Dancers Trending

Words of Wisdom From Our Fave Dance Artists to Start the New Year

Photo by Brooke Lark via Unsplash

Happy New Year! Whether or not resolutions are your thing, I always find that a bit of wisdom from the people I admire is a great way to start the year. Here are some favorite nuggets from eight dancers, choreographers and directors who have appeared in our pages over the last year.


Dancer Robert Fairchild on not being intimidated by stepping out of his comfort zone:

Fairchild in Justin Peck's In Creases. Photo by Paul Kolnik, Courtesy New York City Ballet

"I've always been of the mindset that you can't live in fear."


Choreographer Troy Schumacher on why he loves collaborating with artists who work in different mediums:

Schumacher in rehearsal. Photo by Kyle Froman for Pointe

"Every time I come out of one of these projects, we learn something that we wouldn't have learned just working on our own. You give feedback to other art forms and other forms give feedback to you."


Artistic director Paloma Herrera on stepping into a new job:

Herrera in the studio. Photo by La Nación/Maximilliano Armena, Courtesy La Nación

"I use the same formula that served me well during my entire career. It's simple: pure hard work, and a love for what we do."


Choreographer Gemma Bond on what drives her dancemaking:

Bond working with Cassandra Trenary. Photo by Kyle Froman for Pointe

"For me it's more about the intent behind the steps—Why are you running to the corner? What are you saying when you run to the corner? How fast are you running? I want the audience to get the feeling behind the steps without having to look at a synopsis."


Broadway luminary Donna McKechnie on why she's still dancing at 75:

McKechnie. Photo by Kurt Sneddon, Courtesy McKechnie

"I want to be a living example for people to keep dancing and moving. I take ballet class five times a week—if you don't, you lose it. I do the whole barre. If you do a ballet barre correctly, I can't think of anything harder."


Choreographer Andrea Kleine on allowing limitations feed your work:

Kleine's 2014 Screening Room... Photo by Brian Rogers, Courtesy Chocolate Factory Theater

"I'm more interested now in working with the limitations of a project, rather than fighting them. When I was younger, I would have a vision and just throw my credit card down and be like, "Let's make it happen!" and then spend the next two years paying off debt. I'm not interested in doing that anymore."


Choreographer and director John Neumeier on what makes a ballet meaningful:

Neumeier's costume rendering for his 2017 Orphée et Eurydice. Photo courtesy Lyric Opera of Chicago.

"Whether it's a story or a symphonic work, ballet is an art of the present tense. When the curtain goes up, we're interested in and moved by the people we see—not by their historical or literary sources."


Choreographer David Dorfman on why art matters:

Dorfman's first foray into choreographing for Broadway was for the play Indecent. Photo by Carol Rosegg, Courtesy Connecticut College

"How do you have hope for a future that's hopefully filled with love? Can we use love to drive something that we might have as much distrust in as politics? I think a lot of us are thinking that now. It's often theater that helps us see how we express humanity."

The Conversation
Dance History
Still of Fonteyn from the 1972 film I Am a Dancer. Photo courtesy DM Archives

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.

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Dance As Activism
Courtesy #Dance4OurLives

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.

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Rant & Rave

A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.

I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.

There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.

While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?

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Sponsored by McCallum Theatre
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre

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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Getty Images

Despite what you might think, there's no reason for dancers to be afraid of bread.

"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.

The key is choosing your loaf wisely.

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Dancers Trending

It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.

We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:

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Dance in Pop Culture
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"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.

News
Walsh's Moon Fate Sin at Danspace Project. Like Fame Notions, the title was derived from Yvonne Rainer's "No" manifesto. Photo by Ian Douglas, Courtesy Danspace Project

The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.

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Career Advice
Via YouTube

What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.

The heart of his message: Be generous.

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Launching a dancewear line seems like a great way for professional dancers to flex new artistic muscles and make side money. Several direct-to-consumer brands founded by current or former professional dancers, like Elevé and Luckleo, currently compete with bigger retailers, like Capezio.

But turning your brand into the next Yumiko is more challenging than some budding designers may realize.

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Stock Snap

I injured my foot in class after 10 relaxing days on the beach. I thought vacations were the way to deal with burnout. What am I missing?

—Confused, New York, NY

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Rant & Rave
Not an outsider? No worries. Train yourself to see and think like one. Let go of preconceived notions and old habits of mind. Let dance take you by surprise! Photo by Getty Images

When I first came to dance criticism in the 1970s, the professional critics were predominantly much older than me. I didn't know them personally and, as the wide-eyed new kid on the block, I assumed most had little or no physical training in the art.

As slightly intimidated as I felt at the time—you try sitting around a conference room table with Dance Magazine heavy hitters like Tobi Tobias and David Vaughan—I smugly gave myself props for at least having had recent brushes with ballet, Graham, Duncan and Ailey and more substantial engagement with jazz and belly dance. Watching dancers onstage, I enjoyed memories of steps and moves I knew in my own bones. If the music was right, my shoulders would wriggle. I wasn't just coolly judging things from my neck up.

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