Associate editor Rachel Rizzuto is originally from Chalmette, Louisiana. She dances for MMDC and heads her own project-based company, touche pas. A graduate of the University of Southern Mississippi with degrees in dance and English, she edits the Face to Face, Higher Ed, Technique, Theory & Practice and Business columns. Contact her at rrizzuto@dancemedia.com.
You know compelling musicality when you see it. But how do you cultivate it? It's not as elusive as it might seem. Musicality, like any facet of dance, can be developed and honed over time—with dedicated, detailed practice. At its most fundamental, it's "respect for the music, that this is your partner," says Kate Linsley, academy principal of the School of Nashville Ballet.
Jumping might seem like something you're either a natural at or that you'll never master. "She's a jumper," you might hear someone say about another dancer with a beautiful grand jeté—and assume, in turn, that you're not. But how high you leap—and how quickly and easily you do it—is actually a skill that you can build with practice.
Sometimes it's just not your night. You might have warmed up perfectly, sewn every superstitious stitch into your pointe shoes and reviewed your choreography until you could do it—and have, in fact, done it—in your sleep. But despite your best-laid plans, some performances are simply disastrous. You wipe out. You blank. You crash into other dancers. (Or scenery.)
That's not to say these indelible moments onstage are without silver linings. These five performers gleaned what they could from their worst performances.
Though the first dance degree was awarded more than 85 years ago, the focus of dance programs in higher education has stayed, for the most part, pretty much the same: Western dance forms dominate curriculums across the country, with ballet and modern classes reigning particularly supreme.
Over the last several years, however, some colleges have begun thinking critically about what kind of dance they're teaching—and how they teach it. They're ushering in a new wave of dance in higher ed, with the hope that their approach—bringing African diaspora and urban forms to the fore, forging connections with other fields, degendering ballet—might be a catalyst for others.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
As a dancer with hemiplegia cerebral palsy, Jerron Herman has never been far from the physical therapy room—or an occupational therapist or some kind of medical interventionist. "I'm almost always in deep conversation with that kind of practitioner," says Herman, who performs with Heidi Latsky Dance.
It's part of keeping his body ready to dance—and to move throughout his daily life. Herman shared his routine with Dance Magazine.
The French definition might translate to "shouldering," but épaulement is actually much more than that. "It's not just a superficial turn of the shoulders—it creates energy from the inside out," says Marisa Albee, faculty member at the Pacific Northwest Ballet School. It's also what can elevate technically proficient dancing to something nuanced, dynamic and truly exciting. "Think of épaulement as the punctuation at the end of a sentence," says Brooke Moore, a faculty member for BalletMet's trainee program. "The head and the eyes are the exclamation point!"
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Sebastian Abarbanell remembers being asked as an undergrad at Trinity Laban in London to perform wearing only a dance belt. "I said no," he says, "because I felt uncomfortable." Now a performer with Sidra Bell Dance New York, he's performed partially nude several times, without reservation. The difference? "It comes with more experience and maturing as a dancer," he says. "When you see a dancer living in their skin, you don't need to put anything else on them. When I said no in college, I wasn't in my skin yet."
Getting in your skin—and getting comfortable wearing only your skin onstage—requires a particular alchemy of vulnerability, agency, preparation and practice.
Balanchine and Stravinsky. Cunningham and Cage. Graham and Copland. Twentieth-century dance was dotted with memorable partnerships between musicians and choreographers that wrought magical, full-bodied, brilliant works.
Today's composer-dancemaker duos, though, have gone in a decidedly different direction. In ever-growing numbers, mainstream musicians are this century's dance collaborators. Sufjan Stevens has aligned himself with New York City Ballet's Justin Peck; Bon Iver's brought his signature indie folk to Minnesota contemporary troupe TU Dance; and even Sia's getting in on the act, working with Akram Khan on a dance theater piece premiering this summer.
What is it that's drawing pop artists to the dance floor?
Whether you're learning a new style, warming up for a performance or just want to take class when you can't make it to the studio, online dance training platforms are an ever-growing option for dancers of all genres and skill levels. And though they should never replace your live training, they can be a convenient—and hopefully valuable—supplement. Here are the best options available today:
Dance technology has come a long way from ballet variations painstakingly learned by watching fuzzy VHS tapes. Over the last few years, a dizzying number of online training programs have cropped up, offering the chance to take class in contemporary, jazz, ballet, tap, hip hop and even ballroom from the comfort of your own living room or studio.
