Sadler’s Wells- Peacock Theatre, London
November 2011

By Lara Bianca Pilcher

Some Like It Hip Hop is an original and highly entertaining dance theatre masterpiece that is fun, fun, fun! This innovative production showcases company founder Kate Prince as the director but also as lyricist, co-choreographer and co-writer.

ZooNation attracts an audience to the theatre that is varied from long time dance lovers and children to even those who usually just watch MTV; attracted to commercial music and dance.

Many children were in the audience. It’s so refreshing that founder Kate Prince has made a family friendly show that will encourage many children to pursue the arts. The stereotypes of hip hop being violent and overly sexualised are broken and hip hop is portrayed in a way that creates a safe show for anyone to come and see.

The story hooks the audience in, continually introducing more dance characters and further evolving others. The live song and acting moves the company from a dance only company to a revue.

The number ‘Invisible Me’ was like a hip hop version of Chicago’s ‘Mr Cellophane’, showing an oppressed character. It demonstrates how hip hop dance can be fused with music to further evolve the dance narrative and allow dance to be a much more communicative theatre language.

I’m a big fan of clean comedy (believing that it takes more skill than reverting to toilet humor) and there are so many moments to make you smile. Natasha Gooden’s doll like face is simply delightful as the dance character ‘Oprah Okeke’. The dancers’ faces and acting skills move them beyond dancers alone into true performers.

The lighting design by Johanna Town, is intricately designed and sets by Ben Stones are well integrated. The sets are as big and transformable as any top West End musical. So often dance is executed on a rather empty and bland stage but not in this show, the sets move and are constantly changing. There is never a dull moment.

The music by DJ Walde and Josh Cohen is original, enhancing the dance communication. There is a symbiotic relationship between the movement and music, true to the foundation of hip hop in the 1970s in Bronx NYC.

The big numbers at the end are a bonus and the whole cast, including the vocalists each have a short freestyle solo, reminding us of the spontaneous and competitive nature of street dance. Many of the performers move with explosive speed and risky air-born lifts and flips. The show is simply invigorating.

City Center, NY
November 2011

By Stephanie Wolf

American Ballet Theater is best known for its masterful presentations of full-length ballets. But, every fall, the company treats New York City to an array of more intimate repertoire at Midtown’s City Center. This year’s Thursday evening performance showcased the work of two iconic modern dance choreographers, some virtuoso dancing, and a world premiere.

The evening opened with Merce Cunningham’s Duets, appropriately named for its successive appearances of male/female pairings. With eclectic music, bare bones costumes, and angular movement, Cunningham’s work can sometimes be difficult for a ballet audience to digest. But Duets ended up being a pleasant start to the performance.

Set to the composition of Cunningham’s longtime collaborator John Cage, the highly technical and precise choreography translated well to the ABT dancers. At times, it was slightly mechanical, as if the dancers were individual cogs in a machine, which made the exactitude of the movement serve a greater purpose. The choreography involved a lot of fast footwork with arms held in a Bournonville-esque demi seconde and the most interesting movement was within the partnerships. There were several compelling moments of partnering such as an assisted jeté that landed in a penchée.

The Garden of Villandry, a pas de six for three dancers, a pianist, a violinist, and a cellist, was the next ballet on the program. Featuring the choreography of Martha Clarke, Robby Barnett and Felix Blaska, the piece mimicked a mini ballet soap opera. Veronika Part, Roddy Doble, and Gennadi Saveliev gave the impression their characters were caught up in some type of social entanglement. Was it a love triangle? Was there hostility? The audience had some artistic license in deciding for themselves.

The ballet was sleepy at times, but had merits; the live music was divine and the dancers executed the sometimes cumbersome partnering exceptionally well. It left me a bit indifferent, neither disliking it nor loving it.

From there, the evening took a change of pace with Twyla Tharp’s quirky and mischievous Known by Heart (“Junk”) Duet, set to Donald Knaack’s “Junk Music”. Tharp is notorious for her unyielding choreography and this duet was no exception, but the piece worked. Gillian Murphy and Blaine Hoven were an ideal pairing to tackle the difficult movement.

Known by Heart made me feel like a ‘ballet nerd’. I giggled along with the rest of the audience as the two dancers entered into a playful competition. There were a few cheap ploys for laughs – at one point Murphy tap dances on pointe – but all and all, I liked the ballet’s light, jazzy attitude.

I was most curious about the world premiere of Demis Volpi’s Private Light. Unfamiliar with the young choreographer’s work, I had no idea what to expect. The ballet opened with all ten dancers onstage. With the ladies’ backs to the audience, the five couples ‘danced’ exaggerated kisses and embraces. The ballet then evolved into an exploration of human gestures and the need for human touch, utilizing the sound of the dancers’ breath and the ladies’ pointe shoes. Misty Copeland took to the movement beautifully and breathed life into every step she danced.

