The Most Influential People in Dance Today: Amy Fitterer
Former arts lobbyist Amy Fitterer is all about diversity, inclusion and equal opportunity—and making Dance/USA relevant for today's climate.
Since assuming leadership in 2011, Fitterer has worked to create programs that genuinely serve the needs of today's dance world. She's established the Institute for Leadership Training for emerging dance leaders, which has been enormously successful in empowering young dance makers and producers. Committed to ending racism, Dance/USA now offers ongoing racial equity training for its board, staff and the attendees at Dance/USA Annual Conferences. She's also responded to the enormous sector of the field that operates on a small budget with a Dance Business Bootcamp. She's retooled Dance/USA's re-granting program, Engaging Dance Audiences, to support a broader population and Dance/USA staff are available for house calls and will come to your community to ecosystem analysis research.
Under her leadership, Dance/USA genuinely serves the needs of today's dance world.
James Whiteside (Jayme Thornton for Dance Magazine)
Say you're perpetually impeccable designer Thom Browne. Say you're planning your Spring 2020 Paris menswear show along a "Versailles country club" theme. Say you want a world-class danseur to open the show with some kind of appropriately fabulous choreography.
Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.
I'd been a professional dancer for five years when I realized the pain I'd been feeling in my hip and down my sciatic nerve was not going away. I had been treating it for two years as we dancers do—with regular visits to my masseuse, physical therapy, baths, ice and lots of Aleve—but I never stopped dancing. It finally dawned on me that if I kept going at the speed I was going (which was, well, speedy), the pain would only get more severe and unrelenting, and I might never dance again.
I told myself I'd take two months off, and all would be better.
That first morning when I woke up at 10 am, I had no idea what to do with myself. My life until that moment had been dictated by class and rehearsal, every hour accounted for. How should I fill the huge swath of time ahead of me?