When dance legends Martha Graham, Hanya Holm, Doris Humphrey and Charles Weidman founded the American Dance Festival in 1934, they could not have anticipated how it would shape modern dance in the 21st century. Today, ADF offers classes and intensives, year-round outreach programs, scholarships for choreographers and teachers and a dance MFA program through Hollins University.
This is all in addition to the festival’s renowned summer performance series, the details of which have just been released for the 80th anniversary season. Scheduled for June 13–July 27 at and venues in Durham, North Carolina, and NYC, the lineup features works by Paul Taylor Dance Company, Twyla Tharp, Pilobolus, Trisha Brown Dance Company, Kyle Abraham/Abraham.In.Motion, Camille A. Brown & Dancers and Faye Driscoll. International companies including Argentina’s Brenda Angiel Ariel Dance Company, The 605 Collective from Canada and Ireland’s ponydance will also perform. The season’s nearly 50 performances comprise 11 ADF debuts, nine world premieres, two reconstructions and a US premiere. Tickets go on sale May 13 for as little as $15.
Photo by Grant Halverson, ©ADF 2012
After having spent a lifetime looking at ourselves in the mirror, constantly appraising, who of us wouldn't want to take a dance class in the dark? Two Australian dance students, Alice Glenn and Heidi Barrett, had the same thought in 2009 when they founded No Lights No Lycra, a global dance community that offers dancers and nondancers alike the chance to get their groove on in a dark space, where there's no light, no Lycra, no technique, no teacher and no steps to learn. It's just a place to lose yourself in the music and find your own dance mojo. The event became so popular that it spread past its Melbourne beginnings, first throughout Australia and now, globally.
Four incredible educators: Joanne Chapman, Claudio Muñoz, Pamela VanGilder and Kathleen Isaac foster their students' love of dance, whether instilling artistry, offering rigorous training or giving special needs students an outlet through movement.
When Jennie Somogyi retired from New York City Ballet, she found herself in high demand as a teacher. Parents called, texted and persisted. "I don't even know how some of them got my contact information," she says with a laugh. But Somogyi, who departed from NYCB in 2015 after a 22-year career, hadn't made any definitive plans for the next stage of her life. "I just like to see how things move me," she says. She discovered, though, that she enjoyed the process of giving private lessons and seeing the rapid progress students could make. Over time, she realized that teaching was something she wanted rather than needed.
Does your studio slow down when the weather warms up? If you don't offer a summer session, June through August can be a cash-flow challenge. One popular—and easy—strategy is to offer weeklong camps instead. We spoke to three professionals to learn how they make summer camp work.
This week Ballet Hispánico launched its first ChoreoLaB workshop, a summer intensive intended to better prepare aspiring professional dancers—with more than just excellent technique. Artistic director Eduardo Vilaro wanted to create a program that bridges the school and the company, to help dancers transitioning into the professional world and better hone their skills.