Volpi’s ballet had an effect on me, but I’m unsure how to identify these exact emotions. I feel compelled to see it again, needing more time to process what I saw. It’s possible the more I watch it, the more it will register with me.

Rounding out the evening of dance was Paul Taylor’s always fun Company B. It’s a crowd pleaser, full of well-known tunes and stylized movement. There were a few standout dancers. Daniil Simkin, who is smaller in stature when compared to other men in the company, moved as if he was seven feet tall in the “Tico-Tico” solo. Simone Messmer was expressive and expansive in “There Will Never Be Another You”. However, several moments could have been stronger. Isadora Loyola is a lovely corps de ballet dancer with great potential, but she could have connected more with the gentlemen in “Rum and Coca-Cola”. Because the characters in Company B are just as important as mastering the Taylor technique, an occasional flirty glance would have gone a long way.

It was nice to see some favorites such as Company B, but it was even more exciting to see ABT showing New York audiences something new and different. The company has a lot of up and comers, both in dancers and choreographers. It will be interesting to see how the company evolves over the next several years, especially when it comes to its City Center repertoire.

Photo: American Ballet Theater performs Company B. Photo by Gene Shiavone

By Winston Morrison

Renowned tap fanatic Chloe Arnold is a co-director of the LA Tap Festival and DC Tap Festival.  She makes a living from tap dancing professionally all around the world.

In a half hour interview, walking and cabbing through New York City, I asked Chloe about the defining moments of her dance life, advice for aspiring tap dancers, and what goes on in her brilliant tap mind. Follow Chloe’s advice and you will get results.  Besides her skill, it is the person that Chloe is that has made her a success. Tap dancers who want a career in tap can model Chloe’s mindset, priorities and lifestyle to help them become a professional doing what they love.

Tell us about your training and experiences.

When I was 6, I started dancing in this regular dancing school doing jazz, ballet and tap. There was this one particular tap duo that my friend and I really worked on to make better. That’s my first recollection of making a stronger commitment to tap.

One day my mom saw an audition for an all-tap company. I made it on probation; contingent upon the idea that if I improved within three months then I could be in the company.  The teacher in that company sought out information from the masters and hoofers and brought in master classes with Lavaughn Robinson, Eddie Brown, Buster Brown and Harriet Brown. He exposed us to a lot of people.

Savion Glover came to D.C. and did a one month residency  – Savion Glover’s DC Crew.  I auditioned for that and got in. I was 10, and that really changed my life because we were having professional experience with him training four hours a day, learning choreography and then performing it in a large scale show.

One of the years he brought us to New York for a Broadway Showcase.  That changed my life again because I decided I had to move to New York. So at 11 years old I decided I was moving to New York when I grew up and that I was going to be a tap dancer.  I trained really hard and surrounded myself with people that inspired me, really pushed me to get better and didn’t baby me, but demanded excellence.

What other training do you do to support your tap?

I jam about 5 times a week, run and lift.

When dancing professionally how important is business?

Business, although it doesn’t help your tap dancing skills, is how you’re going to help your tap dancing career.  You’re not going to have a career if you don’t do business. Business is how you expand, and do what you want to do.

As tap dancers how can we find insipration?

Watching footage is a wonderful way to get inspired and also watching other kinds of art. Dance is movement, and watching other ways that people move makes me a better mover.   Go out and listen to music, any kind of music.  Jason Samuels Smith is a fabulous DJ and provides me with a lot of great music.  Stretch.  Write down ideas, and stories.  Sing. 

How do you keep your mental strength?

The time I auditioned for Savion’s DC Crew someone told me I wasn’t ready. I wasn’t good enough yet. But my mom was like, ‘just try, you always try’. So I tried. Fortunately, it wasn’t necessarily that I was good enough or not, it was just that he saw something in me. I don’t know what he saw, but something! 

When I came to New York and I first danced in a jam session that was my lowest point.  I flunked – embarrassment, humiliation. I told myself to go home and practise.  I just kept saying to myself  ‘you can’t be afraid because if you’re afraid, you’ll give up and you’ll never get this’.

What’s your vision for tap?

I just want to see more tap.  I want to see it on TV, in film, in music as music, on Broadway and on tours in a way that celebrates the art, the music, and the diversity of it.

What’s important to Chloe in her life and career now? 

CHLOE ARNOLD’S TOP 5 LIFE VALUES

1) Love.  Love for tap and love for life.  Love is what gets me out of bed and to work for 14 hours.  I love walking down the streets of New York feeling alive and excited. I’m driven by love.

2) Friends and family are very overlapped in my life and they come under love.  I value my friends like family. I’d do just about anything for my family, and we work as a team.

