- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
- Buy A Single Issue
- Give A Gift Subscription
Teacher's Wisdom: Jennifer Scanlon
Jennifer Scanlon’s calm presence is infectious. As the former Limón dancer approaches, her students exhale, lengthen their spines, and allow their sternums to soften. But don’t let her guru-like nature fool you; she can also demonstrate the suspensions, overcurves, and side bends of Limón technique with vigor.
Scanlon teaches modern dance and Alexander Technique at Boston Conservatory, imparting a deep-rooted knowledge of José Limón’s heritage and a mindful approach to all movement. In 1963, after attending Juilliard, she joined the Limón Dance Company for a tour of the Far East. During her 21-year tenure with the troupe, Limón made the solo “Niobe (Mourning Mother)” from Dances for Isadora on her. She was also part of the creation of A Choreographic Offering (1964) and Psalm (1967). Scanlon has traveled the country to set Limón’s repertory at universities and companies like the Joffrey Ballet and Kansas City Ballet. Former student Jenny Dalzell caught up with her to discuss her role as a teacher preserving Limón’s legacy.
What was it like working with Limón? Challenging, inspiring, and demanding. He was prolific in terms of bringing in material when choreographing a piece. He also had a great sense of humor. When he’d get stuck or stymied, he would tell us these not-so-funny jokes, and we’d laugh and say, “Oh, José, you tell the worst jokes.” We were so much younger, but he was accessible if you didn’t feel threatened by him. He had many interests and was articulate in so many ways. He played the piano, listened to music, and read voraciously. He was a Renaissance man. He was politically astute, and his dances spoke of humanity.
What is the core of Limón technique? The Limón technique uses the Humphrey-Weidman principles of fall, recovery, and suspension, and of course, the use of the breath is primary. The technique is very grounded, but energy is always moving past your fingertips, and there is a sense of conscious abandonment. You allow the energy of a fall to determine the next moment of suspension. It’s not simply plié-relevé—you cannot force suspension. I tell my students to think of a suspension as a musical fermata or an ellipsis at the end of a sentence, never a period. It has no end; it reaches a place where it becomes a new beginning.
Do Limón classes differ depending on the instructor, or are the exercises codified? The movement principles in each class would be the same, but José never wanted any kind of syllabus. Limón teachers may share some exercises because we had the same teachers. What I teach is certainly imbued with Limón, as that was my life, but I am an assimilation of all my experiences. My practice of Alexander also plays a big role in my classes.
What aspects of Alexander do you bring into your modern classes? I often talk about the use of “primary control,” which is one’s head being movable at the end of the spine, allowing a freedom of movement in the rest of the body. One day I led an Alexander meditation of the breath to help students gain awareness of their rib cages and avoid the arms-up/ribs-out syndrome. I had them lie down and put their consciousness inside their rib cage. For five minutes, I asked them to feel and watch the movement of their ribs with their natural breath. When they stood up, I had them stay with the meditation as they raised their arms—and what a difference! It was wonderful.
Many of your first-year students have studied only ballet. Do you have advice for someone entering their first modern class? Don’t try to translate this vocabulary into something you know. Think in terms of activities, not shapes: You are bending. You are folding. You are standing. In your inner dialogue, use verbs. Go into class with a clean slate; don’t worry about looking awkward. It’s not easy, but you have to be free to fall over and play with ideas.
When casting a Limón piece, what qualities do you look for in a dancer? My attention jumps to students who are dancing, not those who are trying to dance. I look for dancers who are able to make choices. When I present new material, I want to see you go for it. Especially if I give you feedback, I want to see a change, to see that you can take direction. It’s the flexibility of mind that allows the flexibility of body.
What do you hope your students leave with after every class? I strive to create a workplace where students feel safe enough to take risks and explore their individual possibilities. I don’t want to present ideas that they only replicate back at me. If I ask someone, “How was that, how did that feel?” I don’t want them to look blank or, worse, ask me, “Was that OK?” I want students to experience themselves in the movement and be their own teachers. I’m there to provide feedback and lead them to new open doors, but they have to walk through and face challenges. I want each one to have a voice, to give themselves permission to explore, rebel, to have opinions.
Pictured: Scanlon teaches Limon technique at Boston Conservatory. Photo by Jaye Phillips
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.
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?"
Several weeks ago, Youth America Grand Prix announced that the lineup for tonight's Stars of Today Meet the Stars of Tomorrow gala at Lincoln Center's Koch Theater would include Bolshoi Ballet principal Olga Smirnova and first soloist Jacopo Tissi. But an article in Page Six published last night states that Smirnova and Tissi were denied visas to enter the US.
YAGP organizers "believe the Department of Homeland Security's decision may be motivated by the myriad tensions between the superpowers," says the piece, noting that "Smirnova is so revered in Moscow that her treatment could create a Russian backlash."
Is it any surprise a world premiere by choreographer Uri Sands and musician Justin Vernon, both renowned for the profound beauty and gorgeous musicality of their work, immediately sold out? We're hungry for creative collaborations that take reflective deep dives into what constitutes our humanity—and then there's the undeniable cool factor. Nine members of TU Dance will perform alongside Bon Iver (Vernon's band) during the evening-length piece. Presented as part of the Saint Paul Chamber Orchestra's Liquid Music Series. April 19–21. The work will also appear at the Hollywood Bowl Aug. 5. tudance.org.