The Relationship With Your Reflection
Every day, the dancer looking back at you in the mirror looks different. Often she's disappointing. Her neck seems too short, or her bust too big. She has floppy wrists and an ironing board where her arabesque should be. Nonetheless, you are captivated by her, and on the hardest days it can feel like it is your reflection and not you who is really living and dancing.
Dancers need the mirror—it provides immediate feedback about line and movement quality in a way that nothing else can. But our reflections can be hard to face as they bend and curve with the distortions of our self-confidence. In a visual art form that prizes physical excellence, your demon can be your own likeness inside a polished surface. A healthy relationship with the mirror negotiates an appreciation of this vital tool with an awareness of the emotional fragility that can come with a life of constant self-examination.
Look at the Whole Line
Part of what makes our relationship with the mirror so difficult is how much importance we place in it. “The mirror is often the lens through which dancers have a relationship with their body," says American Psychological Association president Dr. Nadine Kaslow, who has worked with Atlanta Ballet dancers. But is this healthy? Kaslow points out that there is rarely such a thing as an accurate reflection. Almost all mirrors are distorted by the walls on which they are mounted (hence “good mirrors" and “bad mirrors"), but also by our own perceptions and insecurities. “Dancers often end up having relationships with parts of themselves rather than their whole body," she says. When looking in the mirror, our eyes tend to gravitate to what we don't like: a thick torso, bowed legs, less-than-perfect feet. “Our bodies are whole and we need to get a sense of them as whole," says Kaslow. Train yourself to see your entire body—focus on the big picture of your line or the shape you are making. Of course, droopy elbows or other technical problems may catch your attention; fix them, then let your eyes pan out. “Honestly, sometimes I would blur my vision so that I wouldn't go crazy on myself in the mirror," says Pittsburgh Ballet Theatre principal Julia Erickson of her days as a hyper–self-critical student.
Focus on What the Mirror Offers
How you think of the mirror can influence how it affects you. Finis Jhung, famous for his thoughtful training of teachers and dancers alike, teaches his students to approach the mirror as an instrument for their own empowerment. “I want you to learn to teach yourself," he says. “We all think we're doing something, but we're doing something else—unless you look in the mirror you're not going to see that." By viewing the mirror as a tool for your independence, your relationship with it can become more professional, less personal.
Only Look Deliberately
Teachers will often turn students toward a wall so they avoid getting lost in their reflections. “Certain steps are impossible to execute well while looking in the mirror," Erickson says. “How many times has a dancer tried to look at themselves doing penché and then fell over?" The same can be applied to the maintenance of your mental state. We've all had classes where we can't escape the disappointing image of our reflection. And yet we continue to look back at it compulsively, as if it might change between combinations. Cut yourself a break and attempt to look only while you are dancing and not to mentally measure your thigh gap.
Erickson points out that you'll often find girls preening in their reflections even between rehearsals. “We've all been in a studio talking to another dancer and they're looking at themselves in the mirror while they're having a conversation with you," she says. “It's not that they're vain; they just can't get out of the cycle of self-examining. If you can, brush that little devil off your shoulder." Try to make sure that when you are looking in the mirror it is deliberate—and only for the purpose of bettering your dancing.
Kaslow says you may benefit from taking a break from mirrors in the outside world. Dancers can become so reliant on their reflection that they seek it out without realizing it. The next time you pass a dark shop window, acknowledge that you want to sneak a peek of yourself walking by, then deliberately choose not to.
Find the Positive
Ultimately a negative relationship with your reflection is a result of depleted confidence. Some of this is up to you; Kaslow advises that you point out something positive about yourself when you are struggling with the image looking back at you. Instead of mentally whittling away at every single thing that makes your feet look less than perfect, take the time to compliment yourself on your high arabesque or nicely toned arms. But both Kaslow and Jhung agree that teachers need to be involved with establishing this habit, too. Kaslow believes dancers should be taught how distorted a reflection can be early in their training. Jhung feels strongly that throughout a dancer's career, it is the business of the teacher to ensure his dancers feel confident by using positive reinforcement as well as corrections to shape them. “Find a giving person to be your teacher," advises Jhung.
Know You're Not Alone
The complexity of a dancer's relationship with the mirror is nuanced. At its worst it can feel like a private struggle in an effort to really see yourself. But no one is immune. Even Erickson, whose striking image is often plastered on buses and billboards all over Pittsburgh, admits that when she moves to center floor in company class, she still looks for the “good" mirror.
Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
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.
What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
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.
Get Dance Magazine in your inbox
Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.
This is huge news, so we'll get straight to it:
We now (finally!) know who'll be appearing onscreen alongside Ariana DeBose and the other previously announced leads in Steven Spielberg's remake of West Side Story, choreographed by Justin Peck. Unsurprisingly, the Sharks/Jets cast list includes some of the best dancers in the industry.
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
At six feet tall, Jesse Obremski dances as though he's investigating each movement for the first time. His quiet transitional moments are as astounding as his long lines, bounding jumps and seamless floorwork. Add in his versatility and work ethic, and it's clear why he's an invaluable asset to New York City choreographers. Currently a freelance artist with multiple contemporary groups, including Gibney Dance Company and Limón Dance Company, Obremski also choreographs for his recently formed troupe, Obremski/Works.
Last night at Parsons Dance's 2019 gala, the company celebrated one of our own: DanceMedia owner Frederic M. Seegal.
In a speech, artistic director David Parsons said that he wanted to honor Seegal for the way he devotes his energy to supporting premier art organizations, "making sure that the arts are part of who we are," he said.
It's a bit of an understatement to say that Bob Fosse was challenging to work with. He was irritable, inappropriate and often clashed with his collaborators in front of all his dancers. Fosse/Verdon, which premieres on FX tonight, doesn't sugarcoat any of this.
But for Sasha Hutchings, who danced in the first episode's rendition of "Big Spender," the mood on set was quite opposite from the one that Fosse created. Hutchings had already worked with choreographer Andy Blankenbuehler, who she calls "a dancer's dream," director Tommy Kail and music director Alex Lacamoire as a original cast member in Hamilton, and she says the collaborators' calm energy made the experience a pleasant one for the dancers.
"Television can be really stressful," she says. "There's so many moving parts and everyone has to work in sync. With Tommy, Andy and Lac I never felt the stress of that as a performer."