3) Respect.  I have a great deal of respect for myself, for other people, for my work and other people’s work.  That allows for an environment of peace, as opposed to war where you don’t have respect for other cultures, ways and views. Treat other people the way you want to be treated, that’s real. 

4) Fun falls under the love factor because everything I’m talking about is just fun to me too.

5)  Culture.  For example, today I came across a kid from Tokyo who didn’t speak English, and the idea that I can try to speak his language and try to connect is invigorating to me.  I get excited by differences. 

CHLOE ARNOLD’S TOP 5 CAREER VALUES

1)  Respect yourself, your art and that of others.  If you become a star who only respects your own work and not others, you’re going to find yourself on an island (isolated).   The great thing about art is it’s communication, and you’re able to connect with others.

2)  Work ethic and discipline.  Discipline yourself, like do I really want this salad right now? Maybe not, maybe I’d love a cookie but after working six hours this is how I replenish.  It’s about having the discipline to do that or putting on my shoes for the 4^th hour when I’m tired and don’t want to.  Everything you do in life requires sacrifice, anything you really want in this life will not come without sacrifice.

3)  Perseverance.  No matter how hard you get knocked down, you just stand back up. No matter how mean someone is to you, no matter how someone makes you feel like you should quit…NEVER give up.  And all this should be driven by your:

4)  Love and passion. That should really be the root of it – you’re only doing this art because there’s a passion for it.

5)  Be yourself as an artist.  You have to at some point.  The more you are yourself, the more unique you become because there’s no one like you, and the more effective your art will be.  You are relaying your art, not just imitating.

How much, what kind, and when?

By Emily C. Harrison MS, RD, LD

Do dancers need extra protein? Do they need to use powders, drinks, shakes or amino acid supplements or should they just eat more?  In the wake of the highly misguided “low carb” craze and in light of all the recent headlines about how  eating too much meat and dairy can increase risk for long term diseases…what is a dancer to do?  How much is enough, what kind of protein is best, and does timing matter?

How Much?

Yes, dancers need more protein than the average non-athletic person, particularly if they are still growing adolescents.   However, it is important that we get away from this incorrect idea that most of our food should be protein and that we should avoid carbohydrates. Protein is important, but too much protein is actually harmful to the body.  Everyone is a little different, but it is recommended for athletes that 12-15% of total calories should come from protein.

What does that mean exactly?

Everyone’s caloric needs vary, but if a dancer needs approximately 2000 calories a day, then they need about 60-75 grams of protein in their diet. (This is an average and not intended to be the amount for all).  

Here are examples:

A 115 lb female dancer needs about 60-78 grams of protein each day.
A 170 lb male dancer needs about 90-108 grams
There’s a range because different dancers have different activity levels and therefore need more calories.

Real food examples of protein content:  

What Kind?

Unless a dancer is dieting or restricting calories (which I generally don’t recommend), they can easily meet their protein needs through food alone. Supplemental protein is expensive and unnecessary. In general, people in the U.S., including athletes, get far more protein than they need. It is a myth that you need to load up on protein powders, drinks, or bars or that it should form the bulk of your food intake. Carbs are actually far more important fuel for working dancers. Protein drinks and bars can be convenient for busy dancers, but it is always better to get nutrients through real food. Research shows that the risk for long-term disease such as stroke, diabetes, heart disease, and cancer is significantly decreased when the majority of protein consumption comes from plant-based foods. Some examples are beans, peas, lentils, nuts, seeds, grains, and of course vegetables.  Whey protein (isolated from cow’s milk) has been in the news lately as good for recovery.  Some whey protein supplements, such as in a recovery beverage, might help dancers bounce back on a heavy show weekend, but there can always be too much of a good thing. 

When?

The body is better able to utilize protein when it is eaten in moderate regular doses throughout the day and also post workout.
Try to divide up total daily dietary protein into regular meals and snacks. For example, a professional level dancer would need to eat a little protein (10-20 grams) every 2-3 hours during the work day.  Aim for at least 6 small meals/ snacks per day.

Try to eat 10-20 grams of protein with a balanced meal within 1 hour post-exercise. However, some studies show that the body’s muscle building/repair response will still occur if the protein is eaten within 24 hours of exercise.  

According to K. Tipton PhD “there is a limit to the amount of protein that will effectively increase the anabolic response”. Essentially, when an athlete eats up to approximately 20 grams of protein at one sitting then it may be used to build muscle, but there is no difference in muscle response when given 20-40 grams at a time. So it seems that protein loading doesn’t do any good. When total dietary protein is ingested in small, frequent amounts throughout the day then the body responds much better and can utilize it for what protein is meant for.  Eating beyond the body’s capacity to use it, means it gets stored as fat or used as fuel. And the body doesn’t really like to use protein as a fuel source.  

