This Beyoncé Choreographer Has the Most Relatable Cross-Training Routine
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
We caught up with Alsop for our "Spotlight" series:
What do you think is the most common misconception about dancers?
That we are not athletes. I think because there is this beauty, grace and poise that comes along with dance, some people still try to discount the fact that we train ruthlessly. It would be great to see the art of dance respected equally.
What other career would you like to try?
Acting. I can't see myself doing something unrelated to performance. Performing is too deep in my blood.
What's the most-played song on your phone?
"Made For Now" by Janet Jackson
What was the last dance performance you saw?
A hip-hop competition in Boston called Bring Da Hype. It was so edgy and all the dancers were so raw and hungry. My love for dance was reinvigorated by the youth of it.
Do you have a pre-performance ritual?
Close my eyes and whisper the most intimate prayer.
Where can you be found two hours after a performance ends?
Trying to find music to keep dancing. The high from being on stage is still so strong that I have to keep it going.
What's your favorite book?
Terry McMillan's A Day Late and A Dollar Short. I have probably read it 6000 times.
Where did you last vacation?
My favorite place on Earth: San Juan, Puerto Rico.
Who is the person you most want to dance with—living or dead?
Janet Jackson, Debbie Allen and Bob Fosse.
What app do you spend the most time on?
Much like the rest of the world, I unfortunately spend the most time on Instagram. It's literally tantalizing. I'm addicted.
What's the first item on your bucket list?
To buy something major or pay a huge bill off for my parents. I owe them everything.
What's your go-to cross-training routine?
I am the absolute worst and have never cross-trained in my entire life. I have never even had a gym membership. So my routine is trying my hardest to avoid the Taco Bell drive-thru!
If you could relive one performance, what would it be?
The 2011 Billboard Music Awards performance of "Run The World" by Beyoncé. It was the first time I got to work on an awards show as a choreographer and I learned so much by being a part of such a huge performance.
What's the worst advice you've ever received?
I don't think I have ever received any bad advice. I can't remember a time when someone tried to help and it not be for my benefit.
The Primetime Emmy Award nominations are out! Congrats to the seven choreographers who earned nods for their exceptional TV work this year. Notably, that work was made for just two shows, "So You Think You Can Dance" and "World of Dance."
And there was a particularly remarkable snub: While the dance-filled hit "Fosse/Verdon" earned 17 nominations across many of the major categories, Andy Blankenbuehler's fabulous Fosse remixes weren't recognized in the Outstanding Choreography field.
Here are all the dance routines up for Emmys:
"Dancers can do everything these days," I announced to whoever was in earshot at the Jacob's Pillow Archives during a recent summer. I had just been dazzled by footage of a ballet dancer performing hip hop, remarkably well. But my very next thought was, What if that isn't always a good thing? What if what one can't do is the very thing that lends character?
Capezio, Bloch, So Dança, Gaynor Minden.
At the top of the line, dancers have plenty of quality footwear options to choose from, and in most metropolitan areas, stores to go try them on. But for many of North America's most economically disadvantaged dance students, there has often been just one option for purchasing footwear in person: Payless ShoeSource.
When Sonya Tayeh saw Moulin Rouge! for the first time, on opening night at a movie theater in Detroit, she remembers not only being inspired by the story, but noticing the way it was filmed.
"What struck me the most was the pace, and the erratic feeling it had," she says. The camera's quick shifts and angles reminded her of bodies in motion. "I was like, 'What is this movie? This is so insane and marvelous and excessive,' " she says. "And excessive is I think how I approach dance. I enjoy the challenge of swiftness, and the pushing of the body. I love piling on a lot of vocabulary and seeing what comes out."