Why Do We Let the Industry Tell Us What a Normal Dance Body Is?
Earlier this week, I came across a daring post by London dancer Alana Grant, sharing her story of how she'd just gotten cut at an audition not because of her talent, but because the director decided she "wouldn't want to see her in hot pants on stage." How appalling, I thought as I jolted to share her post, feeling uneasy about the cruel, body-shaming reality of performing arts. As dancers, our canvas is our flesh and bones and we will always be judged on our appearance as well as our skills (whether we like it or not) because it's the mixture of those two qualities that make us who we are on stage.
But infinitely more appalling was a message I got from an acquaintance berating me for sharing Grant's story. He let me know that she had actually auditioned at his current company. Of course they wouldn't take her, he snickered in angry-red-face-emoji form, "because how could girls as fat as her ever expect to be lifted in the air by another dancer?" He wrote, "She should lose some weight before she even thinks about whining."
I gave it my all to try to understand how another performer could be so insensitive and clueless to the power dynamic at play here. As dancers, we are taught to meticulously analyze every point, shape and line on our bodies, trying to figure out what strengths we can play up to distract the eye from any parts that didn't win the genetic lottery. Meanwhile, we're constantly comparing our looks and abilities to those of other bodies around us every single day.
To tell Grant that she has the talent, but can only get a job if she eventually "sorts out" her body is cruel and shallow. To slam a fellow performer for speaking out about the scrutiny and discrimination we all face on a daily basis is unforgivable.
These actions are not only hideous examples of body shaming. Something much sinister, they aim to attack one's value, worth and freedom of expression. They make a statement that only some bodies are worthy of our gaze.
Sometimes the most interesting bodies are those that do not fit society's mold, physically or cerebrally. It is precisely those bodies that lead me to ask the following questions: Who gets to perform on a stage? Why is there one aesthetic ideal in the dance industry? Do I need to wait for the Pina Bausch company to come back to New York to witness dancers in their 50s and 60s on stage? Do I always need to go below 14th street to find performers that do not "look good" in hot pants on stage? How does looking good in hot pants on stage effectively enhance a production anyway?
Nazareth Panadero and Tanztheater Wuppertal in Pina Bausch's Kontakthof. Photo by Julieta Cervantes, courtesy Brooklyn Academy of Music.
Some of my most inspiring colleagues are dancers who surprised me with the creative ways they work with the bodies they have. If someone older, younger, heavier, smaller, less experienced than you has learned to do something new, how can you think you've reached your body's limitations of expression?
We cannot help some of the power dynamics we are subjected to on a daily basis. But let's remind ourselves next time in class, rehearsal or auditions that one body is not inherently better than another just because of its type. The same movement does not automatically look better on a skinnier dancer.
Every time you think someone would dance better if they lost weight, ask yourself if it's that's really what you think and not a result of seeing the same body type repeatedly portrayed as "a dancer's body" on stage and screen over and over again. We are lost if we cannot see the effort, vulnerability and significance in each others' hard physical work. We have to offer each other support and advocacy in a way that our superiors can't or don't want to.
And as for the audience, representation on stage carries its own impact. I have had the privilege of performing with many brilliant female dancers who would be considered too large for our industry, and yet, every show there would be a handful of audience members so glad "to have seen someone normal shining on stage for a change." And at the end of the day, there should be no such thing as a normal or not normal performing body. We are all bodies that move, which is already significant.
For choreographer Raja Feather Kelly, music is simple: "There's good music and there's bad music and I love good music and I love to hate bad music."
But, true to form, Kelly—whose past few months have included choreographing the Skittles Super Bowl musical and earning one of our first-ever Harkness Promise Awards—had some surprises up his sleeve when he made us a playlist he describes as "for moody Geminis who work over 12 hours a day and need a playlist that can shuffle and never disappoint."
Though the playlist has some whiplash-inducing twists and turns—from Coheed and Cambria to Carly Rae Jepsen to Missy Elliott to Schubert—there is a through-line: "Music that makes you feel like you're in your own movie. I love walking through the street feeling like I'm on a runway, living my best life."
Every dancer's nutrition goals are different. Maybe you're trying to go vegan, or maybe you want to cook your own dinner more often. No matter what your personal objectives are—or whether you work with a dietitian—there are all kinds of apps that can help you make smart decisions at the tap of a button.
The lack of female leaders in ballet is an old conversation. But a just-launched website, called the Dance Data Project, has brought something new to the discussion: actual numbers, not just anecdotal evidence.
Whether she's performing on stage, in music videos, or on television, French electro-pop sensation Chris (formerly known as Christine and the Queens) never seems to stop moving.
Building a full-length ballet from scratch is an intense process. For the world premiere of Anna Karenina, a collaboration between The Joffrey Ballet and The Australian Ballet, that meant original choreography by Yuri Possokhov, a brand-new score by Ilya Demutsky, costume and set designs by Tom Pye and lighting designs by David Finn.
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Growing up, I never saw a problem with my dancing and neither did my Muslim-Egyptian dad or my non-Muslim, American mom. They raised me to understand that the core principles of Islam, of any religion, are meant to help us be better people. When I married my Pakistani husband, who comes from a more conservative approach to Islam, I suddenly encountered perceptions of dance that made me question everything: Is it okay to expose a lot of skin? Is it wrong to dance with other men? Is dance inherently sexual? What guidelines come from our holy book, the Quran, and what are cultural views that have become entwined in Islam?