Excess protein…what’s the problem with eating too much?

When protein is used as fuel, particularly when there is not enough carb or fat in the diet, it is hard on the body and can actually do more harm than good. Here’s why:

• The body doesn’t like to use protein as fuel or energy. The body wants to spare valuable protein for muscle building, making hormones, enzymes, controlling fluid balance, etc.
• Excess protein means excess nitrogen, a part of protein (amino acids) that must be removed. This can be hard on the kidneys. More importantly water gets excreted in this process and can lead to dehydration. 
• High protein diets can lead to more calcium being lost from the bones, a big problem for dancers who are at higher than average risk for stress fractures.  Protein overload = weaker bones.

Emily Cook Harrison MS, RD, LD 
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies.  Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles.   She can be reached at emily@dancernutrition.com    www.dancernutrition.com  

Resources:
- Joint Position Statement American College of Sports Medicine, American Dietetic Association, Dietitians of Canada. Nutrition and Athletic Performance. Medicine and Science in Sports & Exercise. 2009;41(3):709-731.
- Kevin D. Tipton.  Protein Nutrition and Exercise: What is the latest?  SCAN’s Pulse spring 2011, vol. 30, no2.
- T. Colin Campbell. The China Study. Benbella Books Inc. Dallas, TX 2006
- USDA National Nutrient Database for Standard reference.  www.nal.usda.gov/fnic/foodcomp/search/

Top photos: Dreamstime

By Laura Di Orio.

While each choreographer seems to have his/her own process during the creation of a work, most seem to share a common driving force: music. Whether the choreography stems from a piece of music or a choreographer needs to search for music to suit the movement’s needs, the importance of the relationship between dance and its accompanying music in undeniable. Here, Dance Informa speaks with a few choreographers about their musical inspirations and processes.

What inspires you musically? What is it about a certain piece of music that moves you to choreograph?

Christopher Liddell and dancers. Photo by Bill Hebert

Christopher Liddell, theater dance choreographer
www.cliddellchoreography.com
First, I’ve got to feel it in the gut, whether it’s because the lyrics spin a great tale or the music itself paints a robust picture. A great arrangement is key, containing at least three ‘acts’ or movements: plot intro, exposition and/or conflict, resolution. And I like when it’s catchy enough for the audience to hum on their way out.

Lar Lubovitch, choreographer, Lar Lubovitch Dance Company
www.lubovitch.org
It’s not totally conscious, but I’m certainly looking for something that makes me need to dance and that triggers my inner eye. My response to music is in effect making an action painting for the music.

What comes first for you – the choreography or the music?

Lydia Johnson, choreographer, Lydia Johnson Dance
www.lydiajohnsondance.org
I think that’s changed. It used to be music first, but in the last four or five years what started to happen was whatever I’m working on is kind of coming of its own accord and is growing independently from music. I’m starting to get a feeling or see images and then I’m searching for music that will work. So now something’s coming from me and then I go through music to find what will work to meet those needs.

Adam Barruch Dance in "Lapse". Photo by Nan Melville

Adam Barruch, choreographer, Adam Barruch Dance
www.adambarruch.com
Usually I find a piece of music that I love and play it repetitively while creation in the studio is in process. I do this so that the physical work generated is steeped in the environment the music creates. Other times, I revert to a playlist on my computer that is full of music that I would never choreograph to, but is there to inspire me.

Christopher Liddell
Music always comes first for me. My process is like this: I pick a song, then I count it and break it into sections, getting the technical aspects down. If the song has lyrics I usually base the dance on the story of the song.  I work in musical theater styles. I don’t normally do abstract work. I need the audience to know what is going on and the music choice has to support that.

How do you find music to which you want to choreograph?

Lar Lubovitch
I actually go to a lot of music concerts. I like attending live music events. If I find a composer I like, then I seek out a lot of music by that composer and choose a specific piece with all the ingredients I’m looking for.

Lydia Johnson
Now, because of the Internet, I use a combination of Pandora and iTunes. I put in a composer and make a station on Pandora and play it while I’m doing other things. Then I’ll hear someone who’s really interesting and I’ll go over and find out who the composer is. It’s a way of finding similar composers. I love the Internet for music searches. It’s completely changed by life. I remember having to walk across the street to CD stores or old LP stores and sit there looking at the covers trying to guess if it was something I’d be interested in because you couldn’t listen to excerpts.

Christopher Liddell
I usually pick a song I’ve known for years. I have this ability to memorize every note and instrumentation in a song. It drives people crazy when I hum all the notes of a crazy jazz trumpet! Over a lot of time, when I’ve gotten to know a song really well, I’ll one day realize, ‘Oh, I can choreograph something to this!’

Do you choreograph so that the dancer becomes the music or is it more of a partnership between the body and the music?

