Physical expression, humor, intensity—Gallim Dance takes these facets of performance way past the bounds of what’s comfortable or expected, with engrossing results. The company brings director Andrea Miller’s hilarious Pupil Suite and Mama Call, which draws inspiration from Miller’s Sephardic-American roots, to Wesleyan University Center for the Arts Feb. 8–9 and Temecula, CA, March 22–23. Sit, Kneel, Stand, with its star turn for “25 to Watch” Jonathan Royse Windham, will be performed at Georgia State University on Feb. 16. www.gallimdance.com.
Miller’s Pupil Suite. Photo by Franziska Strauss, Courtesy Wesleyan.
Set Design Swagger
Crashing waves, starry skies, and laser shows will hit the REDCAT stage on Feb. 14–16 as Japanese dancer/ choreographer Hiroaki Umeda aims to dazzle viewers with both technological effects and his choreography, a mix of hip-hop, ballet, and butoh. Umeda, who plans these effects on his laptop, will also take the two works, Haptic and Holistic Strata, to the Wexner Center in Columbus, OH, Canadian Stage in Toronto, and New York Live Arts. www.hiroakiumeda.com.
Umeda’s Holistic Strata. Photo courtesy Yamaguchi Center for Arts and Media.
Bursting with energy, the New Zealand–based Black Grace embarks on a two-month North American tour. Making its Portland debut at White Bird on Feb. 19, the company performs a smattering of works including the full-length Waka. Packing power into skilled manipulations of the body, these dancers, led by artistic director Neil Ieremia, can be seen in Seattle; Pittsburgh; Saint Paul; Victoria, Canada; and Northridge, CA. www.blackgrace.co.nz.
Carl Tolentino and Thomas Fonua. Photo by Duncan Cole, Courtesy White Bird.
Rhythm and Soul
Performances, master classes, and other special events abound in San Francisco and Oakland this month as the 2013 Black Choreographers Festival marks its ninth year. Bay Area–based dancemakers Gregory Dawson, Raissa Simpson, and Colette Eloi, among others, will present work along with notable out-of-towners such as Camille A. Brown. A celebration of the 40th anniversary of Oakland’s Dimensions Dance Theater stands out among the two weeks of festival activities. www.bcfhereandnow.com.
Co-director of the Black Choreographers Festival Laura E. Ellis. Photo by Andy Mogg, Courtesy BCF.
Hamburg on Tour
The Hamburg Ballet brings John Neumeier’s sweeping dramatics to Orange County, Chicago, and San Francisco this month with two programs. The Little Mermaid swims into the Segerstrom Center of the Arts Feb. 8–10, while Nijinsky, which reimagines the ballet superstar’s career with the Ballets Russes, will be danced at the Harris Theater Feb. 1–2 and the War Memorial Opera House Feb. 13–19. www.hamburgballett.de.
Alexandre Riabko in The Little Mermaid. Photo by Holger Badekow, Courtesy HB.
Whether you think of Anna Halprin’s Parades and Changes as revolutionary, ritualistic, or raunchy, most viewers are riveted by the slow-motion undressing and dressing section—as well as the wanton ripping-huge-reams-of-paper scene. For Halprin’s “final” setting of this iconic 1960s work, dancers from around the world are coming to Berkeley to participate. Leading this parade of dancer/(re)searchers will be the original collaborators: Halprin herself (see “Nine Who Dared,” Nov.) and composer Morton Subotnick. Feb. 15–17, UC Berkeley Art Museum, with an exhibit of related artifacts on view in Gallery 1. www.bampfa.berkeley.edu.
A performance of Parades and Changes in 1970 in Stockholm. Photo by Ohlstrom, Courtesy BAMPFA.
Song and Dance
As the capital of country music, Nashville is bursting with tuneful talent—a situation just begging for collaboration. Nashville Ballet has put singer/songwriter Matthew Perryman Jones, known for his heartfelt pop-country lyricism, with choreographer Gina Patterson to work on a premiere. Also appearing on the program are Dominic Walsh’s lively The Whistling and Sarah Slipper’s passionate Ploughing the Dark, inspired by the love letters of Anton Chekhov and his wife, Olga Knipper. Feb. 15–17. www.nashvilleballet.com.
Jon Upleger and Sadie Bo Harris in Slipper’s Ploughing the Dark. Photo by Marianne Leach, Courtesy NB.
Contributors: Kathleen Dalton, Wendy Perron, Kina Poon
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.
Launching a dancewear line seems like a great way for professional dancers to flex new artistic muscles and make side money. Several direct-to-consumer brands founded by current or former professional dancers, like Elevé and Luckleo, currently compete with bigger retailers, like Capezio.
But turning your brand into the next Yumiko is more challenging than some budding designers may realize.
When I first came to dance criticism in the 1970s, the professional critics were predominantly much older than me. I didn't know them personally and, as the wide-eyed new kid on the block, I assumed most had little or no physical training in the art.
As slightly intimidated as I felt at the time—you try sitting around a conference room table with Dance Magazine heavy hitters like Tobi Tobias and David Vaughan—I smugly gave myself props for at least having had recent brushes with ballet, Graham, Duncan and Ailey and more substantial engagement with jazz and belly dance. Watching dancers onstage, I enjoyed memories of steps and moves I knew in my own bones. If the music was right, my shoulders would wriggle. I wasn't just coolly judging things from my neck up.