When Joffrey Ballet dancer Rory Hohenstein first created an Instagram account, the choice to make it private was merely incidental. This was before the platform became such a powerful tool for self-promotion in the dance world, and he was concerned about strangers having an inside look at his life and younger dancers seeing him use the occasional curse word.
Years later, he still hasn't gone public, and has come to value Instagram as a place where he can stay in touch with friends and family or relive favorite memories, not as a tool to advance his career.
Though social media has become a powerful way for dancers and choreographers to connect with audiences, land gigs and promote their work, not everyone is taking part.
Glenn Kotche of Wilco created and performed the score for Danielle Agami's calling glenn. Photo by Cheryl Mann, courtesy Ate9
Balanchine and Stravinsky. Cunningham and Cage. Graham and Copland. Twentieth-century dance was dotted with memorable partnerships between musicians and choreographers that wrought magical, full-bodied, brilliant works.
Today's composer-dancemaker duos, though, have gone in a decidedly different direction. In ever-growing numbers, mainstream musicians are this century's dance collaborators. Sufjan Stevens has aligned himself with New York City Ballet's Justin Peck; Bon Iver's brought his signature indie folk to Minnesota contemporary troupe TU Dance; and even Sia's getting in on the act, working with Akram Khan on a dance theater piece premiering this summer.
What is it that's drawing pop artists to the dance floor?
Danielle Agami in residency at The Center for Ballet and the Arts.
Los Angeles-based choreographer Danielle Agami is taking on a new role in New York City: performer. While her company Ate9 is on a "vacation," she is in residency at The Center for Ballet and the Arts at New York University.
We sat down with Agami to discuss creating her first solo titled framed, which she will perform May 6 at the NYU Tisch School of the Arts, and why she is excited to get back to her company.
To create great work, choreographers need the freedom to tackle difficult subjects and push physical limits. But when your instruments are human beings, is there a limit to how far you should go? Five choreographers open up about where they draw the line.