Taking Off

Kyle Abrahams's Pavement, PC Steven Schreiber

However you define “emerging," it takes longer to get there than you'd think. The six dance artists here have made ripples in certain circles. They are now on the cusp of making waves in the larger dance world.

Kyle Abraham
New York City

In high school, before he ever took a formal dance class, Kyle Abraham was a regular on the rave scene in his hometown of Pittsburgh. When he wasn't practicing cello or taking visual art classes, he went clubbing.

“My friends and I would be the only people dancing all night," recalls the 33-year-old Abraham, artistic director of Abraham.In.Motion, the New York–based company he launched in 2006. “People thought that doing drugs was how you would stay dancing. But we never touched the drugs. The key was to use the music as a drug."

Those nights of losing himself on the dance floor—combined with his conservatory education at SUNY Purchase and stints dancing for choreographers like David Dorfman and Bill T. Jones—have given Abraham his unique choreographic touch. In works like his Bessie Award–winning The Radio Show (2010) and his in-progress Live! The Realest MC, he delivers as much pure pleasure as emotional complexity, whether delving into themes of gender, racial identity, and community, or letting his dancers just dance.

While Abraham's movement palette ranges from Cunningham to capoeira, his work, thematically, remains rooted in home. “Almost everything I make refers to my life growing up in Pittsburgh," he says. , his first evening-length piece, examines the loss of two voices from his childhood: his father's, due to Alzheimer's and aphasia; and his community's, with the recent shutting down of WAMO 106.7, a much-loved Pittsburgh radio station. The results are both nostalgic and bracingly current, at times surging with the pulse of popular culture, at others zeroing in on an individual's rich inner life.

Music continues to be a stimulant for Abraham, who was a 2009 “25 to Watch," and his musicality intoxicating for audiences. He can ride the subtle undercurrents of any song—be it hip hop, indie, classical, or soul—bringing buried rhythms to the surface in swaths of luscious yet intricate movement. His commentary on hip hop culture produces some of the funniest, most astute moments in his work. In The Radio Show, he parodies rap lyrics like “shorty," “in da club," and “sippin' Patrón." In Live! he does a solo to the voice of an instructional video on how to do a hip roll. “Make it real smooth," the instructor says. Irony aside, Abraham couldn't look smoother.

As for the term “emerging," which can be an ego-bruiser for some, Abraham welcomes it. “I'm always striving to get to some new plateau," he says. “If you've arrived, where are you gonna go next? I want everyone to know what we're doing. Until our message has reached every single person in the world, I'm still emerging."

Current projects: June 5–6, Abraham presents a new work, currently titled The Quiet Dance, at The Joyce. Live! The Realest MC, commissioned by The Kitchen, premieres in December. “In some ways it's a Pinocchio story, about this character's quest to be a real boy," Abraham says. “He thinks being this hip hop MC will make people respect him." —Siobhan Burke

Photo by Steven Schreiber, Courtesy Danspace

Rosie Herrera
Miami, Florida

It's fitting that Rosie Herrera tosses such diverse life into her dance theater, given all the scenarios the world has tossed onto her lap. From Little Havana feather-and-sequin follies to the dramatics of Latino wakes, her life experiences have flowered into art. “I try to work along those themes that hit me in the gut," says Herrera.

Her most recent work, Dining Alone, explores issues of aging in part by conjuring up the solitary diners she spied on as a kid at her dad's Spanish restaurant in Miami. The 28-year-old Cuban American is both a way-out show-woman and hard-nosed cultural detective. Her gravest concerns can stir up a laugh riot while her pop soundtracks send audiences down the breeziest highways, with irony riding shotgun.

“Humor is a powerful weapon," Herrera attests. “Laughter puts you right in your body. But where you go from there as an artist is a huge responsibility."

In Herrera's 2009 breakout piece, Various Stages of Drowning: A Cabaret, titters were never far from tremors. Right off, a slick fellow doused his tableside companion with a hose to her face. At the end, a film showed the aquatic dance of survivors jostled off a lifeboat.

And in last year's Pity Party, co-commissioned by the American Dance Festival, Herrera continued cutting from both satin and sackcloth. From a nightclub setting, a Barbie-doll burlesque, and assaults on a piñata, she wrung the essence of grieving. And, in the process, she came to identify the death of Pina Bausch as an acute personal loss. “If Pina Bausch and Michael Jackson had had a baby, it would have been me!" quips Herrera. Then she adds in a muted tone: “When I first saw Pina's company, I didn't just wish I could do that but thought, That's me up there!" True to her role model, the young choreographer says, “The most important artistic element for me is the atmosphere I've created."

