Why I Dance: David Dorfman
David Dorfman performing in "Lightbulb Theory"
Why do I dance? I have to—I need to. To heal. To feel.
My mom was ill (MS). I danced, at times frantically, to encourage her to take a step. Once after seeing me dance, she walked a few relatively pain-free paces before her body remembered she couldn’t. I love those moments of inspiring others to do what they didn’t think they could. I’ve also danced so many times for my dad, who was secretly a performance artist at heart. I dance for loss with joy. I dance until I can’t. I am alive. I feel lucky.
When I told my mom at age 8 that I wanted to open a dance studio, James Brown was my idol, Soul Train, my visual bible. But the courage to enroll in formal training eluded me until I was a college junior. Two years later, I was introduced to Martha Myers and the late Daniel Nagrin, my “dance parents,” through Connecticut College and the American Dance Festival. Thanks to Martha’s wild directives and Daniel’s bold knee drops in performance at age 63, I propelled myself through an MFA at CC and then on to New York City.
I have always been interested in grassroots movements and the rights of the disenfranchised. If I hadn’t become a dancer, I think I would have been a social worker or therapist. I believe in the healing power of art—and dance in particular. I see the body as a political and emotional force. I love using mine as an expressive power. There is too much normalcy and puritanism in our culture; dance artists need to shake things up and enable people to see other possibilities for their bodies and lives.
Much of what I do artistically has the intent of being somewhat subversive or underground or alternative. It’s a dissenting voice that I’m interested in. I believe that we need to see the world in different ways. We can’t get stale—that is death. I want to pleasantly challenge an audience to leave the theater changed in some way. “Invite and indict,” I say. My company does this by being fluid, honest, muscular, funny, risky and frisky, using my motto of “sweet non-irony.” Courage has now found me; we can dance our lives out loud!
I love people. In the last year alone, my company has led workshops from Tennessee to Tajikistan, Alabama to Armenia, with folks in mental health facilities and senior homes, with young dance professionals and sublimely mundane dance doubters. To get the whole world dancing is my form of kinetic diplomacy. A Soul Train line is one incredible universal language!
On August 20, pop goddess Lizzo tweeted, "Someone do a ballet routine to truth hurts pls," referring to the anthem that's been top on everyone's playlists this summer. Lizzo might not know it yet, but ballet dancers are not known for shying away from a challenge. In the past two days, the internet has exploded which responses, with dancers like Houston Ballet's Harper Watters and American Ballet Theatre's Erica Lall tagging the singer in submissions.
Below are a few of our favorites so far, but we're guessing that this is just the beginning. Ballet world, consider yourselves officially challenged! (Use #LizzoBalletChallenge so we know what you're up to.)
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
New York City–based choreographer and director Jennifer Weber once worked on a project with a strict social media policy: " 'Hire no one with less than 10K, period'—and that was a few years ago," she says. "Ten thousand is a very small number now, especially on Instagram."
The commercial dance world is in a period of transition, where social media handles and follower counts are increasingly requested by casting directors, but rarely offered by dancers up front. "I can see it starting to show up on resumés, though, alongside a dancer's height and hair color," predicts Weber.