Countertechnique and catharsis rule at BODYTRAFFIC's summer intensive.
Guest teacher Chris Evans has danced with Hofesh Shechter. Photo by Guzman Rosado, courtesy BODYTRAFFIC.
As choreographer Rosie Herrera shepherds 25 students through her own brand of warm-up, the campus dance studio at Loyola Marymount University is charged with emotion. Sitting in a circle, the dancers must share three things about themselves: “Where you’re from, if you’ve been in love and if you believe in God.” Things get real quickly, and when the tears start flowing, an animated Herrera quickly puts the dancer at ease: “We love the first person who cries,” she says, prompting a round of applause. “Dance is the language we speak, but I’m most interested in people having experiences. Things are gonna get deep.”
That might well be the mantra for the BODYTRAFFIC intensive. Run by the Los Angeles company’s co-directors Lillian Barbeito and Tina Finkelman Berkett, the program spans three weeks and boasts an impressive lineup of guest choreographers like Herrera. The goal? Not merely achieving technical improvement or expanding a dancer’s repertoire, but sparking artistic transformation.
“In my early training, I was a bunhead, so I did a lot of ballet intensives,” says Barbeito. “I wanted to veer in the opposite direction. We want to cause breakthroughs for the participants—mental, physical and emotional.”
A Different Dynamic
The approach appears to be working. The number of applicants tripled last year (the program’s third) to 250. About 10 percent are accepted. The increased interest can be traced to BODYTRAFFIC’s mounting success as a repertory company since its founding in 2007 by Barbeito and Berkett. The intensive attracts dance majors and professionals who range in age from 18 to mid-50s, though the majority are 20 to 25.
Countertechnique teaches mindfulness and body awareness. Photo by Guzman Rosado, courtesy BODYTRAFFIC.
Barbeito has made Countertechnique a major component of the intensive. She studied the approach, which uses counter-directions in all movements, at choreographer Anouk Van Dijk’s intensive in Amsterdam and came away enthralled by its focus on shifting dynamics, mindfulness and body awareness. “I started the intensive partly because I really wanted to introduce Countertechnique to the Los Angeles community,” says Barbeito, one of only 20 certified Countertechnique instructors in the world. “That also carries over into how I curate the guest artists—we want to bring in artists who are at the forefront of what’s happening now in dance.” To date, those guest artists have included Peter Chu and Adam Barruch, as well as choreographers who’ve created work for BODYTRAFFIC, like Kyle Abraham and Sidra Bell. Last year’s slate included Herrera, of Miami-based Rosie Herrera Dance Theatre; Ayman Harper, a Berlin-based choreographer and former Forsythe Company member; and Chris Evans, who’s danced with Hofesh Shechter Company and is his assistant choreographer for Fiddler on the Roof.
Building, Exploring, Creating
The intensive is broken down into three separate weeks—last summer, the first was led by Evans, the second by Barbeito and Berkett, and the third by Harper and Herrera. Though each week has a different schedule, common threads include technique and improvisation (about one and a half hours per day), repertory sessions (anywhere from two to four and a half hours per day) and time for exploration and creation (up to four hours per day). “We want to give them space to create their own solos, duos and trios,” says Herrera. “It’s all about helping the dancers have a profound experience in a short amount of time.”
Participants get a chance to learn not only pieces of BODYTRAFFIC repertory, but also repertory from the guest artists’ companies. For instance, Harper taught William Forsythe repertory with a focus on structured improvisation, while Herrera workshopped excerpts from Make Believe, a soon-to-premiere work.
“I was really attracted to the variety,” says 22-year-old Alexandra Lockhart, a recent SUNY Purchase graduate and repeat participant. “These aren’t opportunities you get on a daily basis.” Adds fellow student Amanda Sachs, “It feels like three mini-intensives inside the bigger BODYTRAFFIC bubble.”
There’s also a fair share of interpersonal activities, such as a “Lunch on the Lawn” question-and-answer session with BODYTRAFFIC members and a sit-down dinner with the guest artists. At the end of each week, dancers get to share what they’ve learned with an intimate studio showing. For many participants, the opportunities to interact with the visiting choreographers provide a great foundation for building relationships that last far beyond the intensive.
And for those who excel, their efforts can pay off with a job. Last summer, Barbeito and Berkett invited two participants to come back for extended auditions. “We look for people who are fearless and open-minded, superb technicians with an engaging presence,” says Barbeito. “It’s also about personality—who do we want to be in the room with for six days a week from 9:30 to 5:30?”