Whirlwind recognition, with appearances two years in a row at ADF, feels vindicating for Herrera. She notes how she “came in through the back door" to earn a BFA from New World School of the Arts while waving cred from the trenches of cabaret and hip hop. Still, she must now meet evolving challenges. “In building a company," she says, “balancing personalities is as important as the dancing. Dancers sometimes expect a choreographer to be their god." No easy job, but worth every sacrifice to Herrera, who insists, “It's all for the magic."

Next project: Herrera will return to ADF this summer with Dining Alone, to participate in honoring Charles Reinhart upon his retirement as festival director. She will be among ADF favorites Eiko & Koma, Bill T. Jones, and the Paul Taylor Dance Company. —Guillermo Perez

Photo by Sara D. Davis, Courtesy ADF

Justin Peck
New York City

Justin Peck is blessed with a geometric mind: He can conjure formations that shift and click into place with kaleidoscopic logic. But he's a dancer's choreographer, too. In Tales of a Chinese Zodiac, which he made for the New York Choreographic Institute's 2010 summer session, Peck manages to show off every one of his 13 cast members, even as he weaves them into knotty patterns.

Though the New York City Ballet corps member has made just four pieces—the very definition of “emerging"—his gently witty, musically sensitive ballets have already created a buzz. What inspires Peck's neoclassical works? He cites what he calls the “obvious" influences for an NYCB dancer—Balanchine and Robbins—and he also admires Jirí Kylián's calligraphic style. But most of all, “I'm a firm believer that dance is inspired by music," Peck says. “My choreography comes from sound. It's a fun puzzle: How can I use dance to expose the layering and the undertones in the music?"

Peck, who's a part-time student at Columbia University, made his first piece in 2009 for the then–brand-new Columbia Ballet Collaborative. “Choreographing was something that had been in the back of my mind for a while, especially once I was dancing professionally and working with a lot of great choreographers," he says. “CBC offered a great venue and good dancers, so it seemed like the right place to take the plunge."

Shortly thereafter, he was invited to make a ballet for the fall 2009 session of the New York Choreographic Institute—and his choreographic career “took off from there."

At the moment, Peck's biggest challenge is finding the time to make new work. “I'm still dancing with NYCB, and that's more than a full-time occupation," he says. He was especially frustrated last spring, when he had to turn down London's Royal Ballet School when they asked him to make a piece for their end-of-year performance. “It would have been onstage at the Royal Opera House," he says, sighing. “But my first commitment was to NYCB, and we couldn't figure out a schedule that worked."

Never fear: Peck, 23, got a nice big bite from the choreography bug, and plans to continue to make ballets as often as he can—ideally, for NYCB itself. “There's no other company in the world like this one," he says. “My colleagues are incredibly quick and smart and passionate about the creation of new work."

Next projects: Peck will create works for two summer festivals: the Saratoga ArtsFest at Skidmore College, and the Nantucket Atheneum Dance Festival, headed by NYCB principal Benjamin Millepied. —Margaret Fuhrer

Photo by Rosalie O'Connor, Courtesy NYCB

Kate Corby
Madison, Wisconsin

Kate Corby, 32, invokes Merce Cunningham when asked how music fits into her creative process. “Sound always comes later for me," she says. “It's more like the piece's weather." She pauses before adding a firmer declaration. “Dance offers so much more than the interpretation of a musical score."

Recent works like Go do recall Merce's unpredictable structures, but the skeleton key is theater, with which Corby was involved long before dance entered the picture. Rapid-fire timing and complex exchanges give her ensemble works the zing of a screenplay by Aaron Sorkin.

As a sophomore at Beloit College near her suburban Chicago home, Corby “stumbled into a jazz class, of all things. I was hooked," she remembers. She dumped theater for dance and spent summers at the American Dance Festival assisting co-directors Charles and Stephanie Reinhart. “I helped plan a dinner for Eiko & Koma, did Twyla Tharp's laundry for a week," she recalls with a laugh. In the Reinharts' home, Corby also crossed paths with Pina Bausch, whose deeply psychological tanztheater and “question technique" endure as touchstones. The influence is most keenly felt in Corby's portrayals of community: Staunch individuals share space with Teutonic frankness, their rituals left unadorned.

