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The Trocks Are Reaching LGBTQIA Youth & Elders Through Dance
Over the last 40 years, Les Ballets Trockadero de Monte Carlo has become known for farcical versions of classical ballets, with the majority of the all-male company donning full drag, including hair, makeup, tutus and pointe shoes. But recently, the Trocks have found new purpose in an educational outreach program the company piloted this summer at advocacy organizations including the Ali Forney Center, which focuses on empowering homeless LGBTQIA youth and SAGE, which assists older LGBTQIA adults.
Artistic director Tory Dobrin explains the motivation for the recent venture: "Even though we are based in NYC, we haven't had much presence here for many years—our Joyce Theater season is only every two years. But when we hit 40, we realized that the Trocks do have a specific legacy and place in NYC's LGBT history, and it is one we can continue even when the company is on tour." Over the years, the company has been a beacon within LGBT culture, due to its emphasis on drag performance.
Trocks alum Roy Fialkow, along with current company members, have created a workshop that combines dance history, choreography and performance. Sometimes, they show videos as a crash course on dance history and to demonstrate the importance of individuality in dance. The workshops center on teaching a ballet warm-up, followed by choreography from "The Dying Swan."
Fialkow has a background as an adaptive physical education teacher, and is well-versed in teaching movement to participants with widely differing physical capabilities. He stresses the importance of a holistic approach and a physically and emotionally safe space, so participants feel comfortable experimenting with challenging choreography. In one case, a blind participant has been able to take part in the workshops, with the help of an additional educator to ensure safety.
Participants are encouraged to modify movements when appropriate; even observing from the sidelines and offering constructive feedback is considered a viable form of participation. Adventurous attendees may eventually flex their choreographic muscles as well, as workshop content expands to encompass subjects like dance-making and ballet mime.
The hope is that participants build a sense of community and trust during the workshops, and perhaps choose to incorporate more creativity in other areas of their lives, develop a new sense of self-worth or just enjoy using their mind and body in new ways. And the Trocks, in addition to teaching the choreography, make themselves available as a positive image within the LGBTQIA community, especially for their younger participants. "This is who we are. We haven't given up our identities, and we are making our way in the world like this. So, it gives them a positive role model," says Fialkow.
Dobrin says there is a possibility to expand the workshops: "We are hoping that we can take them to the communities where we tour. Eventually, we would like to have a structure in place where we can send someone out to do these workshops separate from the rest of the company. But we want to be sure we are doing it right, so for now, we are keeping it small."
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.