For Sachs, who currently dances with New York City–based Francesca Harper Project, the professional connections have been as important as the opportunity to expand her range as a dancer. “These are the people,” she says, “who are leading us where we’re going next in the dance world.”
Online video game Fortnite is involved in serious controversy over its "emotes" dance feature. Even if you're not a gamer, this is a case choreographers should keep close tabs on. Here's why.
Let us quickly introduce you to Fortnite Battle Royale: The video game sprung up in September 2017 and has grown to insane levels of popularity. It's free to play and features 100 users duking it out to be the last person standing. But here's the catch: If you want to get ahead, you have to make in-game purchases, trading real money for V-Bucks, which you use to redeem things like weapons.
So what's it got to do with dance? A whole lot. One of Fortnite's most popular—and lucrative—features is its emotes, animated dances that users can purchase to perform on the battlefield. Many are taken directly from pop culture, and Fortnite's developer, Epic Games, is in the midst of a heated lawsuit regarding its Swipe It emote. After much public debate, rapper 2 Milly filed a suit last week claiming that Epic Games stole—and is now largely profiting from—the Milly Rock, a dance move he created and popularized, without his permission. Take a look:
It's the 60th anniversary of the Alvin Ailey American Dance Theater, and their season at New York City Center is going strong with more than 20 works—including world premieres and company premieres.
Ronald K. Brown, who just received a Dance Magazine Award, has made his seventh work for Ailey, The Call. It's a gorgeous pastiche of three different types of music: Bach, jazz by singer Mary Lou Williams and Malian music by Asase Yaa Entertainment Group.
If a teacher or choreographer has ever commented that your dancing looks stiff, the problem could be that you aren't breathing effectively. "When dancers aren't breathing, their shoulders are up and there's no length in their movement. They start to look like they're just waiting to get to the next thing," says Maria Bai, artistic director of Central Park Dance in New York.
It may seem like a no-brainer—of course you can't move without breathing. But beginning dancers often hold their breath because they are so focused on picking up choreography, says Sarah Skaggs, director of dance at Dickinson College. Even advanced dancers can benefit from focusing more on their breath. "Sometimes they are paying so much attention to what their limbs are doing that they forget about the lungs, the chest, the trunk. Breath is the last thing they're thinking about, but really it should be the first," says Skaggs. The more integrated your breathing is, the more relaxed and present you will feel.
I've been a fan of Jordan Isadore's for about a decade. His gorgeous, spine-contorting renditions of Christopher Williams' repertory are legendary, and for many years I had the privilege of making dances with him and producing his works through DanceNOW[NYC].
Over the last year or so, as he began winding down his performance career, Isadore began making odd, phenomenal objects: dribs of Labanotation scores rendered as hung mobiles, gorgeously crafted in stained glass and metal. The designs are stunning, imbued simultaneously with a hipster-nonsense contemporaneousness and reverence for dance history.
I spoke with Isadore about his retirement from the stage, and transition to crafting full time.
There's always that fateful day each year, usually in February or March, when ballet contracts are renewed. Dancers file into an office one by one, grab an envelope and sign their name on a nearby sheet of paper to signify the receipt of their fate. Inside that envelope is a contract for next season or a letter stating that their artistic contribution will no longer be needed. This yearly ritual is filled with anxiety and is usually followed by either celebratory frolicking or resumé writing.
Whenever I received my contract, I would throw up my hands joyfully knowing that I would get to spend one more year dancing. In 14 years at Boston Ballet, I never once looked at my pay rate when signing a contract. The thought of assessing my work through my salary never crossed my mind.
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Watching Bohemian Rhapsody through the eyes of dancer, there's a certain element of the movie that's impossible to ignore: Rami Malek's physical performance of Freddie Mercury. The way he so completely embodies the nuances of the rock star is simply mind-blowing. We had to learn how he did it, so we called up Polly Bennett, the movement director who coached him through the entire process.
In a bit of serendipitous timing, while we were on the phone, she got a text from Malek that he had just been nominated for a Golden Globe. And during our chat, it became quite clear that she had obviously been a major part of that—more than we could have ever imagined.
