Why Okwui Okpokwasili Won't Call Herself a Dancer
It seems like everyone in New York's experimental dance scene is talking about Okwui Okpokwasili right now. Her multidisciplinary work Poor People's TV Room is in the middle of a much buzzed-about two-week run at New York Live Arts.
But although the dance world loves her, Okpokwasili is hesitant to call herself a dancer. In a story about dance theater in Dance Magazine's May issue, she told this to writer Siobhan Burke:
"I have a deep love and appreciation for dancers. And because of that, sometimes I'll call myself a mover, because I feel like dancers are saints. They work so hard, they take classes, they don't get health insurance. Their ability to come into the unknown and commit to multiple languages without question—I find it so generous and beautiful. I don't know that I'm that generous. People can't just walk around calling themselves a dancer."
Even though she's very humble, many would definitely consider what she's doing bonafide dancing. Check out her intense, otherwordly virtuosity in a section from Poor People's TV Room, shot for The New York Times' #SpeakingInDance series.
You know compelling musicality when you see it. But how do you cultivate it? It's not as elusive as it might seem. Musicality, like any facet of dance, can be developed and honed over time—with dedicated, detailed practice. At its most fundamental, it's "respect for the music, that this is your partner," says Kate Linsley, academy principal of the School of Nashville Ballet.
Notable dancer and beloved teacher, Ross Parkes, 79, passed away on August 5, 2019 in New York City. He was a founding faculty member at Taipei National University of the Arts in Taiwan, where he taught from 1984 to 2006. Lin Hwai-min, artistic director of Cloud Gate Dance Theater, said: "He nurtured two generations of dancers in Taiwan, and his legacy will continue."
About his dancing, Tonia Shimin, professor emerita at UC Santa Barbara and producer of Mary Anthony: A Life in Modern Dance, said this: "He was an exquisite, eloquent dancer who inhabited his roles completely."
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
More than once, when I'm sporting my faded, well-loved ballet hoodie, some slight variation of this conversation ensues:
"Is your daughter the dancer?"
"Actually," I say, "I am."
"Wow!" they enthuse. "Who do you dance with? Or have you retired...?"
"I don't dance with a company. I'm not a professional. I just take classes."
Insert mic drop/record scratch/quizzical looks.