"Don't Miss It" features dancer Teddy Tedholm in a video that simulates editing glitches to heighten musicality.
After joining the Paul Taylor Dance Company in 2010, Michael Novak quickly became a critic's favorite for his quiet power onstage. But no one was more surprised than Novak when Taylor tapped him to be his successor last year, three months before the legendary choreographer died. Dance Magazine recently caught up with Novak during the company's appearances at the Orchestra of St. Luke's Bach Festival.
Florian Lochner and Alice Klock met while dancing with Hubbard Street Dance Chicago. They quickly became best friends and roommates, and in 2017 started a company called Flock. Together they create and perform their own work, teach as a team, create new pieces on schools and companies, and produce their own shows in the U.S. and abroad. Dance Magazine recently followed Alice and Florian for a day as part of our "Behind the Curtain" web series.
FLOCK | Behind the Curtain | Dance Magazine www.youtube.com
In a sun-soaked studio in Manhattan, members of the Martha Graham Dance Company (all women) lie on the floor with their feet and heads hovering off the ground. Choreographer Bobbi Jene Smith encourages the dancers to be unapologetic about being looked at as their bodies begin to tremble with exhaustion and they move into a new formation.
Jennifer Garner wants the world to know that she takes game day seriously—and she's not talking about football. For ballet dancers during December, there's obviously only one type of "game day." Nutcracker, of course.
Garner is a highly documented ballet lover, and, this time, she went the extra mile to show her dedication. Thankfully, she was on hand as American Ballet Theatre warmed up for its current Nutcracker run at the Segerstrom Center for the Arts in Costa Mesa, California.
"Go Figure" is a dance anthem shot all across India. With music by SHIVA featuring Kira, the video supports children in need of food, shelter, healthcare, and education. Proceeds go towards building communities and empowering the dreams of these children.
Director/Videographer: Montana Monardes
Producer: Chris Lane
Choreography: Montana Monardes, Kira Stevens, Erin Musselman
Don't forget to enter your video for a chance to win our December contest!
As all bunheads know, there's so much more to dancing on pointe than sewing and bourées. In this new video, The Australian Ballet lays it all out for us, from A-Z. Or rather from "Arch" to "Zzzzzz's." Using a super fast-paced style, this four-and-a-half minute long video skips back and forth between ultra-sleek minimalism and sepia-toned nostalgia. Both educational and insider-y (see "cashews" at 0:54), this video includes some gorgeous shots (Apollo-inspired arabesques at 2:00) interspersed with quirky humor (note adorable pointe shoe bed at 3:53).
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As all bunheads know, there's so much more to dancing on pointe than sewing and bourées. In this new video, The Australian Ballet lays it all out for us, from A-Z. Or rather from "Arch" to "Zzzzzz's." Using a super fast-paced style, this four-and-a-half minute long video skips back and forth between ultra-sleek minimalism and sepia-toned nostalgia. Both educational and insider-y (see "cashews" at 0:54), this video includes some gorgeous shots (Apollo-inspired arabesques at 2:00) interspersed with quirky humor (note adorable pointe shoe bed at 3:53).
Choreography & Creative Direction by Zoe Rappaport
Dancers: Zen Waterford & Micah Moch
Director of Photography: Sam Gostnell
Music: "Unspoken Words" by The Soil
Filmed at LA Center Studios
The Studio School
Los Angeles, CA
Don't forget to enter your video for a chance to win our November contest!
At our cover shoot for the November issue, Bobbi Jene Smith curated one of the best lineups of YouTube music videos that I've heard in a long time. From Bob Dylan to Tom Waits, they felt like such perfect choices for her earthy, visceral movement and soulful approach to dance.
Some of my favorite experiences as both an audience member and a dancer have involved audience participation. Artists who cleverly use participatory moments can make bold statements about the boundaries between performer and spectator, onstage and off. And the challenge to be more than a passive viewer can redefine an audience's relationship to what they're watching. But all the experiences I've loved have had something in common: They've given audiences a choice.
