What will it take to build more female leaders in ballet?
Dr. Linda Hamilton, the creator of Dance Magazine's longstanding advice column, Advice for Dancers, interviews New York City Ballet star Ashley Bouder about her work on the Ashley Bouder Project and the ways in which she's fighting for more female leadership in the ballet world.
This video is the first in Dr. Hamilton's new video series tackling the most current, newsworthy and controversial topics in dance.
Every year, the DANCE NOW Festival challenges artists working in various genres to choreograph a clear and complete piece, no longer than five minutes, for the tiny stage at Joe's Pub. But walking into a rehearsal for ZviDance's festival submission, you would never know the company was preparing for a performance in a smaller space.
As dancers Alex Biegelson and Chelsea Ainsworth rehearse an excerpt from Zvi Gotheiner's LIKE, they never shy away from expansive movements, wrapping around one another and lifting each other off the ground, sometimes upside down. However, Gotheiner and his dancers say they are excited to present the duet in an intimate space, as the audience will have the opportunity to experience the subtle nuances of the pair's onstage relationship.
DANCE NOW Festival at Joe's Pub, September 4-7
What does waacking actually involve? We got waacking queen Samara Cohen, aka Princess Lockerooo, to break down a basic arm combination from the disco-inspired style.
Set in an abandoned factory in Germantown, Philadelphia, "JUNKSPACE" features excerpts from Tori Lawrence + Co.'s latest site-adaptive work of the same name. Performers can be seen doing pedestrian movements, such as closing a door or moving a chest, intertwined with intricate phrase work.
Choreographer/Director: Tori Lawrence
Dancers/Collaborators: Ellie Goudie-Averill, Taryn Griggs, Jungwoong Kim, Jenna Riegel
Live Music: Cole Highnam, Seth Wenger
Costume: Kaori Chiappetta
Set Design: Tori Lawrence
Sound Design and Carpentry: Seth Wenger
Rehearsal Director: Ellie Goudie-Averill
"Don't Miss It" features dancer Teddy Tedholm in a video that simulates editing glitches to heighten musicality.
After joining the Paul Taylor Dance Company in 2010, Michael Novak quickly became a critic's favorite for his quiet power onstage. But no one was more surprised than Novak when Taylor tapped him to be his successor last year, three months before the legendary choreographer died. Dance Magazine recently caught up with Novak during the company's appearances at the Orchestra of St. Luke's Bach Festival.
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Florian Lochner and Alice Klock met while dancing with Hubbard Street Dance Chicago. They quickly became best friends and roommates, and in 2017 started a company called Flock. Together they create and perform their own work, teach as a team, create new pieces on schools and companies, and produce their own shows in the U.S. and abroad. Dance Magazine recently followed Alice and Florian for a day as part of our "Behind the Curtain" web series.
FLOCK | Behind the Curtain | Dance Magazine www.youtube.com
Directed and choreographed by Tislarm Bouie, "Peggy Sue's Blues" features dancer Tatiana Barber portraying a mother struggling with addiction and the toll it takes on the loved ones around her.
Peggy Sue's Blues youtu.be
"If I Didn't Care" choreographed and directed by Liz Bustle, tells the story of a couple stuck in their own ways and trying to find a common ground. The quirky choreography, danced by Kate Coleman and Luis "L.t." Martinez, parallels the light-hearted nature of Connie Francis' title track.
Submit to our May contest here.
Congrats to "Breton Afternoon" directed by Katie Sadler. This video depicts dancer Tamisha Guy improvising in a sunstreaked room at the historic Hendrick I. Lott House to music by Andrew Cooke. This video is part of Monticello Park Productions' Campfire Poetry Project based on poems by Ernest Christopher Dowson.
This minimalistic video by Kathy Escobar features Marion-Skye Brooke Logan dancing around a dark studio through a blend of classical ballet and modern movements. Often she appears to be reveling in her instinctive contractions and repetitive bourrée. Other times it is as if she is battling something from within. The music is Violin Concerto Mouvement. IV by Unsuk Chin played by Viviane Hager.
“Eomeoni" by Marion-Skye youtu.be
Submit your video to our February contest here.
In the early 1960s, a group of dancers started questioning the existing rules of choreography. Influenced by John Cage, they created dances that were startling in their simplicity and risk-taking. Yvonne Rainer, Steve Paxton, Trisha Brown, David Gordon, Deborah Hay, Elaine Summers and Lucinda Childs were all part of this group. Most of them had studied or danced with Anna Halprin or Simone Forti. Visual artists like Robert Rauschenberg and Alex Hay were part of this cauldron of experimentation as well as composer Philip Corner.