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
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:
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
Each year, The New York Times Magazine shines a spotlight on who they deem to be the best actors of the year in its Great Performers series. But, what we're wondering is, can they dance? Thankfully, the NYT Mag recruited none other than Justin Peck to put them to the test.
Peck choreographed and directed a series of 10 short dance films, placing megastars in everyday situations: riding the subway, getting out of bed in the morning, waiting at a doctor's office.
On busy performance days, international guest artist Joy Womack always makes time for one activity after class and rehearsals: a nap. "I like to feel well-rested when I need to be in the spotlight at night, not dragging at the end of the day," she says. "It helps me recover and refocus."
With her earbuds tuned to a guided meditation app, she can squeeze in a nap wherever she needs to. "One time I even took a nap on the floor of the tour bus in Siberia," she says. "Dancers can sleep anywhere."
Joy Womack prioritizes napping before a show. Photo by Quinn Wharton for Pointe magazine.
As research has revealed the benefits of short daytime naps, power-napping advice has proliferated, and more dancers are choosing to include a nap in their pre-performance routines. Approaching napping strategically will help you get the most out of an afternoon snooze.
On Monday night, a memorial was held at Riverside Church to honor the life and achievements of Dance Theatre of Harlem co-founder Arthur Mitchell. With nearly three months to process and grieve (Mitchell passed away on September 19) the atmosphere was not that of mourning as much as reflection, reverence and admiration for who he was, what he built and what remains. (Watch the full livestream here.)
The church filled with family, artistic friends, fans and admirers. What was most gratifying was the volume of DTH alumni from the school, company and organization who traveled across the globe to pay their respects, from founding members to present dancers and students. The house of worship was filled with the sentiment of a family reunion. As Mitchell was sent home, it was a homecoming for many who have not shared air together in decades. What was palpable was the authentic bonds that Dance Theatre of Harlem and Mitchell fostered in all.
It's become a colloquialism—or, we admit, a cliche—to say that dance can heal.
But with a new initiative launched by British Health Secretary Matt Hancock, doctors in the U.K. will soon be able to prescribe dance classes—along with art, music, sports, gardening and more—for patients suffering from conditions as various as dementia, lung problems and mental health issues.
If the news about the upcoming CATS movie has your head spinning, we're right there with you. It seems like every week we have a bit more to share about the new film adaptation, which is set to release in December 2019. So, in order to keep it all straight, we present you with our master list of everything we know—our version of "The Naming of Cats," if you will. We'll add updates as they emerge.
A list of Clara alumnae from Radio City's Christmas Spectacular reads like a star-studded, international gala program: Tiler Peck and Brittany Pollack of New York City Ballet (and Broadway), Meaghan Grace Hinkis of The Royal Ballet, Whitney Jensen of Norwegian National Ballet and more. Madison Square Garden's casting requirements for the role are simple: The dancer should be 4' 10" and under, appear to be 14 years old or younger and have strong ballet technique and pointework.
The unspoken requisite? They need abundant tenacity at a very young age.
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.
Gennadi Nedvigin is not the only early tenure director breaking out a new production of The Nutcracker this season.
We love The Nutcracker as much as the next person, but that perennial holiday classic isn't the only thing making its way onstage this month. Here are five alternatives that piqued our editors' curiosity.
The Nutcracker is synonymous with American ballet. So when Gennadi Nedvigin took the helm at Atlanta Ballet in 2016, a new version of the holiday classic was one of his top priorities. This month, evidence of two years' worth of changes will appear when the company unwraps its latest version at Atlanta's Fox Theatre Dec. 8–24. Choreographed by Yuri Possokhov and produced on a larger-than-ever scale for Atlanta, the new ballet represents Nedvigin's big ambitions.
Ballet Hispánico returns to the famed Apollo Theater in Harlem with its full-length ballet, CARMEN.maquia. Spanish choreographer Gustavo Ramirez Sansano has reenvisioned the story of Carmen to emphasize Don José, the man who falls in love with Carmen, suffers because of her infidelity, then murders her in a "fit of passion." Their duets are filled with all the sensuality, jealousy and violence you could wish for—in a totally contemporary dance language.
Sansano's previous piece for Ballet Hispánico, El Beso, bloomed with a thousand playful and witty ways of expressing desire. He has a knack for splicing humor into romance.
Not being able to attend the in-person audition at your top college can feel like the end of the world. But while it's true that going to the live audition is ideal, you can still make the best out of sending a video. Here are some of the perks: