Site Network

Has the Quest for Versatility Erased Dancers’ Movement Signatures?


abezikus/Getty Images

"Dancers can do everything these days," I announced to whoever was in earshot at the Jacob's Pillow Archives during a recent summer. I had just been dazzled by footage of a ballet dancer performing hip hop, remarkably well. But my very next thought was, What if that isn't always a good thing? What if what one can't do is the very thing that lends character?


Let me explain. I am finding it harder these days to define a dancer's kinetic signature, which is my signature as a dance writer. As someone from the somatic persuasion (the Feldenkrais Method), I've always felt my gift to the field is being able to put into words how an artist moves differently than the person next to them. I am well aware that dancers need to be able to move precisely in sync to remain employable. I get that. Imagine La Bayadère's "Kingdom of the Shades" without sameness. It's the ability to turn the "same" function off when necessary that I am concerned about.

Watch an episode of "So You Think You Can Dance" or "World of Dance," and you'll witness an ocean of sameness, often performed at a level 10 intensity the entire time. High legs, endless turns, eye-popping technique, zero personality. I've also seen generic dancing at college programs, contemporary companies and in the corps de ballet. There's even less tribalism these days; we used to be able to tell a dancer's ancestry—be it Graham, Cunningham or Balanchine—by their movement.

Courtney D. Jones stands out for her unique movement approach.

dabfoto creative, Courtesy Jones and Cynthia Woods Mitchell Center for the Arts

I worry that all this neuro-diversity has smoothed over our idiosyncrasies, so I consulted my brainy, neuromuscular friends from the somatics world. Not one of them would confirm that the required fluency in many forms of dance is the culprit.

So what then? Is it that the training itself has developed to produce a more technical dancer highly capable of sameness at the expense of individual expression? Just watch the earliest footage of modern dance and compare that to the graduating class of Juilliard to see how technique has evolved.

Bodies inherently move with a personality. When I consider my "25 to Watch" nominations who've made the list over the years, I've chosen artists who move in a way that I've never seen before: dancer/choreographer Courtney D. Jones' embodied authority; freelancer Ching Ching Wong's ability to divide her body between wiggly-squiggly and completely still; the slippery chillness of Laura Gutierrez, who evokes classic Cunningham style with a juicy twist; at Boston Ballet, it's how Derek Dunn carves the contours of each step such that he leaves a trace of his action; and at Tanztheater Wuppertal Pina Bausch, it's Stephanie Troyak's sublime awkwardness, reminding me of a colt's first steps out of the womb—all powerful signatures.

Ching Ching Wong (in blue) maintains a recognizable movement signature.

Otto Kitsinger, Courtesy Lauren Edson

I don't have the answer as to why kinetic signatures have eroded. But I do know that we need to nurture the dancing personality. For an instant burst of inspiration—and a reminder of what it looks like when dancers truly embrace what makes them unique—I recommend turning to Jacob's Pillow Dance Interactive. The handy online archive contains footage of some of my favorite movers. There's Louise Lecavalier's human-cannonball thrusts into space. Roy Assaf's silky-smooth rope tricks of a pas de deux. Lutz Förster's nonchalant charm. Each artist moves with undeniable distinction.

As a field, we've got technique, cross-training and ensemble skills all down in spades. To choreographers I say: Create a studio environment where what makes us unique survives intact. To teachers I say: A dancer's individuality needs to be cultivated from the get-go. To dancers I say: No one moves like you do.

Teachers Trending
Cynthia Oliver in her office. Photo by Natalie Fiol

When it comes to Cynthia Oliver's classes, you always bring your A game. (As her student for the last two and a half years in the MFA program at the University of Illinois at Urbana-Champaign, I feel uniquely equipped to make this statement.) You never skip the reading she assigns; you turn in not your first draft but your third or fourth for her end-of-semester research paper; and you always do the final combination of her technique class full-out, even if you're exhausted.

