Trey McIntyre Project's farewell performance at Jacob's Pillow. Photo by Christopher Duggan.
"The art was telling me that things had to change. And they had to change big. Something I created needed to die off. When the company was at its height, when it was at its most successful, I closed it down."
These puzzling words are spoken by choreographer Trey McIntyre in Gravity Hero, his new documentary, which unpacks the rise and fall of his wildly successful dance company, Trey McIntyre Project. When he disbanded the troupe in 2014, the dance world couldn't quite wrap their heads around it. Why stop when you're touring 22 weeks a year? Why stop when you've done the seemingly impossible by creating a thriving company in the dance desert of Boise, Idaho?
Photo by Jeff Eason, courtesy of Dance Films Association
At the Dance on Camera Kickoff Gala on July 16, Dance Films Association honored two beloved dance artists from different generations: Jacques d'Amboise and Trey McIntyre.
After a composite of d'Amboise's charismatic dancing was shown, Jacques regaled us with stories. He didn't talk about dancing for Mr. B, he didn't talk about his dazzling turns in the movie Carousel, or how dashing he looked in the emerald green shirt in Seven Brides for Seven Brothers. He talked about Tanaquil Le Clercq in Jerome Robbins' Afternoon of a Faun (1953)—a tiny clip of it was in the montage that DFA showed in tribute to him. Apparently both Jacques and Tanny thought the other had gotten permission from Robbins to make a film about Afternoon of a Faun in Toronto, but they hadn't. Jerry was furious when he found out about it. And then…Tanny came down with polio. And Robbins was soooo happy to have a bit of her gorgeousness on film. When Jacques gives her that slow kiss, which she accepts with a glowing stillness, a moment froze in time.
92Y Harkness Dance Center is hosting the first festival dedicated to dance films captured on mobile devices. Photo by Adam Grannick, Courtesy 92Y
Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.
Here's everything you need to know about how to submit:
Enter to win Dance Magazine's Video of the Month. We welcome any and all kinds of dance. You can submit as many different videos as you would like. Just keep each under five minutes long. The winner, chosen by Dance Magazine editors, will be featured in a future issue and on Dance Magazine's social media channels and dancemagazine.com.