Lydia Johnson Dance in "Summer House". Photo by Brian Krontz

Lydia Johnson
I think some of both. I think there are places that the body is carrying the line of the music and there are places where I think it’s in counterpoint. There are parts of group pieces where different clusters of people will be the music at that moment or a certain movement will be reflecting the music at that moment, but there’s also a lot of counterpoint. So it’s almost a duet with music, and the dancers are expressing something the music makes me feel but not necessarily note for note or exactly what’s happening in the music.

Christopher Liddell
For my work, I try to use the Balanchine method: dance for the music. I think it is my job to paint a picture of the music. The dance and its music should feel completely connected. My goal is for the movement to enhance the music so that the audience ‘hears’ it visually and ‘sees’ it audibly.

Who are some of your favorite musical artists or composers?

Christopher Liddell
I love John Williams. His music is so iconic with his big use of brass. It usually feels good and exciting to listen to. I love Irving Berlin, the Gershwins, and Kander and Ebb for their easily danceable music theater genius. I also love Barbra Streisand, Bebel Gilberto, and yes, I have Bieber fever, too. I’m inspired by his music lately.

Lar Lubovitch Dance Company in "The Legend of Ten". Photo by Steven Schreiber

Lar Lubovitch
No favorites, just people over the years I’ve responded to very well – Brahms, Mozart, Steve Reich, Philip Glass, and some jazz composers.

Adam Barruch
I really enjoy Purcell and Handel, especially their emotionally rich arias. I also couldn’t possibly listen to Steve Reich and not want to move. I love contemporary artists like Loscil, Murcof, Ryuichi Sakamoto and Amon Tobin, all of whom are playing with a mix of electronic textures and classical sounds. I also love singer/songwriters like Jacques Brel for his poetry, and the work of musical theater composer and lyricist Stephen Sondheim.

Lydia Johnson
Gorecki, Philip Glass, Hindemith. I like a lot of 20^th century composers, and then of course Bach and the later Beethoven quartets. I listen to almost everything, but I seem to be drawn lately to living or our lifetime composers.

Top photo: Lydia Johnson Dance in “Summer House”. Photo by Brian Krontz

More than a manipulation of the elements.

 By Emily Yewell Volin

Does choreographic creativity ooze out of you or are you petrified by the choreographic work required in your dance major?  Whether the urge to create naturally flows from you or you think of yourself as a performer and technician who does not need the required choreography class, you have more to gain by taking the class than you may think.  And, believe it or not, your dance professors are fine with either attitude as you enter choreography class.  They just want you there.  Why?  Because there’s movement potential in you that must be explored.  Choreographic training will make you a better dancer and might even lead you toward an additional passion in the field.  Here are a few tips for getting the most out of those choreography classes.

• First and foremost, realize that most brilliant choreographers did not come by it naturally, they were trained.  Accept this. 
• Find inspiration.  Your life experiences ARE interesting.  Find new ways to look at them and create work based upon your reinterpretations.  You may be inspired to create linear works that tell a story, abstract works without a literal interpretation, or a mixture of both.  Spend time moving in silence or to music you find that triggers your creativity.  Discover how your body moves and what thoughts come to mind.  Be inspired by these realizations; they are your most honest creative desires.
• A choreographer’s job is to make the dancers you are working with look fantastic.  There are typically three strategies for choosing your cast members.  You can cast accomplished dancers, novice dancers, or a mixture of technical expertise.  Regardless, it is important to work with conscientious dancers and to take time to teach your choreography in detail.  The most expertly crafted work will fall flat if you have not clearly communicated your movement or if you find yourself working with dancers who either cannot or will not respond to direction.  A cast of dancers who ‘almost’ execute your intended movement and style will undoubtedly deflate the value of your work.  Be realistic about your cast members’ abilities, choreograph accordingly, and expect clarity. 
• Be true to your individuality.  Take a risk and share something of yourself.  You are inherently influenced by all movement, dance and otherwise, you have seen or danced in your life.   Embrace these influences on your way of moving.  Draw from them but do not be paralyzed by them.  Utilize the physical and aesthetic experiences to develop your own choreographic voice.  Inexperienced choreographers frequently develop phrase after choreographic phrase with little attention to developing a concise vocabulary or style for the piece.  Begin manipulating a few movement phrases and expand upon them.  Less is more at this point. If you find ‘filler’ steps in your work, cut them.  Choreography class work frequently involves the creation of several short choreographic studies. Create solid studies and you may find they form the basis for expanded works in the future.
• Find music that both speaks to you and is inextricably tied to the work.  Lyrics are fine, just realize you will be bound by them.  And, be aware that recognizable tunes and songs carry with them a litany of memories and preconceived notions for your audience.  Realize symphonic pieces are difficult to pair with a small cast of dancers and that sparse music is difficult to make work with a large cast.  Consider utilizing some choreographic tools like syncopation and stillness in your work.  Rhythmic texture adds intensity to your work.
• Staging changes everything.  This is something you will learn in choreography class.  Devise a way to begin visualizing what staging works.  Draw staging diagrams, move coins around on paper to represent dancers in the space; whatever works for you. Choreography class content includes a lot of tried and true staging information.  Implement these choreographic techniques and experiment with other ideas.  Our brains and eyes are accustomed to deciphering multiple stimuli at once.  Be intentional about the texture and staging of your work.  If your preferred aesthetic is stark, be true to it.  If you enjoy creating the decadent opulence of bodies in space; explore that.  Either way, be intentional and leave nothing to chance.
• Explore the creative capacity of your work in at least one other art form.  Write a poem, paint or draw, create a collage or a story board, journal, compose a jingle, read texts that relate to your ideas about the piece…the possibilities are endless.  Keep these inspirations near you throughout your choreographic process in order to create a portfolio of inspirations for the piece.  Share these creations or discoveries with your cast members.  Or, better yet, involve your cast in the creative process and be sure to share your inspirations.
• Reflect and revise.  We all know how frustrating it is when you’ve spent hard found time setting and learning choreography only to return to the next rehearsal and learn that the director has major changes to the piece.  Expect this as part of the process.  Accomplished choreographers reflect and revise, and you should too.  It is often difficult to discern if something is going to work until it is seen in real time.  Invite your faculty choreographic advisor to your rehearsals or provide a video for him/her to watch.  Listen to his/her impressions of the work and either implement their recommendations or request more discussion about the ideas. 

