The Ailey School's Summer Intensive Prepares Students for The "Real" Dance World
On a summer afternoon at The Ailey School's studios, a group of students go through a sequence of Horton exercises, radiating concentration and strength as they tilt to one side, arms outstretched and leg parallel to the ground. Later, in a studio down the hall, a theater dance class rehearses a lively medley of Broadway show tunes. With giant smiles and bouncy energy, students run through steps to "The Nicest Kids in Town" from Hairspray.
"You gotta really scream!" teacher Judine Somerville calls out as they mime their excitement. "This is live theater!" They segue into the audition number from A Chorus Line, "I Hope I Get It," their expressions becoming purposeful and slightly nervous. "Center stage is wherever I am," Somerville tells them when the music stops, making them repeat the words back to her. "Take that wherever you go."
This bustling, ever-moving environment is The Ailey School's summer intensive, which for six weeks each year invites dancers to train in the Ailey curriculum. Students take up to 15 classes a week: ballet, Horton, Graham and an elective, which might be hip hop, theater dance, West African or contemporary. This summer, the school plans to offer five levels of ballet and four of Horton and Graham, each with a specific syllabus.
Students can also choose to audition for repertory workshops with professional choreographers, which in 2018 included Amy Hall, Lion King dancer Ray Mercer and Ailey/Fordham BFA grad Levi Marsman. These dancers get a chance to put their training in context in an original work.
"It's about the choreographer going in there and providing another level of teaching," co-director Tracy Inman says. "The dancer understands in a different way: 'Oh, I'm using my Horton technique now.' That's what their job is going to be when they get out in the real world."
Ray Mercer's repertory workshop. Photo by Rachel Papo.
In a late-afternoon rehearsal of Ray Mercer's repertory workshop, six dancers work on a tricky partnering sequence. As Mercer calls out counts, the women practice a running leap into the arms of their partners. When the men catch them, they tilt their heads back until they're hanging completely upside down. All of this happens in about three seconds.
"The movement is very fast; it's also very physical," Mercer says. "I always tell them at the very beginning of the process, I don't want them to move like students. I want them to look like a company of dancers that have been dancing together for a very long time."
Guillermo Asca's Hoston class. Photo by Rachel Papo.
"Class is a performance," Guillermo Asca tells his level 2 Horton students. He reminds them that they never know who could be watching them. "You don't want to be photographed like this," he says, making a silly face. The room fills with laughter.
Asca, who's been with Ailey for 30 years (first as a student, and then as a company member), is mindful of how short the summer is, and how much technique he can realistically expect to impart. In addition to introducing some of the fortifications and preludes of the Horton style—tabletop flat-backs, hips swiveling in a figure-8 motion, energetic leg swings—"I want to plant the seeds of how to approach dance," he says.
Ultimately, he wants students to make their movement interesting and dynamic, to remember that they don't have to be onstage to bring that quality to their dancing.
"Anybody who sees a dance class will peek into that room, and somebody will capture their eye," Asca says. "That's the person who's dancing. You don't have to wait until you're level 4 or level 5 to start dancing."
Ryan Claytor. Photo by Rachel Papo.
When Ryan Claytor, 24, was exposed to Horton training in her first summer with Ailey, she quickly fell in love. "Horton is my all-time favorite," she says. "It's angular, it's precise, it's sharp, but it also has a little bit of flow to it."
Claytor has participated in the Ailey intensive three times, and attends the school year-round as part of its scholarship program. Seeing Ray Mercer's choreography in previous summers, she knew she wanted to audition for his workshop. "In rehearsals with him, you learn a lot about yourself," she says. "You learn how to pick up on things quickly, how to make them your own."
Javontre Booker. Photo by Rachel Papo.
Twenty-two-year-old Javontre Booker has attended the Ailey intensive three times, but he calls 2018 his "most mature" summer. "I think the most difficult thing for me right now, considering the fact I'm transitioning into the professional world, is knowing myself and knowing my self-worth," he says.