With a master's degree from the University of Illinois at Champaign-Urbana, where Renée Wadleigh and Tere O'Connor “blew my mind open," she says, Corby finds that an academic environment best suits her needs as an artist. She founded her company, Kate Corby & Dancers, during a five-year stint as an independent dancer/choreographer in San Francisco, but academia is “a better place for me," she says. “I feel supported and excited and stimulated." Since 2008, she's been an assistant professor at the University of Wisconsin at Madison. UW is behind her “100 percent" in bringing her choreography to a broader audience. Her company appears in New York festivals like Wave Rising and World Dance Alliance, and presents its own programs throughout the Midwest. Corby has worked recently in Florida, Georgia, Hungary, Mexico, and Taiwan.

One of the most vital benefits UW provides is regular access to its performance venues. “It's hard for me to visualize work in the studio, then translate it to the stage," she says. “I think that's because I started out in theater, where most of the process is in the theater itself." In early rehearsals, Corby imagines how lighting schemes and other theatrical effects will interact with the movement. This is particularly evident in Brute (2010), in which frequent collaborator Emily Miller staggers and trembles inside a ring of piled-up clothing bathed in blood-red light.

After 15 years in the field and international exposure, the occasion for our interview amuses Corby. But, she concedes, “I think I'll always be emerging. I learn new things about process all the time."

Current project: Brute is a product of Corby's initial research for In Whole or In Part, an ensemble work to premiere in Madison in October and tour to Chicago and New York. Its title comes from the United Nations' 1948 definition of genocide. —Zachary Whittenburg

Photo by Shomari Montsho, Courtesy Corby

Christopher K. Morgan
Washington, DC

Christopher K. Morgan is a storyteller on the page and stage. For Morgan, 35, writing and choreographing go hand in hand. His choreography ranges from his bold, embodied, and deeply personal solos like The Measure of a Man to his elaborate group work like +1/-1, where dancers create visual labyrinths for the audience to follow and get lost in. His work strikes a personal chord with audiences through his memoir-style of choreography, and yet his abstractions leave plenty of room for imagination.

Morgan was drawn to choreography while studying creative writing at UC Irvine. “Because of my writing, I was looking at dance from a narrative aspect, and that lent itself to me wanting to create work of my own," he says.

In two companies that Morgan worked with early on in his career—Malashock Dance in San Diego, and the Liz Lerman Dance Exchange in the greater Washington, DC, area—Morgan was encouraged to contribute to the choreographic vision. “I was able to explore in environments that were low-key and safe." Morgan also danced with David Gordon in New York. “My sense of process is influenced by him in the way he would often ask the dancers to manipulate his material." During his time working with Michael Keegan-Dolan of Fabulous Beast Dance Theatre, Morgan learned about risk taking, and “to take a lot of time to investigate an idea." Performing as a dancer with the Washington National, Houston Grand, and New York City Operas added to his eye for theatricality.

Morgan keeps journals about travels, memories, and conversations, then turns those musings into theatrical expositions. Sometimes his own writing ends up in the piece. In Thirst (2009), his work about greed, overconsumption, and global climate change, a parable is told in multiple languages throughout the evening.

Although Morgan has created more than two dozen works during his choreographic career, it wasn't until he became a resident choreographer of CityDance Ensemble in Washington, DC, in 2007 that his name began to be known. His position at CityDance gives him the support to create on a cadre of dancers, to put his work forward, and to not be pinned down by labels. “Part of the allure in coming to DC was that I didn't know where I fit in New York, whether I was uptown or downtown." But it hasn't been easy to make his voice heard, even to himself. By working in a less dance-centric community and one so focused on politics, Morgan feels pressure to consider presenters, the diplomatic community, and his board while building new audiences. “All of those things make me want to edit myself. I think the hardest thing is to make sure I follow my dream."

Next project: Currency Exchange is a new work partially inspired by Morgan's recent travels (see “Dance Matters," page 18), to premiere at American University April 8 and 9. —Emily Macel Theys

Photo by Paul Gordon Emerson, Courtesy CityDance

Peter Chu
Las Vegas

Peter Chu's This Thought exploded across the stage of the Dance Teacher Summit last August. His six dancers thrust themselves into wild spine undulations and drastic stops and starts. They seemed to not just arrive at stillness, but screech to a halt. One person would drag another by holding their hands over the ears. Even the slow parts felt ominous. When one soft finger-touch ended the dance, the audience roared. The occasion was the Capezio A.C.E. Award Competition for choreography—and This Thought won the prize.

