Nicole Loeffler-Gladstone is an editor, writer and dance artist based in NYC. She co-produces The Bunker Presents, a roving performance series showing the most interesting contemporary dance in the most unusual settings. Photo by: Grace Courvoisier
Audrey Rachelle recommends not drawing on personal experience when performing difficult roles. Aeric Meredith-Goujon, Courtesy Rachelle
Even though it's been a year since he took his last bow in the piece, Kidd Pivot dancer Jermaine Maurice Spivey still feels the aftermath of touring in Crystal Pite and Jonathon Young's Betroffenheit. The harrowing piece chronicles Young's own journey through tragedy, with dancers embodying his grief, trauma, guilt, addiction, euphoria and glee. "We endured an emotional negotiation each night because of how much the show cost. It was a weird kind of dread, because you wanted to pay the full cost. Otherwise you couldn't do the show justice."
Dance psychologist JoAnne La Fleche says there's little research on the emotional fallout from challenging performances like Betroffenheit, but dancers with poor self-care may be at risk of developing secondhand trauma or PTSD-like symptoms. These can range from fatigue, anxiety and depression to flashbacks and panic episodes.
Jody Sperling dancing on ice in the Chukchi Sea. Photo by Maria Pisareva, courtesy Sperling.
A dance performance and rising carbon dioxide emissions might seem to have little to do with one another. But choreographers may be able to influence climate action in unexpected ways. The physical, interpersonal nature of dance has the unique ability to transform people's understanding of the world around them. Movement can lay the foundation for a sense of connection with the earth.
"The problem is getting people to act on what they know," says Jill Sigman, director of New York City–based jill sigman/thinkdance. How, then, to mobilize that action through dance? Six choreographers tackling environmental issues share their approaches.
A production of Aida choreographed by Jessica Lang. Photo by Cory Weaver/San Francisco Opera
For many choreographers, opera is a mysterious world. Though operas often employ concert dance choreographers, they operate on an entirely different scale than most dance productions, and pose new challenges for dancemakers. Here's what you need to know to tackle your first production.
Matthew Neenan used images of silencing and control in let mortal tongues awake. Photo by Bill Herbert.
From coast to coast, choreographers have spent the first year of Donald Trump's presidency responding to the impact of his election and what it means for them as artists.
New York City's Dante Brown used rubber Trump masks in his work Package (revamped),which examines the monstrosities of power.
A video titled "Dancers vs. Trump Quotes" went viral last summer, showing dancers taking Trump's "locker-room" talk to task.
Alexis Convento, lead curator of the New York City–based Current Sessions, dedicated a whole program to the concept of resistance, while educator and interdisciplinary artist Jill Sigman has initiated a workshop called "Body Politic, Somatic Selves," as a space for movement research around questions of support, activism and solidarity.
In San Francisco, choreographer Margaret Jenkins facilitated a panel of artists about the role of activism within their work.