We all know that good choreography comes from the manipulation of the most basic elements of dance: time, space, and energy.  A choreography class will help you realize that well crafted choreography is much more than the simple orchestration of mechanical elements.  The best works embody the physical exploration of heart and honesty working in tandem with the splendid manipulation of time, space and energy.  Whether or not you continue to create after the completion of your choreography class, you’ll be a better performer, technician, teacher and artist as a result of the effortful journey.

Test your dance knowledge…

By Rain Francis.

With which name would you MOST associate Ginger Rogers?

a) Gene Kelly

c) Mikhail Baryshnikov

c) Fred Astaire

d) Donald O’Connor

For which ballerina was the Dying Swan choreographed by Mikhail Fokine?

a) Anna Pavlova

b) Natalia Markova

c) Alicia Makarova

d) Anna Karenina

Who did Lucette Aldous dance alongside in the 1973 filmed version of Don Quixote?

a) Mikhail Baryshnikov

b) Rudolph Nureyev

c) Anthony Dowell

d) Carlos Acosta

Which of the following names would you LEAST associate with contemporary dance?

a) Martha Graham

b) Jose Limon

c) Cyd Charrise

d) Merce Cunningham

Which king is best associated with the origins of classical ballet?

a) Louis XIV (King of France from 1643-1715)

b) Henry VIII (England, 1509-1547)

c) Ferdinand III (Italy, 1637-1657)

d) Phillip III (France, 1270-1285)

Which of the following was Gene Kelly the star of?

a) Singin’ in the Rain

b) An American in Paris

c) Ziegfeld Follies

d) All of the above

Which American ballerina wrote Dancing on my Grave?

a) Maria Tallchief

b) Gelsey Kirkland

c) Darci Kistler

d) Cynthia Harvey

Who’s daughter is Liza Minnelli?

a) Elizabeth Taylor

b) Debbie Reynolds

c) Margot Fonteyn

d) Judy Garland

Who choreographed Cabaret, Chicago and Damn Yankees?

a) Bob Fosse

b) Jerome Robbins

c) George Balanchine

d) Alvin Ailey

What nationality is renowned dancer Sylvie Guillem?

a) Italian

b) English

c) French

d) Canadian

Answers:

1 – c, 2 – a, 3 – b, 4 – c, 5 – a, 6 – d, 7 – b, 8 – d, 9 – a, 10 – c

By Stephanie Wolf.

“A fusion of many styles,” is how New York City choreographer Larry Keigwin describes his young, vibrant company Keigwin + Company. Originally from New York, Keigwin first became involved with dance by “fake tapping” his way through a fifth grade musical. Now,  he is a hot ticket choreographer, with big aspirations for his troupe of dancers, and gaining artistic recognition both nationally and internationally.

At the beginning of Keigwin’s artistic journey, dance sort of ‘happened’ to him rather than it being a clear-cut decision to pursue the profession. Often cast as a dancer in high school musicals, he discovered he possessed a natural affinity towards movement and began training seriously at age 16. Upon graduating from high school, Keigwin attended Hofstra University, where he received a BA in dance.