Chu, 32, grew up in Cocoa Beach, Florida, where he trained as a gymnast and cheerleader. However, his mother was his music teacher, and he says he was “born into" music and dance. At the local Dussich Dance Studio, he got a taste for making dances, which he developed further at Juilliard. He was exposed to Ohad Naharin and other choreographers there, but what really made the difference was his composition teacher, choreographer Pat Catterson. “She understood my background," he says, referring to both his concert dance and commercial dance experience. “We had great talks; she really inspired me and helped push me." His senior year he created a 27-minute piece and won the Hector Zaraspe Prize for Choreography.

Since his graduation in 2002, he's worked on a music video for Christina Perri, danced with BJM Danse (Ballets Jazz de Montréal), performed in Celine Dion's A New Day… in Las Vegas, and won a New Works Festival award at Perry-Mansfield. He has created pieces for the Houston Metropolitan Dance Company, San Diego Dance Theater, Southern Utah University, and Monsters of Hip Hop.

A riveting performer, Chu has been dancing with Crystal Pite for eight years, and her extreme movement has clearly influenced him. (She, in turn, has been influenced by William Forsythe.) “Her work is so alive," says Chu. “What I love about her is she allows us freedom. It's her vision and she has the final say, but when we're exploring in the studio she gives us the freedom to improvise. I just love how we are in the studio. We have fun. We laugh. We grow and learn from each other."

Two years ago Chu formed his own group, chuthis. Because of his touring schedule with Pite's company, Kidd Pivot Frankfurt RM, he has to fit his own choreography into his breaks from touring.

Next project: A group work to preview in Las Vegas and then premiere in New York in July. “I guess you would call it contemporary dance with katunk, a funky flavor of dance." About the process, he says, “It is a loud and beautiful collection of resistance, fear, and uncertainty. Thoughts and sensations break up into liquid-like energy that expands, contracts, undulates, and vibrates. A mechanical beast searches for a precise and particular end." No doubt! —Wendy Perron

Photo Courtesy Chu

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Cover Story
Alice Sheppard photographed by Jayme Thornton for Dance Magazine

It can be hard to focus when Alice Sheppard dances.

Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.

And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.

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Health & Body
Photo by Jim Lafferty

Do you have a sprained ankle that won't heal? It's not that rare. Studies have shown that 10 to 30 percent of sprains will have symptoms later. So what is a sprained ankle anyway? It's the most common injury in all of sports and dancing.

Dancing pushes your body to its limit. If you roll over on your ankle when landing from a jump, you can sprain or injure the ligaments on the outer (lateral) side that hold the joint together. This is different from a "strain," which affects your tendons and muscles. An easy way to remember this distinction is this: You sprain your ankle, but you strain your Achilles tendon. The degree of injury varies, depending on the damage to the ligaments. We determine this by a physical exam and X-rays that help us classify the ankle sprain as Grade I (mild), II (moderate), or III (severe). The most serious sprain involves a complete tear of the ligaments with marked instability that often requires surgery. Fortunately, most sprains are Grade I or II and heal in three to six weeks. The exceptions are those that continue to cause trouble. This is the "sprained ankle that won't heal."

In medical circles, residual problems from sprained ankles cause considerable angst, because they can be hard to diagnose and difficult to treat-especially when telltale signs are ignored by stoic dancers. Problems with old sprains tend to fall into three categories: swelling, pain, and instability ("giving way").


It's normal for a sprained ankle to swell, sometimes for four to six weeks, or longer. But swelling that persists for more than three months may be a sign of trouble. The lining of the capsule surrounding a joint is called the synovium, and anything inside the joint that irritates the synovium will cause it to secrete fluid. Swelling inside of a joint is often a sign that something is causing irritation. (The swelling that is seen from the outside is a combination of soft tissue swelling around the joint and fluid within the joint itself.) In the ankle there are several reasons for this condition. While these may seem alarming, treatment is possible. But first, let's take a look at the culprits.

Chronic synovitis Sometimes there is damage to the surface of the joint that does not show up on any tests, such as an X-ray or MRI, even though it continues to cause irritation and excess fluid.

A bone chip At the time of injury, a bone chip may have been knocked loose, leaving a "loose body" floating around inside to cause trouble.

An OCD lesion "OCD" in sports medicine stands for osteochondritis dissecans (not obsessive compulsive disorder). The easiest way to think of this is like a cavity in a tooth. It is something that leaves a small hole in the surface on the ankle bone (the talus) with a dead piece of bone in it. An MRI study will usually pick this up.

