News

23rd Annual Fire Island Dance Festival Sizzles With Incredible Performances (and Breaks Fundraising Record)

Havana Cuba's Acosta Danza made its U.S. premiere, performing Nosotros, a piece about a the highs and lows of a couple in love. Photo by Whitney Browne, courtesy of FIDF

Overlooking the Great South Bay, the sunset was upstaged by the annual Fire Island Dance Festival's powerful dancing. The three sold-out shows featured performances from 10 companies, including five premieres, (one by ACE Award winner Al Blackstone) in styles ranging from Broadway to contemporary, and raised a record $585,045 for Dancers Responding to AIDS, a program of Broadway Cares/Equity Fights AIDS.


The special cultural event was hosted by Broadway's Cady Huffman, best known for her Tony-Award–winning performance as Ulla in The Producers. Huffman kicked off the show talking about her life as a dancer and working with legendary choreographers Tommy Tune and Bob Fosse, recalling when Fosse told her "just give me something!" Joking about her timidness early on in her career, she said, "something is what these dancers tonight are going to give you."

The night was hosted by Broadway's Cady Huffman. Photo by Whitney Browne, courtesy of FIDF

Peridance Contemporary Dance Performance started the night with an excerpt from Dia-Mono-Logues, choreographed by Igal Perry, a poignant modern piece expressing his turbulent time emigrating from Israel to New York in the 1970s. In an African-styled dance by EVIDENCE, A Dance Company, Keon Thoulouis performed an excerpt from New Conversations: Ochosi Is Here.

Peridance's Dia-Mono-Logues. Photo by Whitney Browne, courtesy of FIDF

Rashaun Mitchell + Silas Riener performed an intricate contemporary duet, Desire Liar, choreographed by Mitchell and Reiner, who both previously danced with Merce Cunningham Dance Company.

Mitchell and Riener. Photo by Whitney Browne, courtesy of FIDF

Created by artistic director Alexandre Hammoudi, Makers Dance Company premiered Tatakai, choreographed by Manuel Vignoulle. This athletic yet graceful piece, inspired by the great samurai battle of Sekigahara, featured an ensemble of six ABT corps de ballet members and Hammoudi, a soloist with ABT.

Makers Dance Company's Tatakai. Photo by Whitney Browne, courtesy of FIDF

The Miami City Ballet performed Chutes and Ladders, by Justin Peck, featuring performers Jeanette Delgado and Kleber Rebello, and George Balanchine's "My One And Only" variation from Who Cares?, a solo performed by Delgado.

Chutes and Ladders, by Justin Peck, featuring performers Jeanette Delgado and Kleber Rebello. Photo by Whitney Browne, courtesy of FIDF

This year's performances not only featured incredible dancing, but several captured the marginalization and social constraints experienced by gay men and women. Pontus Lidberg Dance's A Different Passion, choreographed by Lidberg, is about two men helping each other for a moment in time.

Pontus Lidberg (right) performing with Barton Cowperthwaite. Photo by Whitney Browne, courtesy of FIDF

Broadway choreographer Lorin Lotarro, known for Waitress, premiered For Those Before, which captured the social restraints experienced by gay men and women.

Lorin Latarro's piece For Those Before, shed light on issues close to the event's core. Photo by Whitney Browne, courtesy of FIDF

Among the five premiers was a piece by choreographer Al Blackstone and Billy Griffin. In Blackstone's signature story-telling dance style, this sultry contemporary piece, set to Prince's How Come U Don't Call Me Anymore, featured American Ballet Theatre's James Whiteside.

Whiteside (left) dancing in Blackstone's piece. Photo by Whitney Browne, courtesy of FIDF

For more information about Dancers Responding to AIDS, visit here.

Technique
Nan Melville, courtesy Genn

Not so long ago, it seemed that ballet dancers were always encouraged to pull up away from the floor. Ideas evolved, and more recently it has become common to hear teachers saying "Push down to go up," and variations on that concept.

Charla Genn, a New York City–based coach and dance rehabilitation specialist who teaches company class for Dance Theatre of Harlem, American Ballet Theatre and Ballet Hispánico, says that this causes its own problems.

"Often when we tell dancers to go down, they physically push down, or think they have to plié more," she says. These are misconceptions that keep dancers from, among other things, jumping to their full potential.

To help dancers learn to efficiently use what she calls "Mother Marley," Genn has developed these clever techniques and teaching tools.

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Teachers Trending
Alwin Courcy, courtesy Ballet des Amériques

Carole Alexis has been enduring the life-altering after-effects of COVID-19 since April 2020. For months on end, the Ballet des Amériques director struggled with fevers, tingling, dizziness and fatigue. Strange bruising showed up on her skin, along with the return of her (long dormant) asthma, plus word loss and stuttering.

