Through Instagram posts, Roberts, who has a background in fitness and architecture, chooses off-beat locations to showcase site-specific choreography for events, like this gallery opening at Long Island City's Cigar Factory. Her strong web presence operates as a 24-hour business card cultivating the element of surprise.
Pop-ups rely on the delight of being in the right place at the right time. Such flashes of intrigue have changed the way consumers engage with products and services, according to "How Pop-Ups Took Over America's Restaurants." Because dance itself is built on impermanence, many artists embrace fleeting moments to market themselves on the web.
Below are five suggestions to get you onboard the pop-up train.
Taylor with PTAMD dancers Annmaria Mazzini and Michael Trusnovec. Photo by Richard Calmes
A person's walk is like a fingerprint, according to four Paul Taylor dancers who are stepping on without their beloved choreographer. Taylor died August 29, passing the legacy of Paul Taylor American Modern Dance to Michael Novak, the second artistic director in the company's history.
"Human movement never lies," says Novak, who sometimes slipped into present tense when describing his mentor. "For auditions, Paul makes dancers walk across the floor in rhythm. The first time I auditioned, I didn't get the job. I was terrified, but now that I'm on the other side of the audition process, 'the walk' is telling."
The five-hour workshop provided age-appropriate lesson plans rooted in history and Laban Movement Analysis. But the program also reassured classically trained teachers to "come as you are." After all, a "groove" is just a plié with a grounded "urban edge."
Ballroom dance could be the best form of diplomacy, according to New York City teenagers starring in a new documentary, Taking New Steps—The Dancing Classrooms Youth Dance Company Goes to Israel.
Saturday, members of the Youth Dance Company and their loved ones watched the private screening with family and friends at the Film Society of Lincoln Center in Manhattan. Produced by SingularDTV, the 18-minute documentary captured individual interviews and sweeping drone shots during the company's 2017 trip to Israel for the Karmiel Dance Festival. Dancers in the audience, now a year older, cheered as they viewed younger versions of themselves on the movie screen.
Rupert's educational performance is this weekend in New York City and stars Legacy 36, LLC, her troup of former Rockettes, who have presented similar history programs since 2013. Novelty acts include stilt and three-legged dancers, a duet with her five-year-old nephew, and toe tap–all sandwiched between narration. Photos and videos honor all precision dancers, including the Tiller Girls, an iconic English troop that preceded the Rockettes.
As the most famous precision group, the Rockettes have resided at Radio City Music Hall since the early 1930s, but at the time, dozens of American movie palaces had their own kicklines, similar to the team in Manhattan. Before films, beautiful women dazzled onstage and became part of each cinema's year-round brand.
Today, the Rockettes are known for their annual Radio City Christmas Spectacular. Unlike other precision troops, they're still going, Rupert says.
Even the most disciplined dancers admit to weeping in class sometimes. Sorrow and fear are human expressions, but teachers may not always know how to navigate a sudden burst of waterworks.
"Stress is in the body," explains Linda Taylor, a school psychologist in Idaho who has taught ballet to all age groups, from toddler to professional. "Sometimes the release of it can bring on tears, especially for older students."
"We all need to cry sometimes," says Joel Hall, founder and director of Joel Hall Dancers & Center in Chicago. An instructor who has taught for 46 years, he admits he used to feel panicked at the sight of watery eyes. Now, he has a better understanding of students' feelings and how to work with them.
Here are five expert tips from Taylor and Hall for navigating grief in dance class.