Choreographing on Your Friends? Follow These 5 Rules to Avoid Disaster
Once Adriana Pierce caught the choreography bug as a teenager, dancemaking came naturally. More difficult was navigating the tricky situations that would arise when choreographing on classmates and friends. "If a rehearsal didn't go well, I'd worry that people didn't respect me or didn't like my work," says Pierce, who went on to participate in the School of American Ballet's Student Choreography Workshop twice, at 17 and 18. "I had a lot to learn: how not to take things personally, how to express what I wanted, when to push and when to back off."
Choreographing on your peers can feel intimidating. How can you be a leader in your own rehearsals when you're dancing at the same level the rest of the time? How can you critique your cast without hurting feelings? Avoiding pitfalls takes commitment and care, but the payoff is worth it.
Show Up Prepared
Setting an agenda for each rehearsal shows your dancers that you respect their time. In return, they may be more likely to respect your leadership. "With peers, you can't walk into the room and say, 'I'm the teacher; you're the student,' " says Pierce, who can currently be seen in the Broadway revival of Carousel. "Authority has to be earned."
Preparation can also ease nerves about your new role. When Maddie Hanson, a dance major at The Juilliard School, began choreographing on her classmates as a freshman, "I always came into rehearsals with a movement phrase and goals for the day," she says. Now a junior, Hanson has become more confident creating on the fly. Still, she strives to be organized, and to bring something new, like a particular image, to each session.
But preparing doesn't mean being inflexible in rehearsals. Elizabeth George, who teaches composition at the University of Arizona, explains, "You never want to be so rigid that if something spontaneous happens, you're not willing to explore it." A collaborative environment can keep everyone invested in the process.
MCB dancers in Pierce's Acantilado. Photo by Leigh-Ann Esty, Courtesy Pierce
Last semester, George and her co-teacher Sam Watson asked their composition students what helped them most when choreographing on classmates. The top response: communication. "Dancers want information about what they're doing," Watson says, "whether they're working with a guest artist or a fellow student."
Communication should be a two-way street, Pierce adds. If a transition looks awkward, ask what would make it feel better. If your dancers seem exhausted, see if they have the energy for another full-out run.
Frame Feedback Wisely
To avoid hurting friends' feelings, frame criticism to be both positive and constructive. Rather than saying "That's not right" or "I don't like that," try acknowledging what a dancer is doing before asking to see it another way. "Then, you're offering options instead of barking orders," Pierce says.
When it comes to behavior issues, you may need to put your foot down. Pierce advises approaching the dancer the same way you would if you were having a non–dance-related issue. "Make it a conversation, not a confrontation," she says. "It can help to find out where they're coming from. Everyone is a human with emotions and a life outside the studio."
Juilliard students performing Hanson's work. Photo courtesy Hanson
Casting from a group of peers can feel fraught. What if your best friend isn't a good fit—or a strong enough performer—for what you have in mind? Hanson advises putting your vision first. "The people who support you will understand that you have to do what's right for your choreography," she says.
If the dancers you want aren't available, be open to what others have to offer. "I've worked with dancers I initially didn't see myself using," Pierce says. "They've always brought something surprising to the table." Stand by what you're looking for, but be ready to find the best in every dancer.
Lead with Confidence
Maddie Hanson in the studio, Photo courtesy Hanson
Even if you're new to running rehearsals, you already know what works for you when you're dancing for someone else. Call on those experiences when you're in charge.
Remember that you aren't the only one who wants the process to be productive and fulfilling. Your dancers—your classmates and colleagues—are on your side. "If you're considerate of your cast's needs and confident in your own abilities," Hanson says, "you'll have a better piece in the end."
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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
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.
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
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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When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
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:
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.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
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.
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.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
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.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
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.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.