BuzzFeedVideo Tells the Basic Story of Life Through Dance, and It’s Incredible

Sometimes it feels good not to be normal. Or at least when normal is defined as average. BuzzFeedVideo released a video that lists (in chronological order) the average ages at which every major milestone happens in a person’s life—first time you lose a tooth, first kiss, giving birth for the first time. Best of all, it’s a dance film! Twelve dancers take turns playing different roles: mother, father, child, lover. It’s a bare set, with just some hanging bulbs, an all-white background and occasional props like a door or a bed, but it’s a surprisingly moving video. Well, not that surprising—we know dance’s ability to make you feel emotional, don’t we?

BuzzFeed doesn’t reveal who choreographed this gem, but it’s clearly someone with an eye for film—did you realize that it’s just one long, fluid shot? So we’re talking about minutely rehearsed entrances, exits, partnering and general interactions. Major props.

So how many of these milestone ages do you match up with? I found myself enjoying it most when the life milestones didn’t match up with the age I experienced them.

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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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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.

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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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