In February, San Francisco Ballet principal Dores André will originate the 11th role of her 15-year professional career with Trey McIntyre's highly anticipated new work, The Big Hunger. The work is inspired by the big hunger/little hunger philosophies of the bushmen in the Kalahari desert. "Little hunger" represents the superficial desires we focus on during day-to-day life, while "big hunger" represents what remains beyond the little hunger. "It's about the deeper meaning we are all looking for in life," André says. "It's not about our careers or a new pair of shoes or any other robotic human want, it's about the search for something bigger than all of us."
Celebrated New York City Ballet principal Sara Mearns has recently been exploring collaborative possibilities with dance artists outside ballet. Just this year she was guest artist with Lori Belilove & The Isadora Duncan Company, and performed on Broadway in her husband Joshua Bergasse's choreography for I Married an Angel. This summer she appeared in a highly anticipated series of cross-genre collaborations at Jacob's Pillow, titled Beyond Ballet, with Honji Wang of the French hip-hop duo Company Wang Ramirez, postmodern dance artist Jodi Melnick, choreographer Christopher Williams and more. Here she speaks with DT about the effects of her explorations.
While Teddy Forance admits that performing with commercial artists like Lady Gaga and Madonna, and in front of 30,000 people, is exhilarating, he is personally drawn to more abstract music when he choreographs. It's a preference that sometimes confounds his contemporaries. "Some of my friends will ask, 'How do you choreograph to music that sounds like silverware fighting?'" he says. "I just tell them one sound at a time," he says.
Former Korean National Ballet dancer Hee Ra Yoo has taught in New York City at Steps on Broadway, the Joffrey Ballet School, Peridance Capezio Center and Gibney; throughout the U.S. at American Dance Festival, Tulane University, Georgian Court University and Florida School of the Arts; and all over the globe, as a guest teacher in Japan, Canada, Korea, Austria and Italy, and coaching the Korean and Australian Olympic gymnastics teams. This weekend she's bringing her choreography to the stage with her company, Yoo and Dancers, in a limited engagement at Here Arts Center in NYC. Her piece More Than Memory is an exploration of the body's layers of memory within itself and its ability to create its future.
Cleaning competition numbers is a process—and a difficult one at that. Making your dancers look cohesive without draining them of their passion and individuality can feel like an impossible task.
Here are some tips and tricks that may make it easier for you!
Alright, people. Summer is officially over, and fall is upon us. What a ride it's been! From intensives to Nationals to workshops, you teachers have been FABULOUS!
To recap, we thought we would share three of our favorite class videos that came from summer 2018.
They're just so good.
"This is what I like to call my 'PG but LIT' playlist," says Showstopper Dance Convention teacher Taylor Quinn. "That means all of these songs are great for kids 8 and under, and I get to enjoy them, too. I use this playlist for our stretch and warm-up, going across the floor and sometimes even class combos. Enjoy!"
In a windowless subterranean studio under the New York State Theater, I pulled back an imaginary arrow and let it fly.
"Good!" said ballet master Tommy Abbott. "I think you're ready. Tomorrow you rehearse with Mr. Robbins."
I was slated to play Cupid in Jerome Robbins' compilation of fairy tales called Mother Goose. It was a role given to the tiniest boy who could follow directions at the School of American Ballet. In 1976, that was me.