He likes the combination of professionalism and guidance the program offers. As a tall dancer, Booker looks up to role models like Jamar Roberts, from the Ailey company. "Being the size that I am, often I'm told 'You're late' or 'Get all the way through that extension,' " he says. "When I watch him move, I never have those thoughts. I'm always like, 'How did he do that?' "
At the 2018 intensive, Booker accomplished one of his biggest goals—to make it into the Ailey scholarship program. He's now training at the school full-time, getting closer to his dream of joining the main company. He says, "I love the movement, I love the company, I love the mission."
Attendance: 225 last summer
Auditions: U.S. audition tour, video submissions and an annual audition/workshop in Italy
Timeline: Six weeks
Class sizes: 20–45 students
Ages: 16–25 in the professional division; 11–15 in the junior division
Housing: Dorm lodging available nearby for students 15 and up
For choreographer Raja Feather Kelly, music is simple: "There's good music and there's bad music and I love good music and I love to hate bad music."
But, true to form, Kelly—whose past few months have included choreographing the Skittles Super Bowl musical and earning one of our first-ever Harkness Promise Awards—had some surprises up his sleeve when he made us a playlist he describes as "for moody Geminis who work over 12 hours a day and need a playlist that can shuffle and never disappoint."
Though the playlist has some whiplash-inducing twists and turns—from Coheed and Cambria to Carly Rae Jepsen to Missy Elliott to Schubert—there is a through-line: "Music that makes you feel like you're in your own movie. I love walking through the street feeling like I'm on a runway, living my best life."
Every dancer's nutrition goals are different. Maybe you're trying to go vegan, or maybe you want to cook your own dinner more often. No matter what your personal objectives are—or whether you work with a dietitian—there are all kinds of apps that can help you make smart decisions at the tap of a button.
The lack of female leaders in ballet is an old conversation. But a just-launched website, called the Dance Data Project, has brought something new to the discussion: actual numbers, not just anecdotal evidence.
Whether she's performing on stage, in music videos, or on television, French electro-pop sensation Chris (formerly known as Christine and the Queens) never seems to stop moving.
Building a full-length ballet from scratch is an intense process. For the world premiere of Anna Karenina, a collaboration between The Joffrey Ballet and The Australian Ballet, that meant original choreography by Yuri Possokhov, a brand-new score by Ilya Demutsky, costume and set designs by Tom Pye and lighting designs by David Finn.
Get Dance Magazine in your inbox
Growing up, I never saw a problem with my dancing and neither did my Muslim-Egyptian dad or my non-Muslim, American mom. They raised me to understand that the core principles of Islam, of any religion, are meant to help us be better people. When I married my Pakistani husband, who comes from a more conservative approach to Islam, I suddenly encountered perceptions of dance that made me question everything: Is it okay to expose a lot of skin? Is it wrong to dance with other men? Is dance inherently sexual? What guidelines come from our holy book, the Quran, and what are cultural views that have become entwined in Islam?
When Thomas Forster isn't in the gym doing his own workout, he's often coaching his colleagues.
Two years ago, the American Ballet Theatre soloist got a personal training certification from the National Academy of Sports Medicine. Now he trains fellow ABT members and teaches the ABT Studio Company a strength and conditioning class alongside fellow ABT soloist Roman Zhurbin.
He shared five of his top tips for getting into top shape.
No matter how much anti–Valentine's Day sentiment I'm feeling in a given year, there's something about dancer couples that still makes me swoon. Here's a collection of wonderful posts from this year, but be warned: Continued scrolling is likely to give you a severe case of the warm fuzzies.
When Rennie Harris first heard that Alvin Ailey American Dance Theater had tapped him to create a new hour-long work, and to become the company's first artist in residence, he laughed.
"I'm a street dance choreographer. I do street dance on street dancers," he says. "I've never set an hour-long piece on any other company outside my own, and definitely not on a modern dance company."
