Why I Dance
Evan McKie trained at The National Ballet School of Canada, The Kirov Academy, and the John Cranko Schule in Stuttgart, Germany. At 25, he is a soloist in the Stuttgart Ballet, where he has danced since 2002. Known for his passionate lyricism in both classical and contemporary roles, he danced his first Prince Siegfried last year, and recently earned critical acclaim for his debut as Lenski in Cranko’s Onegin. He has originated roles for many choreographers including Wayne McGregor, Marco Goecke, and Nicolo Fonte.
Why do we do what we do? This question is usually coupled with, “What made you want to start?” I have been asked these questions a lot, especially as a guy growing up in tights. And yet the “why” is still hard to explain. Words just don’t flow freely from within me the way dance does. Perhaps this is a good thing because it helps me convey the answer better: I dance because the feeling I get when I do it is practically impossible to describe! But I can try . . . .
As a kid who was constantly in action, the possibility of a life filled with dancing appealed to me from the get-go. I was very involved in swimming and other after-school sports. But pretty soon my “after-school” time was spent working out at various dance studios around Toronto. This was after I had the revelation that dancing around the house to the beats and melodies of Sesame Street gave me a new level of personal satisfaction. I knew then as I know now that the root of why I dance is an innate love for two simple things: movement and music. The two Ms that, when combined, are my buzz of choice.
I learned that my version of moving to music was a way of interpreting stuff. Dancing became quite cathartic. As a 10-year-old I couldn’t describe this but I understood what it felt like. I began to work with great teachers in Toronto, Washington, DC, and Stuttgart on developing professional ballet technique. I also started to notice a new spiritual impact from dance. I had grown apart from childhood friends with different interests, but when I did come in contact with them, most displayed a tedium and a longing to find something significantly stimulating in life. Naturally, dancers may feel “lost” at times too, but dancing provides a spiritual rhythm that helps put life’s ups and downs into perspective and can even be a guide. After finding this rhythm, my new theory was put to the test. A boating accident left me with a severely torn knee ligament and what doctors described as “no hopes of dancing ballet.” I freaked out. But no matter how depressed I became, the rhythm never left my system. Regaining some strength in the following month, I let this simple but powerful rhythm steer my life. I came across a doctor who revealed that I might get back onstage if I found other muscles to take over where the torn ligament left off. He looked skeptical as he discussed how much mind power a feat like this would take. After weeks of frustrating work and invaluable help from Paris Opéra Ballet’s Gilbert Mayer and Stuttgart’s Pyotr Pestov (two of the worlds top boys’ teachers), I was finally ready to reconfirm my future in dance.
Life in dance has led me to marvel at the capability of the human brain as well. Recently I had a chat with a friend of mine, the utterly brilliant choreographer Wayne McGregor, about how dance affects the brain and vise-versa. He takes the issue 10 times farther in his recent work Entity, which I found awe-inspiring to watch and ridiculously thought-provoking. It’s engrossing to witness the brain being exercised through choreographic challenges. At the Kirov Academy I watched in amazement as students who once could barely stand on one leg suddenly completed full variations with ease and near-perfect line.
Whether I am satisfying a primitive instinct to move to music, discovering parts of my soul, or developing parts of my brain, I am thankful that dance affords me the chance to do it all at once. I still cannot define why I dance, though. It’s sacred. Some Eastern cultures believe that there are things in life that are not meant to be described in language but must be experienced to be understood. For me, dance is one of those personal things, and I love every minute of it.
What do Percy Jackson, Princess Diana and Tina Turner have in common? They're all characters on Broadway this season. Throw in Michelle Dorrance's choreographic debut, Henry VIII's six diva-licious wives and the 1990s angst of Alanis Morissette, and the 2019–20 season is shaping up to be an exciting mix of past-meets-pop-culture-present.
Here's a look at the musicals hitting Broadway in the coming months. We're biding our time until opening night!
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.
Ah, stretching. It seems so simple, and is yet so complicated.
For example: You don't want to overstretch, but you're not going to see results if you don't stretch enough. You want to focus on areas where you're tight, but you also can't neglect other areas or else you'll be imbalanced. You were taught to hold static stretches growing up, but now everyone is telling you never to hold a stretch longer than a few seconds?
Considering how important stretching correctly is for dancers, it's easy to get confused or overwhelmed. So we came up with 10 common stretching scenarios, and gave you the expert low-down.