Oliver's arrival at UIUC 20 years ago jolted new life into the dance department. "It may seem odd to think of this now, but the whole concept of an artist-scholar was new when she first arrived," says Sara Hook, who also joined the UIUC dance faculty in 2000. "You were either a technique teacher or a theory/history teacher. Cynthia's had to very patiently educate all of us about the nature of her work, and I think that has increased our passion for the kind of excavation she brings to her research."

Keep reading... Show less
News
Clockwise from top left: Courtesy Ford Foundation; Christian Peacock; Nathan James, Courtesy Gibson; David Gonsier, courtesy Marshall; Bill Zemanek, courtesy King; Josefina Santos, courtesy Brown; Jayme Thornton; Ian Douglas, courtesy American Realness

Since 1954, the Dance Magazine Awards have celebrated the living legends of our field—from Martha Graham to Misty Copeland to Alvin Ailey to Gene Kelly.

This year is no different. But for the first time ever, the Dance Magazine Awards will be presented virtually—which is good news for aspiring dancers (and their teachers!) everywhere. (Plus, there's a special student rate of $25.)

The Dance Magazine Awards aren't just a celebration of the people who shape the dance field—they're a unique educational opportunity and a chance for dancers to see their idols up close.


Here's why your dancers (and you!) should tune in:

They'll see dance history in the making.

Carlos Acosta. Debbie Allen. Camille A. Brown. Laurieann Gibson. Alonzo King.

If you haven't already taught your students about these esteemed awardees, odds are you'll be adding them to your curriculum before long.

Not only will your students get to hear from each of them at a pivotal moment in their careers (and Dance Magazine Awards acceptance speeches are famously chock-full of inspiration), they'll also hear from presenters like William Forsythe and Theresa Ruth Howard.

This year, all the Dance Magazine Awards are going to Black artists, as a step towards repairing the history of honoring primarily white artists.

And meet tomorrow's dance legends.

Dance Magazine's Harkness Promise Awards, this year going to Kyle Marshall and Marjani Forté-Saunders, offer funding, rehearsal space and mentorship to innovative young choreographers in their first decade of presenting work—a powerful reminder to your students that major success in the dance world doesn't happen overnight.

They'll get a glimpse of what happens behind the scenes.

Solely teaching your students how to be a great dancer doesn't give them the full picture. A complete dance education produces artists who are savvy about what happens behind the scenes, too.

In 2018, Dance Media launched the Chairman's Award to honor those behind-the-scenes leaders who keep our field moving. Each year's recipient is chosen by our CEO, Frederic M. Seegal. This year's award goes to Ford Foundation president Darren Walker, who is using philanthropy to make the performing arts—and the world at large—more just.

And, of course, see dozens of great dance works.

Where else could your students see selections from Alonzo King's contemporary ballet classics next to Camille A. Brown's boundary-pushing dance theater works? Or see both Carlos Acosta and Laurieann Gibson in action in the same evening? Excerpts from the awardees' works will show your students what it is exactly that makes these artists so special.

So gather your class (virtually!) and join us next Monday, December 7, at 6 pm. To receive the special student rate, please email dmawards@dancemedia.com.

See you there!

Leap! Executive Director Drew Vamosi (Courtesy Leap!)

Since its inaugural season in 2012, Leap! National Dance Competition has been all about the little things.

"I wanted to have a 'boutique' competition. One where we went out to only one city every weekend, so I could be there myself, and we could really get to know the teachers and watch their kids progress from year to year," says Leap! executive director Drew Vamosi. According to Vamosi, thoughtful details make all the difference, especially during a global pandemic that's thrown many dancers' typical comp-season schedules for a loop. That's why Leap! prides itself on features like its professional-quality set design, as well as its one-of-a-kind leaping competition, where dancers can show off their best tricks for special cash and merchandise prizes.

Keep reading... Show less

Get Dance Business Weekly in your inbox

Sign Up Used in accordance with our Privacy Policy.