From there, he ventured into a career as a New York City freelance dancer, performing with companies and choreographers such as Doug Varone, the Metropolitan Opera, Doug Elkins, John Jasperse, Mark Dendy Dance Theater, and an off Broadway show titled The Wild Party. He served as Associate Artistic Director for Mark Dendy Dance Theater, and says his time there exposed him to commercial dance.

Keigwin+Company dancer Ashley Browne. Photo by Matthew Murphy

Originally, Keigwin did not intend to start his own dance company. In 2001, after a diverse performing career, he began showing his own work and produced his first full evening of repertoire in 2003. But, the process was simply about creating a show; one successful show led to the next, then to another, and so on. Even now, with a consistent ensemble of dancers, Keigwin says, “it [still] feels like a series of shows.”

So, what inspires Keigwin’s choreography? “Life!” he states. Yet, since no two dances are alike, Keigwin acknowledges that his sources of inspiration come from a range of ideas. “Anything from architecture, music, to pop culture, to an observation . . . human nature, the environment, the animal kingdom,” he adds.

Typically, he starts with music, Keigwin’s “catalyst” for inspiration, but he is known to change the music as the work evolves. Sometimes, he’ll begin the choreographic process with his dancers improvising and an idea will “pop out.” But, ultimately, “dance comes first.”

The dancers are an integral part of the Keigwin’s choreography and company. After all, it is Keigwin PLUS Company. He considers the group to be a collaborative effort. The dancers contribute both artistically and administratively – a true sign of each artist’s commitment and belief in Keigwin’s work.

Currently, the roster of dancers numbers 12. Because of the intimate nature of the company and work, Keigwin prefers to really know a dancer. Most of the dancers worked with him in a class or commission setting prior to joining the company.  However, of the 12 artists, one dancer did receive a position with the company by attending an audition and another dancer came on a recommendation.

Keigwin+Company dancer Ryoji Sasamoto. Photo by Matthew Murphy

Regardless of how a dancer comes to work with Keigwin + Company, the choreographer holds them all to the same high standard. Dance critic Deborah Jowitt acknowledges Keigwin’s ability to assemble a group of artists and wrote in a review, “One of Keigwin’s greatest gifts is for revealing the individuality of his champion dancers. He lets you see them, he allows you to love them.” Keigwin adds to this, “I look for someone who has a specialness about them . . . [someone] that I sense is unique.” In addition to that ‘special something,’ Keigwin also looks for dancers with technical ability, intelligence, quickness, creativity, and who are unabashed with it comes to performing.

While he hopes to build the company’s New York performance season, for now, the troupe tends to perform more on the road. They have done an extensive amount of national touring, particularly to universities, and have made repeat trips to Santa Barbara, CA. Upcoming travels include Upstate New York, Tulsa, Minneapolis, and the Kennedy Center in Washington DC. Keigwin will also set a new piece in New Zealand.

The company is making a name for itself in the New York dance community, but Keigwin’s ambitions for himself and his dancers span so much more than simply gaining acclaim among peers. In the next several years, he aims to expand the company into a full time gig for 12 dancers and 2 apprentices.  He wants to take these dancers all over the world, increasing Keigwin + Company’s international presence. Additionally, he plans to continue to create new work on his own company, other ballet and contemporary companies, and Broadway.

The future is looking bright for the artists of Keigwin + Company. With a strong, clear vision and the tools to achieve these goals, Keigwin has the potential to exceed his own dreams. The company has already been included in the talented groups of artists to participate in the Guggenhiem’s Works & Process series, which featured the world premiere of Balloon Dance. Other past venues include Jacob’s Pillow, a residency at Martha’s Vineyard, and Central Park’s SummerStage series. In January 2012, Keigwin + Company will participate in the Focus Dance Festival at Manhattan’s Joyce Theater.

By Emily Yewell Volin

In the words of three dancers currently thriving in the Las Vegas dance scene, Vegas dancers are tough, trained, diverse, driven, and supportive of other dancers in their community.  Sound like a place you’d like to work?  Dance Informa spoke with Miguel Perez, a featured dancer in Viva Elvis for Cirque du Soleil, Courtney Combs, the Dance Captain for Phantom the Las Vegas Spectacular, and Richard Havey, Affiliate Associate Professor of Dance at the University of Nevada Las Vegas.  Dance is booming in Vegas; check it out.

What surprised you most about dance in LV?

Miguel
The group of artists I’ve met.  It’s a small community and everyone tends to know each other.  It’s all very supportive and there’s a lot of work to do.  I thought all there was were the shows on The Strip, and it’s not that way.

How many shows do you perform a week?