When Chase Brock signed on to choreograph a new musical at a theater in New Jersey in 2015, he couldn't have predicted that four years later, he would be receiving fan art featuring his Chihuahua because of it. Nor could he have he imagined that the show—Be More Chill, based on the young adult novel by Ned Vizzini—would be heading to Broadway with one of the most enthusiastic teenage fan bases the Great White Way has ever seen.
It's no longer just Les Ballets Trockadero de Monte Carlo and the few pointe-clad male character parts, like in Cinderella or Alexei Ratmansky's The Bright Stream. Some male dancers are starting to experiment with pointe shoes to strengthen their feet or expand their artistic possibilities. Michelle Dorrance even challenged the men in her cast at American Ballet Theatre to perform on pointe last season (although only Tyler Maloney ended up actually doing it onstage).
The one problem? Pointe shoes have traditionally only been designed for women. Until now.
Lately I've been having recurring dreams: I'm in an audition and I can't remember the combination. Or, I'm rehearsing for an upcoming show, onstage, and I don't know what comes next. Each time I wake up relieved that it was only a dream.
However, this is the reality of how I often felt throughout my dance career. Once I knew the steps, there was no undoing it. It was the process of getting there that haunts me to this day.
Since its founding in 1999, more than 80,000 ballet dancers have participated in Youth America Grand Prix events. While more than 450 alumni are currently dancing in companies across the world, the vast majority—tens of thousands—never turn that professional corner. And these are just the statistics from one competition.
"You may have the best teacher in the world and the best work ethic and be so committed, and still not make it," says YAGP founder Larissa Saveliev. "I have seen so many extremely talented dancers end up not having enough motivation and mental strength, not having the right body type, not getting into the right company at the right time or getting injured at the wrong moment. You need so many factors, and some of these are out of your hands."
Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:
Camille Sturdivant, a former member of the Blue Valley Northwest High School dance team is suing the school district, alleging that she was barred from performing in a dance because her skin was "too dark."
The suit states that during Sturdivant's senior year, the Dazzlers' choreographer, Kevin Murakami, would not allow her to perform in a contemporary dance because he said her skin would clash with the costumes, and that she would steal focus from the other dancers because of her skin color.
You wander through the grocery aisles, sizing up the newest trends on the shelves. Although you're eager to try a new energy bar, you question a strange ingredient and decide to leave it behind. Your afternoons are consumed with research as you sort through endless stories about "detox" miracles.
What started as an innocent attempt to eat healthier has turned into a time-consuming ritual with little room for error, and an underlying fear surrounding your food choices.
Aside from a solid warm-up, most dancers have something else they just have to do before performing. Whether it's putting on the right eyelashes before the left or giving a certain handshake before a second-act entrance, our backstage habits give us the comfort of familiar, consistent choices in an art form with so many variables.
Some call them superstitions, others call them rituals. Either way, these tiny moments become part of our work—and sometimes even end up being the most treasured part of performing.
Raise your hand if you've ever gotten sucked down an informational rabbit hole on the internet. (Come on, we know it's not just us.) Now, allow us to direct you to this new project from Google Arts & Culture. To celebrate Black History Month, they've put together a newly curated collection of images, videos and stories that spotlights black history and culture in America specifically through the lens of dance—and it's pretty much our new favorite way to pass the time online.
If you're anything like us, your Instagram feed is chock-full of gorgeous dance photos and videos. But you know what makes us fall in love with an artist even more? When they take a break from curating perfect posts and get real about their missteps. These performers' ability to move past mistakes, and even laugh them off, is one reason why they're so successful.
Every time you fall out of a pirouette, just remember: The stars—and literally every. single. dancer.—have been there, too. (Even Misty Copeland.)
Dancers today have an overwhelming array of options at their fingertips: New fitness tools, recovery trends, workouts and more that claim to improve performance, speed up recovery or enhance training.
But which of these actually meet the unique demands of dancers? In our new series, "We Tried It," we're going to find out, sampling new health and fitness trends to see if they're dancer-approved.
First up: Brrrn, the cold temperature fitness studio (the first and only of its kind, they claim) located in Manhattan.