Why There's Nothing Else Like The Bond Between Dancers
At one point during my latest show, Unbound, I scamper offstage and disrobe as quickly as possible. Behind me, a friend I have known since we began taking dance class together 20 years ago (we danced to "The Color Song"; she was orange, I was purple) holds out a dress shirt for me to put my arms through. I start buttoning furiously while my dance partner, who was also one of my tap teachers for six years, holds out pants into which I step gingerly. While I fix my belt, she helps snake the microphone wire back up through my shirt so I can clip it into my collar and be back onstage in under a minute.
Among most groups of friends, this would be no ordinary—or comfortable—situation. But for me and the members of my company, Off Beat, it's a ritual that we're used to. We don't even think twice about the closeness, the vulnerability, the physical contact.
Dancers develop bonds unlike any other: Through our passion and commitment for our craft, and all the time we spend together, we develop our own family-like relationships that are almost impossible to explain to non-dancers.
Cynthia Clayton, Courtesy Casey
I've had these ties for as long as I can remember. Like many young dancers who train intensively multiple days per week, my closest friends were my dance friends. They were the only people who could relate to eating dinner at 10 p.m., as though we operated on a European schedule; to spending Friday nights in rehearsal for a production number instead of at a birthday party or a concert; to reviewing tap rhythms under our desks during math class; to the satisfaction of finally nailing a triple pirouette or a syncopated pullback.
We wore our matching team jackets the same way some families might don matching sweaters for their Christmas card photo. We argued over whether the battement was on 8 or 8& not unlike how siblings might fight over who gets the car on Saturday night. We celebrated birthdays, mourned break-ups, even counseled a peer who thought she was pregnant.
For those of us who are still dancing together, now professionally, not much has changed. We spend hours in the studio, in cars and buses and trains, in dressing rooms. All that time together makes us aware of each other's idiosyncrasies (one of my dancers hates the smell of bubble gum), immune to physical boundaries (if your hand ends up on someone else's butt while figuring out a new partnering move, so be it) and reluctantly accustomed to eating everything from handfuls of nuts to munchkins for "lunch" during long rehearsal days (from where do the delicious bins of animal crackers at the studio always seem to materialize?).
Post-performance in Providence, RI, via Instagram
Our relationships have developed as our work has developed: From being vulnerable and uncertain in front of each other while learning new material to sharing rooms and beds while on tour.
Unlike audience members, who only see me when I am onstage—joyous, focused, put-together—my company members see all sides of me: They see me when I am frustrated and defeated, stymied by what to do next in a piece whose vision I haven't yet clearly articulated. They see me when I'm moody and impatient during a long day of tech rehearsal and am trying to address unexpected difficulties while operating with low blood sugar. They see me exhausted, sweating, lugging props and set pieces down city streets and up stairs. They see me half-naked side stage during myriad quick changes, swearing furiously as a sock refuses to cooperate or my hand gropes wildly for the armhole of a shirt while my entrance cue looms ever closer.
Cynthia Clayton, Courtesy Casey
The rhetoric of family especially pervades the tap community. Many female tappers I know refer to each other as "sis." Dianne Walker is known to many of us as "Aunt Dianne" for her role in mentoring generations of hoofers (I even have her listed in my phone as such). When a colleague talks about "the fam," I know exactly what he or she means. Many photos on my Instagram feed bear the hashtag #tapfam.
At one of the studios where I teach, The Dance Inn of Lexington, MA, we celebrated our graduating seniors this year by profiling each of them in a special social media post. They all wrote about what it meant to them to be a part of the studio's pre-professional company. One described it as "my extra family." Another said it was "like having a second family." A third dancer opined, "I genuinely feel a part of a family."
I'm so glad they've made this great discovery about dance. My hope for them, as they move on to whatever is next, is that they cherish these bonds throughout their lives, as I know I have. I hope they are encouraged, supported and emboldened by their dance family.
There's just nothing else like it.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
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.
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
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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It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
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.
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.