A bone bruise This is not black and blue. Instead, it feels like an achy pain that is difficult to explain and lasts for months. There is edema, or fluid, within the bones themselves that we can only see on an MRI study. Fortunately, it is rarely serious and gradually fades away.

What can you do? Treatment for chronic swelling, no matter what the cause, usually requires sleeping with the leg elevated on a pillow at night and putting on an elastic ankle support in the morning when you get out of bed. If the swelling is minimal and is slowly going away with no other symptoms, it is OK to dance, but go easy on the jumps and grand plies till all the swelling is gone. However, if it doesn't feel so good then don't do it! An ankle support (no need for metal hinges, etc.) usually feels good at this stage.

It also helps to avoid the saltshaker, which leads to water retention. With diligence, the swelling should go away. However, if the leg is swollen up the shin, something else may be happening, and it needs to be checked out by your doctor. Swelling that does not go away is a sign that something more is wrong. Normal joints do not swell.


There are several common causes of ankle pain that does not go away:

The sinus tarsi syndrome Lingering inflammation, scar tissue, or a partly torn ligament can occur in the hollow place in the side of the anklebone called the sinus tarsi (sinus in Latin means hollow or sunken and the tarsus is the ankle). This is the most common cause of the sprained ankle that won't heal. While it can be difficult to discern this problem on an X-ray or MRI, a physical exam by a dance medicine specialist can pinpoint the diagnosis by locating the exact area that hurts.

A tarsal coalition Residual pain in the sinus tarsi after the original sprain heals can also be due to an unrecognized tarsal coalition. The ankle has two components: the regular ankle joint that moves up and down, and the subtalar (ST) joint beneath it that moves in and out. Together, they make up the ankle joint complex. Some people are born with limited motion in their ST joint because the bones in this area are joined together where they ought to be separate—a coalition. It can usually be seen on an X-ray or MRI. This condition is present in about five percent of ankles. It usually occurs in one ankle only, rather than both. As with a sprain, it can be mild, moderate, or severe. In dancers, it is usually mild or it would have caused trouble before the sprain. Dancers with mild symptoms can often work around it.

The high ankle sprain This is marked by tenderness in the front of the ankle on the outside. Unlike routine ankle sprains where the main damaged ligaments lie right in the sinus tarsi, this one affects a ligament that is higher up, at the level of the ankle joint itself. This is the so-called "high" ankle sprain, which can be a real bugaboo because it takes two to three times longer to heal than a routine sprain. It may not show up on medical tests, so the diagnosis is usually made on the basis of the physical exam.

Secondary problems Lastly, there are several conditions, such as FHL tendonitis ("dancer's tendonitis") and the os trigonum syndrome that seem to pop up out of nowhere. Dancers often think that the residual pain is part of the healing process when it is actually a separate problem. Later the sprain may heal, but these conditions can continue to be painful and may even require surgery if left unaddressed.


"My ankle gives way" is probably the second most common leftover problem with ankle sprains after the sinus tarsi syndrome. We doctors see it all the time. Many things can cause this problem. Fortunately most respond to appropriate treatment.

Peroneal weakness There are two peroneal tendons that run parallel down the outside of the ankle; one is short and the other is long. Their major function is to keep the ankle from rolling over and prevent sprains. After an injury they can remain weak, so the ankle is poorly protected from further roll-overs. It's easy at this point to fall into the vicious cycle of "Because it's weak it rolls over and because it rolls over it's weak," which can go on for months. If this is the problem, it is easy to fix. Simply restore the normal peroneal strength with physical therapy. A few months of daily use of a theraband, under the guidance of a physical therapist, will usually strengthen the peroneals. (They gain strength faster if the exercises are done in the full "tendu" position.)

Laxity of the ankle ligaments Grade I sprains do not usually damage the ankle ligaments to any extent, but repeated Grade II or Grade Ill injuries can lead to permanent looseness of the ligaments that hold the anklebones together. This is a difficult situation, because they can be tightened only by surgery. The surgery is quite effective, but the recovery is usually three months or more. So it is nice to avoid it if you can.

Many loose ankles often give way because of a combination of looseness and weakness. These can often be brought up to full strength with physical therapy and then they don't give way anymore. The number one indication for ankle ligament surgery is the failure of rehab to correct the problem.

