This Dance Couple Lost Their Home To a California Fire
A few days ago, a friend forwarded me the GoFundMe Campaign of Nikki and Ethan White, a dancerly wife and husband duo who escaped the California "Woolsey Fire" with their children but whose home burned to the ground. The couple had met while dancing for Smuin Ballet, and later were one of the top three finalists on Paula Abdul's TV show "Live to Dance." Today, they live in the Los Angeles area, where Ethan is researching how dance partnerships develop interpersonal trust at USC.
I spoke to Nikki about the fire, what comes next and how readers can help.
What warning did you have about the fire?
I woke at 6 am on Friday, November 9, turned on my phone and saw a flood of texts messages. I packed a suitcase and got the kids in the car. I didn't take nearly enough. I was in complete denial. Part of me kept thinking, "Of course I should take that!" while the other part thought, "Don't tell me I'm not coming back to my house, of course I'm coming back to my house."
Ethan stayed for a few more hours to pack the Nutcracker costumes—we had a show to put on in a week. We ended up getting separated by road closures with no power or cell reception. I took the kids (5 year old Dax and 2 year old Skye) to the Santa Barbara Zoo to keep them entertained.
What's the reality you're facing presently?
Our current reality is that we are not homeless, but we are displaced. Thankfully, we are surrounded by many families and friends that are willing to help.
The difficult part, of course, is losing our home. Every now and then I'll think of something I owned and I'll get a little pang in my heart knowing it's gone. That's where I rocked my babies to sleep, read them books, watched them play outside, watched them grow.
How are you managing the aftermath?
I initially didn't want to accept help, but with the encouragement of several friends I set up a GoFundMe campaign. I did not expect the outpouring of support that we have received, and can't look at it very often because it makes me cry. People from every facet of our lives have donated: school teachers, dance teachers, students, patrons, dancers, directors, comedians, friends and family near and far. I know that if and when someone is in need, I will be able to pay it forward because that is what so many people have done for us. We could not be more grateful.
Honestly, I have no idea. We are still in shock. It feels like we might take some time to travel, teach, choreograph and reconnect with friends and colleagues. In the long term, we are going to rebuild our home, our neighborhood, and our community. It will take time, patience and a lot of perseverance, but dancers have these traits in spades.
How can readers help those affected by the fires?
Candidly, I would say that the most immediate way to help others in need is whatever monetary donation that you can give, as well as assurances that you are willing to be there throughout the recovery. Some feel a desire to give something tangible—clothing, toiletries, toys—and while a few of these are needed, getting too much is overwhelming. We just don't have anywhere to put all the things. If you have items you want folks to have, hang on to them! Especially bigger items that they'll need once they have a home. If you have space, offer to store things for people. But most importantly? Just be there. Even if those affected can't respond for a month, just reach out and say something kind. We need more kindness in the world.
Any other information you would like to share?
I have been building ballet "camps" where I teach classes, and at the end of the session we put on a condensed show. We were just about to perform a Gone Nutcracker show with over 60 local dancers, parents, 20 guest dancers and artists, and we have not given up on doing that show. The theater we were going to perform at is no longer accessible, but we will find another location. Art has always brought us closer to people, and it certainly bonded us to so many families in our Malibu community.
Have you or other dance colleagues been affected by the Camp and Woolsey fires? Share your stories in the comments below.
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Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
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So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
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Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
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When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
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I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
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The key is choosing your loaf wisely.
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We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
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The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.