News
ODC/Dance's Mia J. Chong is one of the recipients of this year's Princess Grace Awards for Dance. Photo by RJ Muna, Courtesy Mona Baroudi PR

Here are the latest promotions, appointments and transfers, plus notable awards and accomplishments from the last month.

Keep reading... Show less
News
Barak Marshall's Monger, which appears at the Walking Distance Dance Festival this month. Photo by Rose Eichenbaum, Courtesy John Hill PR

A Broadway luminary and a postmodern darling bring their talents to ballet, a music video maven turns to the concert stage, and a contemporary choreographer gets soulful with Aretha Franklin. Our editors' must-sees this May are all about the unexpected.

Keep reading... Show less
Career Advice
Mia J. Chong found her place in ODC/Dance through understudying. PC Andrew Weeks Photography, Courtesy ODC/Dance

You might feel like the second choice when you look at the casting sheet, but understudies are necessary, valued team members who are regularly called off the bench to perform—even with very little prep time. "It is like the ultimate trust exercise with your director," says Mia J. Chong, who understudied many roles in ODC/Dance's The Velveteen Rabbit as an apprentice before becoming a company dancer this year. "Often, you do a lot of the homework on your own to make sure you can produce a quality performance, even if you don't have the chance to demonstrate it right away."

Here's what to expect when you're learning from the back of the room and—when you're needed—how to step into the part with confidence.

Keep reading... Show less
Ballet Hispanico's Jenna Marie Graves. Photo by Paula Lobo, Courtesy Michelle Tabnick Communications

One choreographer wants to explore ideas through improvisation; another demands quick pickup of specific steps. One might demonstrate ideas physically; another may rely on language and gestures imbued with feeling. Puzzling out how to thrive in ever-changing creative environments is an ongoing practice, but a little preparation and the right mindset can go a long way.

Yusha-Marie Sorzano. Photo by Chris Cameron

Demote Inner Critics

Moving past internal expectations and fantasies of instant perfection expands your ability to participate in generating work. "It's okay if you don't get it at first," says Yusha-Marie Sorzano, who dances with Camille A. Brown. Repeating phrases over time, or even getting some distance from them, can help material start to feel natural, Sorzano says. Letting go of expectations can take some anxiety out of the learning experience.

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox