical possibilities.