Zachary Whittenburg spent ten years as a professional dancer with companies including Hubbard Street Dance Chicago, BJM Danse Montréal and Pacific Northwest Ballet. He has presented choreography in Chicago and Canada and taught ballet and improvisation. Formerly manager of communication at Hubbard Street Dance Chicago, he now serves on the board of Chicago Dance History Project and as an advisor at High Concept Labs.
Indya Moore as Angel in "Pose." Photo by JoJo Whilden, Courtesy FX
Last summer, the FX television series "Pose" served us a debut season which, over eight episodes, grew from a splashy echo of the seminal vogueing documentary Paris Is Burning into an affecting portrait of one of the most marginalized, most vulnerable, most creative communities in New York City in the late 1980s.
Malpaso Dance Company in Cunningham's Fielding Sixes. Photo by Nir Ariel, Courtesy Richard Kornberg & Associates
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.
Camille A. Brown (top) in her BLACK GIRL: Linguistic Play. Photo by Sharen Bradford, The Dancing Image; Courtesy Brown
Compare the gestation of new works across the performing arts and you'll find an ingredient mostly missing in concert dance that's occasionally used in opera and relatively common with plays and musical theater: the preview period. Ranging from a few days to, in the case of Spider-Man: Turn Off the Dark, a record-breaking 182 performances, previews provide extra time for fine-tuning shows after tech and dress rehearsals but before critics can review. (Previews are open to the general public, often at discounted prices.)
Crystal Pite, photo by Michael Slobodian, courtesy Kidd Pivot
She may not be the first choreographer to claim that movement is her first language, but when Crystal Pite says it, it's no caveat: She's as effective and nuanced a communicator as the writers who often inspire her dances.
Her globally popular Emergence, for instance, was provoked in part by science writer Steven Johnson's hypotheses; The Tempest Replica refracts and reimagines Shakespeare. Recently, her reading list includes essays by fellow Canadian Robert Bringhurst, likewise driven by a ravenous, wide-ranging curiosity.
Bereishit Dance Company had to cancel North American performances in 2017 due to a visa issue. Photo by Sanghun Ok, courtesy Bereishit.
In late March, The Joyce Theater's annual gala performance included a last-minute substitution: Blueprint, by choreographer Pam Tanowitz. The trio took the place of Sidi Larbi Cherkaoui's Faun, after two Paris Opéra Ballet dancers were unable to secure visas to appear onstage in the U.S.
"It was a shock," says Linda Shelton, executive director at The Joyce Theater. "In all 25 of my years here, I think we'd only been turned down once before. That was ages ago andwe already had a feeling that dancer wouldn't be approved anyway, because of an issue with their passport. This was just a big, big surprise."
Crystal Pite rehearsing at National Ballet of Canada. Photo by Karolina Kuras, courtesy NBoC
Crystal Pite is a busy woman.
While her company, Kidd Pivot, toured the globe recently performing Betroffenheit—its acclaimed collaboration with Jonathon Young and fellow Canadians Electric Company Theatre—Pite herself launched three productions at three of the world's foremost dance companies: Nederlands Dans Theater (The Statement, February 2016), the Paris Opéra Ballet (The Seasons' Canon, fall 2016), and London's Royal Ballet (Flight Pattern, spring 2017).
Brian Brooks snaps a selfie with Miami City Ballet dancers. Photo by Alexander Iziliaev, Courtesy MCB
The inaugural choreographer in residence at Chicago's Harris Theater for Music and Dance has a lot of stretching to do. In the first year of his three-year tenure, Brian Brooks has worked with Hubbard Street Dance Chicago's main company and pre-professional dancers; advanced students from the Chicago Academy for the Arts; with street percussionists The Chicago Bucket Boys; his own New York City–based ensemble; and teachers from Chicago Public Schools. Next up is Miami City Ballet, which premieres the Harris Theater–commissioned One Line Drawn February 9–11, March 2–4 and March 17–18.
You've gone back and forth to Miami a few times now. How much time have you had on this project?
We did most of the work over the summer, plus two other short periods: one in January and one the week of the premiere. We're mostly finished, but I'm still editing, clarifying, shaping.
Brooks leads rehearsal at Miami City Ballet. Photo by Alexander Iziliaev, Courtesy MCB
Sterling Baca rehearsing Joshua Beamish's Giselle. Photo by Frederick Charles, courtesy Beamish
At a hip-hop event in Dakar, Senegal, Onye Ozuzu, dean of the School of Fine and Performing Arts at Columbia College Chicago, noticed a move that looked familiar.
"I had just come from seeing Don Campbell at a festival in Colorado, where he was talking about locking and the way people used to point at each other," she says. "At this b-boy battle in Dakar, I remember watching the points happen, but they were all loose in the wrists. The dancers weren't pointing at anything specific. I remember thinking, Oh, that's what happens when you learn something off of YouTube."
As early as 2001, hard-core dance fanatics with digital-media skills—not exactly a huge group of people—could swap rare dance videos using peer-to-peer sites like Kazaa. But it was four years later on Valentine's Day that www.youtube.com went live, and a vast repository of hidden dance history began circulating worldwide.
Klock in William Forsythe's Quintett. Photo by Todd Rosenberg, Courtesy Hubbard Street Dance Chicago
Densely dimensional, unpredictable, strangely graceful and wild, Alice Klock's dances are like elegant ribbons caught in hopelessly tangled knots. In 2018, she'll choreograph more works than she did the year before, extending a trajectory that's continued throughout her still-brief career.
Patron saint of queer quirk and founder of Los Angeles studio The Sweat Spot, Ryan Heffington first made headlines three years ago as the choreographer of "Chandelier," a music video for Sia starring Maddie Ziegler with a combined view count of more than 1.5 billion. Last year, Heffington both broadened his range and reinforced his brand, contributing to the frankly sexual short film for "Worship" by U.K. pop trio Years & Years, collaborating with director Spike Jonze and dancer-actress Margaret Qualley on a cinematic short to launch KENZO's World perfume, and reuniting with Sia and Ziegler for "The Greatest" featuring Kendrick Lamar.
But the most effective vehicle for his idiosyncratic creative voice so far might be the polarizing Netflix series The OA. Heffington's compulsive tendencies to choreograph facial expressions and give discrete actions priority over cohesive phrasing are well-suited to screen actors without much dance experience. Whether the show's second season includes as much dance as its first remains to be seen; either way, chances are good that Heffington himself will remain busy.
It isn't every day—or year, or even decade—that a dedicated choreography incubator opens its doors. As founding executive/artistic director at the National Center for Choreography at the University of Akron, Christy Bolingbroke says, "I have an opportunity to locate dance in a research and development environment, and reinforce the fact that what a choreographer does is not all that different from a scientist in a laboratory."
The first executive director in New York City Ballet's history is also the executive director of its home, the David H. Koch Theater. Which means Katherine E. Brown oversees a 141-person staff and an annual budget of about $90 million.
Under her leadership, NYCB has never been more accessible. It consistently puts out shareable videos and snapshots of the company's work to an online audience of more than a million, while partnerships with mainstream brands like Puma bring its otherworldly artists down to Earth.
"It's important we communicate how the company is forward-thinking, doing interesting things out there in the world, not just cloistered away at the theater," says Brown. "I'd like to think we're removing some of the obstacles people feel in accessing this art form, without affecting in any negative way the artistic vision of the company."
From dancers to presenters to directors, no one in dance is exempt from the task of building an audience. But keeping up with email, social media and other marketing efforts can chip away at precious time spent honing your craft. Add in the fear of coming across as vain or self-absorbed, and it can be hard to know how to begin.