Pain, swelling and instability

The problems associated with a recurring sprained ankle can co-exist and produce all three symptoms. In this ease the diagnosis is particularly difficult. There is one last problem that might be going on:

Peroneal tendon damage With repeated sprains, the peroneal tendons can develop small longitudinal rents or tears. When this happens, the tendons swell up in the sheathes that surround them and cause achy pains, chronic swelling and weakness that cannot be corrected by exercise. This problem is easy to miss and hard to correct because it usually gets worse in spite of all treatment. Fortunately, this condition also responds well to surgery.

The best way to diagnose these various problems is to see a sports or dance medicine specialist for a history, physical exam, and appropriate studies. Your doctor may request X-rays followed by an MRI, CT and/or bone scan. Physical therapy is usually the first step in the recovery. Do not try to treat yourself! There is an old expression in medicine that says, "Someone who treats themselves has a fool for a physician." Merde!

William G. Hamilton, M.D. is the orthopedic consultant for New York City Ballet, American Ballet Theatre, The School of American Ballet and the Jacqueline Kennedy Onassis Ballet School.

Dancer Voices
Yuka Oba, Ednis Ariel Gomez Mallol and Connie Flachs in Swing by Olivier Wevers. Photo by Ryan Jackson, courtesy Flachs

"I'm sorry, but I just can't possibly give you the amount of money you're asking for."

My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.

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The Broadway revival of CATS. Photo by Matthew Murphy

A Jellicle Ball is coming to the big screen, with the unlikeliest of dancemakers on tap to choreograph.

We'll give you some hints: His choreography can aptly be described as "animalistic," though Jellicle cats have never come to mind specifically when watching his hyper-physical work. He's worked on movies before—even one about Beasts. And though contemporary ballet is his genre of choice, his choreography is certainly theatrical enough to lend itself to a musical.

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Stagestep's Encore hardwood flooring for full-service broadcast production facility, dance center and venue, Starwest, in Burbank, CA.

What is the right flooring system for us?

So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.

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Dance Training
Being focused on one style eventually gave Al Blackstone more opportunities. Photo by Daryl A. Getman, Courtesy Blackstone

These days, everyone tells you how important it is to be versatile. But what if you're convinced there's just one style that's right for you? It can be tough to balance a deep interest in a single specialty and still meet many choreographers' expectations. Luckily, you don't have to choose between all in or all over the place, as long as you follow your interests thoughtfully.

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Breaking Stereotypes
Omar Román De Jesús in rehearsal with Joffrey Academy trainees. Photo by Todd Rosenberg

So far, the fervor to create diversity in ballet has primarily focused on dancers. Less attention has been paid to the work that they'll encounter once they arrive.

Yet the cultivation of ballet choreographers of color (specifically black choreographers) through traditional pathways of choreographic training grounds remains virtually impossible. No matter how you slice it, we end up at the basic issues that plague the pipeline to the stage: access and privilege.

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Dance on Broadway
We suspect it will be...a thriller. Giphy

Christopher Wheeldon is going to be giving Michael Jackson some new moves: The Royal Ballet artistic associate is bringing the King of Pop to Broadway.

The unlikely pairing was announced today by Jackson's estate. Wheeldon will serve as both director and choreographer for the new musical inspired by Michael Jackson's life, which is aiming for a 2020 Broadway opening. This will be Wheeldon's second time directing and choreographing, following 2015's Tony Award-winning An American in Paris.

Wheeldon is a surprising choice, to say the least. There are many top choreographers who worked with Jackson directly, like Wade Robson and Brian Friedman, who could have been tapped for the project. Or the production could have even hired someone who actually choreographed on Jackson when he was alive, like Buddha Stretch.

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Dance on Broadway
In rehearsal for Dreamgirls. Photo Courtesy DM Archives.

Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.

But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.

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It's already on its way to legendary status. (screenshot via YouTube)

Let's start with the obvious: Over the weekend, Beyoncé and Jay-Z released a joint album, Everything Is Love. Bey and Jay also dropped a video for the album's lead track, which they filmed inside the actual Louvre museum in Paris (as one does, when one is a member of the Carter family). And the vid features not only thought-provoking commentary on the Western art tradition, but also some really incredible dancing.

So, who choreographed this epic? And who are the dancers bringing it to life in those already-iconic bodystockings?

Read the full story at dancespirit.com.

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Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.

One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.

"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."

Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."

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MADBOOTS DANCE in MASC. Photo by Scott Shaw, Courtesy Richard Kornberg & Associates

This week, New York City's Joyce Theater presents two companies addressing LGBTQ+ issues.

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