It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
Maria Kochetkova knows you can't have everything. So the international ballet star is prioritizing one thing: Freedom.
"The perfect company doesn't exist," she says. "For me, it is most important to have freedom as an artist. Our career is so short and I want to have opportunities that exist outside of companies. I want to know and learn everything about my craft from classical to contemporary."
New York City Ballet's Nutcracker has been performed every year since 1954. Photo by Paul Kolnik, via nycb.com
Love it or hate it, come December, The Nutcracker is ubiquitous. It's easy to wonder whether it's sustainable to keep performing the same holiday classic year after year, or to spend millions of dollars reinventing it for new productions. But believe it or not, the show's popularity is only growing.
Every year, Dance/USA conducts a Nutcracker Survey on its member companies, compiling data about ticket sales, attendance and more. The organization just reported on the state of the Nutcracker for the first time since 2008, and the data shows just how much the ballet's prevalence has grown in the past 10 years—and how much companies have come to rely on it as a revenue source:
Ballet Austin's corps in Snow Scene. Photo by Anne Marie Bloodgood, courtesy Ballet Austin.
Few people who are busier during the holidays than corps members of American ballet companies. December is officially Nutcracker season—a company's chance to earn a huge chunk of their revenue for the year, and a dancer's chance to go a little, ahem, nuts, waltzing and swallowing fake snow night after night for weeks on end.
But Nutcracker can also be an opportunity like no other, and for some corps members, it's the highlight of their year. Five dancers told us what helps them get through it all.
Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
SFB corps de ballet dancer Miranda Silveira in Athleta. Photo Courtesy Athleta.
Just in time for Nutcracker season (and the cold weather that has us layering on our coziest warmups), fitness brand Athleta teamed up with San Francisco Ballet for their first Athleta Dance collection. Available beginning November 27, the capsule collection will include designs in women's and girl's sizes inspired by and created in collaboration with the dancers of SFB.
Of course, this isn't the first time a major athletic wear brand has teamed up with professional ballerinas. Under Armour has now launched two collections with American Ballet Theatre principal Misty Copeland, and most recently, Royal Ballet principal Francesca Hayward created limited-edition designs with Lululemon.
SFB's Miranda Silveira in the Athleta Dance En Pointe leotard, $79, available in black.
Whoever told Emma Portner not to move to NYC probably feels silly now. Photo by Quinn Wharton
Raise your hand if you've received bad advice from well-meaning friends or family (or strangers, tbh) who don't know anything about what it really takes to be a dancer.
*everyone raises hands*
Sometimes it's even dance insiders whose advice can send you down the wrong path. We've been asking pros about the worst advice they've ever received in our "Spotlight" Q&A series, and rounded up some of the best answers:
Xenos, Akram Khan's final full-length solo, is an ode to the soldiers of World War I. Photo by Nicol Vizioli, Courtesy Sadler's Wells
We might have gotten a little bit carried away with this year's "Season Preview"—but with the 2018–19 season packing so many buzzy shows, how could we not? Here are over two dozen tours, premieres and revivals that have us drooling.
Natasha Sheehan is a perfectionist when it comes to her technique or getting the ideal shot of her food. Photo by Quinn Wharton
"Whatever I'm into, whether it's ballet or healthy food," says Natasha Sheehan, "I'll research anything and everything about it."
That curiosity has led the San Francisco Ballet corps member, 19, to develop a sideline as an Instagram foodie star and food blogger. Sheehan shares recipes and photos of her beautifully styled meals, along with behind-the-scenes ballet insights, with her more than 44,000 followers.
Dorrance Dance, a Fall for Dance favorite, will have their largest solo engagement to date. PC Julieta Cervantes
New York City Center just announced programming for the 2018-19 season, and we're frantically marking our calendars for all the must-see dance. This year is the venue's 75th anniversary, and they're pulling out all the stops—from the reliable fan favorite Fall for Dance to the most epic Balanchine celebration and more:
Arthur Pita speaking during a discussion on ballet and technology. Photo by Chris Hardy, courtesy SFB
The first week of San Francisco Ballet's Unbound: A Festival of New Works was all about new ballets, with 12 world premieres by the likes of Justin Peck, Dwight Rhoden and Annabelle Lopez Ochoa. The second weekend provided time to reflect, as artists and influencers gathered for "Boundless: A Symposium on Ballet's Future."
Cathy Marston is one of a dozen choreographers premiering a new work for San Francisco Ballet during the festival. Photo by Erik Tomasson, Courtesy SFB
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"
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.