Courtney
Phantom is on a regular Broadway schedule so we perform eight shows a week.  As Dance Captain I’m in charge of maintaining all of Gillian Lynne’s choreography.  My job is to keep the choreography and the blocking clean.  And with any new people who come into the show, it’s my job to put them into the production.  And, I’m also the ballet swing so if anybody gets sick I go in.  I’m usually on every night unless I have a new understudy I need to watch from the house.  Even then I swing on at least 2-3 times a week.

Miguel Perez of Viva Elvis, Cirque du Soleil. Photo by Tomek Rossa

Miguel
Viva Elvis performs ten shows a week, two shows per night, Tuesday through Saturday.  It’s probably the hardest show I’ve ever done.  By the end of the week I’ve performed 100 dances.  So, for me, it’s about being mentally and physically prepared for the show.  You have to give it your all.

Do you have time to take class? 

Miguel
We get class once a week at work and I try to take a yoga or dance technique class every week to balance my body.  It’s very important to find other things that stimulate the mind and body. I like yoga and Pilates and I work out five days a week.

Courtney
I try.  I’d love to take class seven days a week. As Dance Captain most of my rehearsals start at noon so I miss most 10 am classes.   I’ve found different ways to stay fit.  I earned my Pilates certification when I was living in LA so I do Pilates and yoga and try to take at least two technique classes a week.

Richard
I have professionals come take my class (at UNLV) quite often, but with their schedules they do not come regularly.

Courtney, you and Heather Sirois-Arnold co-directed the cityMOVES Dance Concert this October.  Tell us about the project.

Heather Sirois-Arnold and I were interested in a benefit concert featuring contemporary dance.  I’ve been involved with Family Promise, an organization that helps homeless families get back into homes, for a long time and it’s a really great organization.  We wanted to give Las Vegas dancers a showcase outlet to choreograph and/or dance without being limited by a theme.  Heather and I sent requests to every show in Las Vegas inviting dancers to contact us if they were interested. More than 70 dancers were involved with the show, including the Nevada Ballet Theatre and The Las Vegas Contemporary Dance Theater.  The College of Southern Nevada donated the theater, flooring and great lighting. 

Dancers perform INTREPID, by Courtney Combs at cityMOVES. Photo by Corey Fox

Miguel, what was your involvement with cityMOVES? 

Twenty-one dancers from the Viva Elvis show volunteered our time as choreographers and/or dancers.  I choreographed a duet and a company piece. I also performed in the show. 

Richard, what other projects are you involved with in Las Vegas?

I co-direct a project called Nevada Dance Project that was funded by the city to create dance for the community using the performers from the shows to choreograph and perform. 

What’s the current role of dance in LV shows?

Richard
Dance was elevated in Vegas when Celine Dion came with her 50 odd dancers.  (A New Day, 2003-2007).  Then the rest of the shows had to step up to what had arrived.

Miguel
Dance has grown a lot in Las Vegas.  Viva Elvis is the biggest dance show in Cirque. There are dance companies and different concerts people volunteer to put on, as well as college dance at UNLV.   It’s a smaller pond than LA and I can establish a name for myself.  It’s communal and supportive here.

Do any shows feature traditional show girls performing on the Strip?

Richard Havey, Affiliate Associate Professor of Dance at the University of Nevada Las Vegas

Richard
Yes, there are still the traditional show girl shows like Jubilee which just celebrated its 30^th year.

What is the biggest perk of dancing in a Vegas show?

Courtney
For me it was living a more normal every day life while still dancing.  Yes, you work at night but you don’t have to be on tour.

Miguel
The steady paycheck.  It’s so hard for dancers to find work in this economy.  Dancing in a Vegas show gives you benefits, a stable job and insurance.  There’s also money available to go back to school if you need it.

What is the most challenging aspect of dancing in a Vegas show?

Miguel
I guess it would be the hours if you are not a night person.  Sometimes I’m at work from 2-11:30pm.  It’s 2:30am by the time I get home, eat and wind down. 

Courtney
I adore my job. It’s really my dream job.  Still, I’ve been doing the same show eight times a week for five years.  Trying to come up with other ways to stay artistically fulfilled is my biggest challenge.

What training and skills are required of a Vegas dancer?

Courtney
I realize especially now, after having been Dance Captain and assisting with auditions, the more diverse you can be, the better.  I come from a classical ballet background and that foundation is important.  You have to diversify yourself, but at the same time have a strong background in classical dance, ballet or jazz, and if you can sing all the better! 

Richard
Anything goes, it depends on the show for skills.  Some look for the beautiful gymnastic girl while others look for good dance skill. 

Miguel
It’s important to be versatile.  You can’t just be a modern dancer, a ballerina, or a jazz dancer.  It’s all a fusion, it’s all meshing together.  The more tricks you have in your bag when you audition the stronger you’ll be.  Don’t be afraid to take any kind of dance.