When Thomas Forster isn't in the gym doing his own workout, he's often coaching his colleagues.
Two years ago, the American Ballet Theatre soloist got a personal training certification from the National Academy of Sports Medicine. Now he trains fellow ABT members and teaches the ABT Studio Company a strength and conditioning class alongside fellow ABT soloist Roman Zhurbin.
He shared five of his top tips for getting into top shape.
No matter how much anti–Valentine's Day sentiment I'm feeling in a given year, there's something about dancer couples that still makes me swoon. Here's a collection of wonderful posts from this year, but be warned: Continued scrolling is likely to give you a severe case of the warm fuzzies.
When Rennie Harris first heard that Alvin Ailey American Dance Theater had tapped him to create a new hour-long work, and to become the company's first artist in residence, he laughed.
"I'm a street dance choreographer. I do street dance on street dancers," he says. "I've never set an hour-long piece on any other company outside my own, and definitely not on a modern dance company."
When Chase Brock signed on to choreograph a new musical at a theater in New Jersey in 2015, he couldn't have predicted that four years later, he would be receiving fan art featuring his Chihuahua because of it. Nor could he have he imagined that the show—Be More Chill, based on the young adult novel by Ned Vizzini—would be heading to Broadway with one of the most enthusiastic teenage fan bases the Great White Way has ever seen.
It's no longer just Les Ballets Trockadero de Monte Carlo and the few pointe-clad male character parts, like in Cinderella or Alexei Ratmansky's The Bright Stream. Some male dancers are starting to experiment with pointe shoes to strengthen their feet or expand their artistic possibilities. Michelle Dorrance even challenged the men in her cast at American Ballet Theatre to perform on pointe last season (although only Tyler Maloney ended up actually doing it onstage).
The one problem? Pointe shoes have traditionally only been designed for women. Until now.
Lately I've been having recurring dreams: I'm in an audition and I can't remember the combination. Or, I'm rehearsing for an upcoming show, onstage, and I don't know what comes next. Each time I wake up relieved that it was only a dream.
However, this is the reality of how I often felt throughout my dance career. Once I knew the steps, there was no undoing it. It was the process of getting there that haunts me to this day.
Since its founding in 1999, more than 80,000 ballet dancers have participated in Youth America Grand Prix events. While more than 450 alumni are currently dancing in companies across the world, the vast majority—tens of thousands—never turn that professional corner. And these are just the statistics from one competition.
"You may have the best teacher in the world and the best work ethic and be so committed, and still not make it," says YAGP founder Larissa Saveliev. "I have seen so many extremely talented dancers end up not having enough motivation and mental strength, not having the right body type, not getting into the right company at the right time or getting injured at the wrong moment. You need so many factors, and some of these are out of your hands."
Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:
Camille Sturdivant, a former member of the Blue Valley Northwest High School dance team is suing the school district, alleging that she was barred from performing in a dance because her skin was "too dark."
The suit states that during Sturdivant's senior year, the Dazzlers' choreographer, Kevin Murakami, would not allow her to perform in a contemporary dance because he said her skin would clash with the costumes, and that she would steal focus from the other dancers because of her skin color.
You wander through the grocery aisles, sizing up the newest trends on the shelves. Although you're eager to try a new energy bar, you question a strange ingredient and decide to leave it behind. Your afternoons are consumed with research as you sort through endless stories about "detox" miracles.
What started as an innocent attempt to eat healthier has turned into a time-consuming ritual with little room for error, and an underlying fear surrounding your food choices.
Aside from a solid warm-up, most dancers have something else they just have to do before performing. Whether it's putting on the right eyelashes before the left or giving a certain handshake before a second-act entrance, our backstage habits give us the comfort of familiar, consistent choices in an art form with so many variables.
Some call them superstitions, others call them rituals. Either way, these tiny moments become part of our work—and sometimes even end up being the most treasured part of performing.
Raise your hand if you've ever gotten sucked down an informational rabbit hole on the internet. (Come on, we know it's not just us.) Now, allow us to direct you to this new project from Google Arts & Culture. To celebrate Black History Month, they've put together a newly curated collection of images, videos and stories that spotlights black history and culture in America specifically through the lens of dance—and it's pretty much our new favorite way to pass the time online.
If you're anything like us, your Instagram feed is chock-full of gorgeous dance photos and videos. But you know what makes us fall in love with an artist even more? When they take a break from curating perfect posts and get real about their missteps. These performers' ability to move past mistakes, and even laugh them off, is one reason why they're so successful.
Every time you fall out of a pirouette, just remember: The stars—and literally every. single. dancer.—have been there, too. (Even Misty Copeland.)
Dancers today have an overwhelming array of options at their fingertips: New fitness tools, recovery trends, workouts and more that claim to improve performance, speed up recovery or enhance training.
But which of these actually meet the unique demands of dancers? In our new series, "We Tried It," we're going to find out, sampling new health and fitness trends to see if they're dancer-approved.
First up: Brrrn, the cold temperature fitness studio (the first and only of its kind, they claim) located in Manhattan.