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 email@example.com.
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!"
Umi Akiyoshi Photography, Courtesy Sidra Bell Dance New York
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.
Glenn Kotche of Wilco created and performed the score for Danielle Agami's calling glenn. Photo by Cheryl Mann, courtesy Ate9
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?