"For three days I would experience relief from the fever—then, boom—it would come back worse than before," Alexis says. "I would go into a room and not know why I was there." Despite the remission of some symptoms, the fatigue and other debilitating side effects have endured to this day. Alexis is part of a tens-of-thousands-member club nobody wants to be part of—she is a COVID-19 long-hauler.


The state of Alexis' health changes from day to day, and in true dance-teacher fashion, she works through both the good and the terrible. "I tend to be strong because dance made me that way," she says. "It creates incredibly resilient people." This summer, as New York City began to ease restrictions, she pushed through her exhaustion and took her company to the docks in Long Island City, where they could take class outdoors. "We used natural barres under the beauty of the sky," Alexis says. "Without walls there were no limits, and the dancers were filled with emotion in their sneakers."

These classes led to an outdoor show for the Ballet des Amériques company—equipped with masks and a socially distanced audience. Since Phase 4 reopening in July, her students are back in the studio in Westchester, New York, under strict COVID-19 guidelines. "We're very safe and protective of our students," she says. "We were, long before I got sick. I'm responsible for someone's child."

Alexis says this commitment to follow the rules has stemmed, in part, from the lessons she's learned from ballet. "Dance has given me the spirit of discipline," she says. "Breaking the rules is not being creative, it's being insubordinate. We can all find creativity elsewhere."

Here, Alexis shares how she's helping her students through the pandemic—physically and emotionally—and getting through it herself.

How she counteracts mask fatigue:

"Our dancers can take short breaks during class. They can go outside on the sidewalk to breathe for a moment without their mask before coming back in. I'm very proud of them for adapting."

Her go-to warm-up for teaching:

"I first use a jump rope (also mandatory for my students), and follow with a full-body workout from the 7 Minute Workout app, preceding a barre au sol [floor barre] with injury-prevention exercises and dynamic stretching."

How she helps dancers manage their emotions during this time:

"Dancers come into my office to let go of stress. We talk about their frustration with not hugging their friends, we talk about the election, whatever is on their minds. Sometimes in class we will stop and take 15 minutes to let them talk about how their families are doing and make jokes, then we go back to pliés. The young people are very worried. You can see it in their eyes. We have to give them hope, laughter and work."

Her favorite teaching attire:

"I change my training clothes in accordance with the mood of my body. That said, I love teaching in the Gaynor Minden Women's Microtech warm-up dance pants in all available colors, with long-sleeve leotards. For shoes, I wear the Adult "Boost" dance sneaker in pink or black. Because I have long days of work, I often wear the Repetto Boots d'échauffement for a few exercises to relax my feet."

How she coped during the initial difficult months of her illness:

"I live across from the Empire State Building. It was lit red with the heartbeat of New York, and it put me in the consciousness of others suffering. I saw ambulances, one after another, on their way to the hospital. I broke thinking of all the people losing someone while I looked through my window. I thought about essential workers, all those incredible people. I thought about why dance isn't essential and the work we needed to do to make it such. Then I got a puppy, to focus on another life rather than staying wrapped in my own depression. It lifted my spirit. Thinking about your own problems never gets you through them."

The foods she can't live without:

"I must have seafood and vegetables. It is in my DNA to love such things—my ancestors were always by the ocean."

Recommended viewing:

"I recommend dancers watch as many full-length ballets as possible, and avoid snippets of dance out of context. My ultimate recommendation is the film of La Bayadère by Rudolf Nureyev. The cast includes the most incredible étoiles: Isabelle Guérin, Élisabeth Platel, Laurent Hilaire, Jean-Marie Didière, who were once the students of the revolutionary Claude Bessy."

Her ideal day off:

"I have three: one is to explore a new destination, town, forest or hiking trail; another is a lazy day at home; and the third, an important one that I miss due to the pandemic, is to go to the Cathedral of Saint John the Divine, where my soul feels renewed by the sermons and the music."

Teachers Trending

Annika Abel Photography, courtesy Griffith

When the murder of George Floyd in Minneapolis last May catalyzed nationwide protests against systemic racism, the tap community resumed longstanding conversations about teaching a Black art form in the era of Black Lives Matter. As these dialogues unfolded on social media, veteran Dorrance Dance member Karida Griffith commented infrequently, finding it difficult to participate in a meaningful way.

"I had a hard time watching people have these conversations without historical context and knowledge," says Griffith, who now resides in her hometown of Portland, Oregon, after many years in New York City. "It was clear that there was so much information missing."

For example, she observed people discussing tap while demonstrating ignorance about Black culture. Or, posts that tried to impose upon tap the history or aesthetics of European dance forms.

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