The Museum of Modern Art has mounted an expansive exhibit called "Judson Dance Theater: The Work Is Never Done." It gathers photos, artwork, scores, objects and films that bring the period alive. If you get there before January 16, you'll see the films of Brown's early work. Her piece Walking on the Wall was so disorienting that it was almost hallucinatory. (Actually, this film and most of the Brown pieces are from the 70s.) Playing with perception was a big part of the Judson and post-Judson eras.
In a sun-soaked studio in Manhattan, members of the Martha Graham Dance Company (all women) lie on the floor with their feet and heads hovering off the ground. Choreographer Bobbi Jene Smith encourages the dancers to be unapologetic about being looked at as their bodies begin to tremble with exhaustion and they move into a new formation.
This exciting collaboration between b-boy Jegor Gordejev, aka Ego, and composer Andrey Zhilsky takes us on a journey of movement and music. The video features Gordejev and Zhilsky creatively break-dancing around a stark white room with guitars.
It's the 60th anniversary of the Alvin Ailey American Dance Theater, and their season at New York City Center is going strong with more than 20 works—including world premieres and company premieres.
Ronald K. Brown, who just received a Dance Magazine Award, has made his seventh work for Ailey, The Call. It's a gorgeous pastiche of three different types of music: Bach, jazz by singer Mary Lou Williams and Malian music by Asase Yaa Entertainment Group.
Ballet Hispánico returns to the famed Apollo Theater in Harlem with its full-length ballet, CARMEN.maquia. Spanish choreographer Gustavo Ramirez Sansano has reenvisioned the story of Carmen to emphasize Don José, the man who falls in love with Carmen, suffers because of her infidelity, then murders her in a "fit of passion." Their duets are filled with all the sensuality, jealousy and violence you could wish for—in a totally contemporary dance language.
Sansano's previous piece for Ballet Hispánico, El Beso, bloomed with a thousand playful and witty ways of expressing desire. He has a knack for splicing humor into romance.
As all bunheads know, there's so much more to dancing on pointe than sewing and bourées. In this new video, The Australian Ballet lays it all out for us, from A-Z. Or rather from "Arch" to "Zzzzzz's." Using a super fast-paced style, this four-and-a-half minute long video skips back and forth between ultra-sleek minimalism and sepia-toned nostalgia. Both educational and insider-y (see "cashews" at 0:54), this video includes some gorgeous shots (Apollo-inspired arabesques at 2:00) interspersed with quirky humor (note adorable pointe shoe bed at 3:53).
Recently, he's been posting clips of Gelsey Kirkland rehearsing Don Quixote, most likely taken a couple years after she joined American Ballet Theatre. You can watch her breaking down each step, working with her ballet coach David Howard as well as a flamenco coach, and giving herself notes by speaking directly to the camera.
Froman says the full footage is about an hour long (he acquired it a couple decades ago when he was still dancing for New York City Ballet). "When watching the entire disc, what becomes obvious is the inexhaustible, obsessive detail work," he wrote me in an email. "She sets the bar extremely high and I'm not sure she was ever equaled. All that Balanchine technique is still alive in her body, and she's very good to bring all the flamenco influences into her interpretation."
Many choreographers use spoken word to enhance their dance performances. But the Campfire Poetry Movement video series has found success with a reverse scenario: Monticello Park Productions creates short art films that often use dance to illustrate iconic poems.
When Arthur Pita brought his Metamorphosis to the Joyce in 2013, The Royal Ballet's Edward Watson played the man who becomes a cockroach in Franz Kafka's famous story. He was slithery, spiky and sticky, and the creepiness factor loomed large. It was like the performers and audience were trapped in this brilliantly bizarre nightmare together.
Known as "the David Lynch of dance," Arthur Pita brings his new work, The Tenant, to The Joyce from November 6–11. Based on the surrealist novel by Roland Topor and the subsequent 1976 film, Pita's Tenant stars American Ballet Theatre's James Whiteside. Readers of Dance Magazine know from Whiteside's cover story that he is a maverick who will try anything. In The Tenant, a young man moves into an apartment where the previous renter, a woman, jumped out the window to her death. He becomes obsessed with her and starts to transform into her. The woman is played by ABT soloist Cassandra Trenary, and a third character, a kind of guardian, is played by Kibrea Carmichael.
The Metamorphosis was unforgettable when it came to the Joyce five years ago, so we have high hopes for The Tenant.