A few weeks back, I had a starkly different experience—one that has caused me to think deeply about how consent should play into audience-performer relationships.
What do Johann Sebastian Bach and Leonard Bernstein have in common? Not much, save perhaps an enthusiasm for counterpoint and a propensity for pushing the envelope. That, and they've both attracted the interest of Anne Teresa de Keersmaeker, the Belgian choreographer who has always thought of music as her primary partner.
Next week, New York audiences will experience her latest work to Bach, The Six Brandenburg Concertos, at the expansive Park Avenue Armory, featuring a multi-generational cast of 16 dancers plus baroque music ensemble B'Rock.
But next year will bring a far more unexpected project for de Keersmaeker: The Broadway revival of West Side Story, which she will be choreographing alongside Ivo van Hove as director. What sold the contemporary giant on taking on a show so far outside her typical oeuvre? The music, of course.
A person's walk is like a fingerprint, according to four Paul Taylor dancers who are stepping on without their beloved choreographer. Taylor died August 29, passing the legacy of Paul Taylor American Modern Dance to Michael Novak, the second artistic director in the company's history.
"Human movement never lies," says Novak, who sometimes slipped into present tense when describing his mentor. "For auditions, Paul makes dancers walk across the floor in rhythm. The first time I auditioned, I didn't get the job. I was terrified, but now that I'm on the other side of the audition process, 'the walk' is telling."
"When you're doing the walk, it's nerve-racking and hard to know the value," explains Eran Bugge, who recently celebrated her 13th anniversary with the company. "Now I know that it's totally revealing. You can see a person's control to be human and dancerly at the same time. Sometimes you can see weird coordinations, but Paul liked that."
Sore arches may be one of the peskiest pain spots dancers deal with. This small area on the bottom of your feet may seem minor, but it actually does a lot of work: Your arches are what allow your feet to support the weight of your entire body.
While any sharp, unbearable pain should always be checked out by a doctor, a dull ache after a particularly long rehearsal can usually be alleviated by giving your feet the extra care they need. Here, two podiatrists weigh in on what causes arch pain and how you can manage it.
Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
I love being transgender. It's an important part of the story of why I choreograph. Although I loved dance from a very young age, I grew up never seeing a single person like me in dance. So how could I imagine a future for myself there?
The enormous barriers I had to overcome weren't internal: I didn't struggle with feelings of dysphoria, and I wasn't locked down by shame.
"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"
Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.
Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.
Who are you when you no longer do what you've been doing for years?
It is the big question facing anyone who retires. For top ballet dancers, however, the situation is more extreme. They start young, grow up in a rarified atmosphere, mostly see only each other, and become more and more removed from ordinary life. So what is it like to give this all up?
I asked seven former principal dancers from different generations at San Francisco Ballet, including myself, about this challenge.
When we heard rumors earlier this summer that World Ballet Day LIVE might get cancelled this year, we thought our hearts might break.
But we needn't have worried! The happy news came out yesterday that our favorite day of the year is back: World Ballet Day LIVE 2017 is officially scheduled for October 5. Clear your calendar for a serious bunhead binge of live behind-the-scenes footage from the Australian Ballet, Bolshoi Ballet, Royal Ballet, National Ballet of Canada and San Francisco Ballet—plus special video broadcasts from other top companies.
The news got the Dance Magazine staff all nostalgic. We started reminiscing about our favorite highlights from past World Ballet Day LIVE events. Our top picks?
It's no secret that Broadway dancers need to be incredibly versatile. In addition to having singing and acting chops, they need to be well-versed in a wide range of dance styles.
Knowing all this is one thing. But seeing it in action is another. BroadwayBox.com's Dancing Through My Resume series asks Broadway dancers to give a visual demonstration of their career, performing segments from all the shows they've been in. The result is a fast-paced tour of some of the best dancing on Broadway, past and present. Their newest video features Paloma Garcia-Lee, who's currently dancing Joshua Bergasse's choreography in Charlie and the Chocolate Factory:
