By Laura Di Orio

This January, the Association of Performing Arts Presenters (APAP) held its annual four-day conference in New York City, where it unleashed a myriad of performances and dance conversation topics. This year marked the organization’s 56^th conference and centered around the idea of celebrating diversity but uniting in cause. The focus was on community – how those in the performing arts industry have the opportunity to build communities, engage communities and help transform communities through the power of live performance.

The association itself was founded in 1957 and was originally a gathering of college arts presenters. Quickly, though, APAP morphed into an association of people who worked specifically in the performing arts industry rather than the visual or literary arts. Today, APAP has about 1,500 members and is based in Washington, D.C.

APAP holds its conference in NYC each year, as the organization sees this city as the hub of the performing arts industry in the United States. This year 3,500 people attended the conference, held from January 6 to 10, and housed in the Hilton New York in midtown Manhattan.

APAP's Expo Hall at the Hilton New York. Photo by Alicia Anstead/APAP

There were over 1,000 showcases – some ticketed and most non-ticketed – throughout the city’s boroughs in venues such as the Alvin Ailey Studios, Dance New Amsterdam, Peridance Capezio Center and the Hilton, among others. These showcases, comprised of numerous dance companies, theater groups, musicians and even magicians, allowed these varying artistic voices to be seen and heard by a concentrated collection of arts presenters, agents, theater bookers, managers and other figures in the performing arts community. While APAP itself does not oversee any potential business transactions between a performing arts group and agents or bookers, it is the force that lays down the framework and organizes the timeframe for everyone to come together.

APAP also hosts an Expo Hall, one of the largest marketplaces for the performing arts industry in the world. This year, 350 booths took up three floors in a special area of the Hilton. The Expo Hall makes no distinction between “high” and “low” arts; rather, it ranges from dance to classical music to the marching band.

Other events at the 2012 conference included a Dance Forum that focused on issues and opportunities in the field, planning sessions that brainstormed how a community’s performing arts organization can remain vital and relevant in that community’s conversation, and discussions on the economic impact of the arts.

“APAP is proud to support all genres of the performing arts, especially dance,” says Mario Garcia Durham, president and CEO of APAP. “We were happy that the Dance Forum took place during APAP|NYC 2012 because we know how important it is to support dance initiatives and new programs, and our conference draws thousands of dance and performing arts professionals who can broaden and strengthen the discussion.”

This year marked Durham’s first term as president of APAP. As the first Mexican-American to hold this position, he remains committed to diversity and ensuring that that is the message and manner of the organization. Planning for next year’s APAP, to be held in NYC from January 11 to 15, 2013, is already underway.

Top photo: APAP’s Pecha Kucha, a plenary session about “What great acts have happened in our community?” Photo by Jacob Belcher/APAP

January 2012 will kick off the momentous 80th Anniversary of Jacob’s Pillow Dance Festival, a National Historic Landmark, National Medal of Arts honoree, and America’s longest-running international dance festival. Founded in 1933 by modern dance pioneer Ted Shawn as a retreat for his company of Men Dancers, Jacob’s Pillow has been a mecca of dance for eight decades. Nestled in the beautiful Berkshire Hills of Western Massachusetts, “the Pillow” is acclaimed for its rich history, unique and beautiful location and atmosphere, and forward-thinking international programming of the highest quality. The international celebration of dance, music, the visual arts, and culture begins June 16 with the 80th Anniversary Season Opening Gala and continues through August 26.

The 80th Anniversary Season includes an impressive blend of world premieres, U.S. premieres, live music, company debuts, legendary dance companies, emerging choreographers, and more than 300 ticketed and free events, talks, performances, classes, exhibits, and tours hosted at the Pillow’s 163-acre National Historic Landmark site.

Bill T. Jones/Arnie Zane Dance Company in Story/Time. Photo Paul B Goode

Executive and Artistic Director Ella Baff comments, “The 80th Anniversary Season celebrates Jacob’s Pillow’s history-making contributions to dance over eight decades, beginning with early 20th century pioneers Ruth St. Denis, Ted Shawn, and the Men Dancers. This year’s Festival also affirms the Pillow’s steadfast commitment to new and important dance-makers and performers, as well as unique presentations that give artists and audiences opportunities to discover new things about dance. There is no other place like Jacob’s Pillow; it is truly unique. It is a destination – a nexus for dance that generates inspiration and is enjoyed by people from all over the world as well as right down the road. We look forward to welcoming everyone to this year’s particularly special Festival.”

Baff affirms her dedication to presenting dance of many forms and styles from around the world with an 80th Anniversary Festival that features companies spanning nine countries and five continents: Australia, Brazil, Canada, China, Finland, France, Germany, Israel, and the United States. The Hong Kong Ballet, Morphoses, and Vertigo Dance Company are among many troupes that will make their Jacob’s Pillow debuts. Companies with historical connections to Jacob’s Pillow include The Joffrey Ballet, returning for the first time in nearly 50 years, and Canada’s Royal Winnipeg Ballet, which made its 1964 U.S. debut at the Pillow.

Once-in-a-lifetime engagements will also be presented. A weeklong homage to Ted Shawn and his Men Dancers will feature a 20-member cast of some of the greatest male dancers and choreographers of today including Lar Lubovitch, Jason Samuels Smith, Arthur Mitchell, David Neumann, Trent Kowalik, Cartier Williams, and Jock Soto, among many others.

Historic Ted Shawn Theatre at Jacob's Pillow. Photo Christopher Duggan

Three specially selected “Back by Popular Demand” productions will be discovered anew by audiences. Ella Baff comments, “I hope to encourage the public to consider more contemporary dance works as classics, to be revisited in the same way that we enjoy and deepen our appreciation for classic works of music, theatre, and the visual arts.” This series includes Tero Saarinen’s powerful Shaker-inspired Borrowed Light, which premiered in the U.S. at the Pillow in 2006; 2011 Jacob’s Pillow Dance Award recipient Crystal Pite’s stunningly accomplished work Dark Matters; and Doug Elkins’ insightful and hilarious Fräulein Maria, first performed at the Pillow in 2009.

At The School at Jacob’s Pillow, faculty includes an extraordinary range of master artists: Michael Corder formerly of the Royal Ballet; Judith Jamison, Artistic Director Emerita; Ariel Freedman of Batsheva Dance Company; Jose Manuel Carreño, recently retired from American Ballet Theatre; Cynthia Harvey, former star of The Royal Ballet and American Ballet Theatre; tap legend Dianne Walker; and many others.

While the Festival is a centerpiece of the 80th Anniversary Year, programming takes place year-round. Throughout the year, new additions are constantly contributed to Virtual Pillow, an ever-growing online collection including PillowTalks, educational resources, Jacob’s Pillow Dance Interactive, and contemporary and archival dance videos, which have amassed more than 800,000 views to date worldwide. Artist residencies bring the innovative Jacob’s Pillow Curriculum in Motion® program to schools, using movement to advance and enhance classroom learning for students and teachers. Visiting scholars and fellows from around the world use the Jacob’s Pillow Archives as a vast and unique resource for significant dance research.

Wei Wei and Jin Yao of the Hong Kong Ballet. Photo Gordon Wong

Year-round Creative Development Residencies support artists as they create new work in the Pillow’s retreat-like setting; these new works often premiere at the Pillow. On March 24 and 25, the Pillow and MASS MoCA will co-present Australian contemporary company Chunky Move in their newest production, Connected.

A signal Anniversary celebration includes the release of Never Stand Still, a feature-length documentary about dance, dancers, and Jacob’s Pillow by award-winning director Ron Honsa, narrated by Bill T. Jones. The film will make its New York City premiere at the 2012 Dance on Camera Festival on January 27.

www.jacobspillow.org

Top photo: Erica Essner Performance Co-Op performing as part of the free Inside/Out performance series at Jacob’s Pillow. Photo Christopher Duggan

Baruch Performing Arts Center, New York City
August 2011

By Laura Di Orio

In its fourth year, The Latin Choreographers Festival is evidently evolving. This year’s program, curated by its founder and director, Ursula Verduzco (who also choreographed, danced and created costumes for pieces on the program), was expansive in its dance genre, musical choices and feel. It reaffirmed that every artist has a voice, has something to say, and should be given the opportunity to do so.

Works by 12 choreographers of Latin descent, and one by Aszure Barton, this year’s chosen non-Latin choreographer, were featured at New York City’s Baruch Performing Arts Center, a new home for the festival. Some of these names were new to me, while others I was familiar with, but in all I was greatly in awe of the choreographers’ dedication to their work and of the dancers’ commitment to it as well.

Steven Gray and Jennifer Pray in Eloy Barragan's 'Some Day'. Photo by Rachel Neville

A favorite, ‘Some Day’, choreographed by Eloy Barragan, and danced beautifully by Steven Gray and Jennifer Pray, blew me away. The pull between ‘Some Day’s’ softness and passion made you feel for the couple, clad in neutral, muted tones, during their times of loneliness and of harmony.

‘Maria’, Antonia Urzua’s work, featured passionate partnering between dancers and also between music (it’s set to a fusion of Tracy Chapman and Arvo Part, which worked unexpectedly well). At one point, one dancer lifted and swung another via a back brace with handles. The characters became, in more ways than one, less attached, and it was relationship full of reaction.

Another highlight was David Fernandez’s ‘La Danza del Fernando’, a dance with a strong undercurrent of narrative story and, at times, elements of humor, intrigue and surprise. Roberto Lara made for a stunning hero, and it was nice to see Fernandez on the stage as well.

Verduzco and Fredrick Davis were technically strong and funny in gestural dialogue in Benjamin Briones’ ‘Lights On’. And Alejandro Chavez’s ‘Triangulo’, with three nearly identical men in appearance and dance style, told the story of an intense love triangle. Music by Fazil Say accompanied it well, telling the story alongside the movement, and the moments of stillness were just as powerful as the most energetic ones.

Rounding out the program was Barton’s ‘Blue Soup’, with a diverse crop of dancers from The Steps Repertory Ensemble, all dressed in business suits. The piece was smart, funny, and certainly polished.

Aside from a few awkward lighting transitions (a couple of pieces were also unfortunately too dimly lit), and a somewhat lengthy program (although I’m sure it was tough to narrow it down), Verduzco showcased a batch of insightful artists. I’m excited to see what’s in store for next year’s Festival.

Top photo: Ursula Verduzco and Fredrick Davis in Benjamin Briones’ ‘Lights On’. Photo by Rachel Neville

Making the Most of Summer Dance Opportunities.

By Laura Di Orio.

Summer is fast approaching. While for some that means bathing suits and lemonade stands, for serious dance students it means another opportunity to train, work hard and perfect their craft. And what better way to learn new and different things than in a new and different environment? Dance intensives and workshops abound in the summertime. They are a chance for students to practice, learn from new teachers, experience an unfamiliar terrain and meet new friends with similar interests. So what should dancers know about excelling at and enjoying their summer dance program? Dance Informa looks at how to make the most of any summer dance experience.

Dance-Packed Schedule

Dancers can choose to take classes at their home studio, if available, during the summer or serious students can study out of town, thus broadening their technique and teacher/friend circuit. Depending on time and interest, dancers may decide between varying formats, from intensives to workshops. No matter the venue, however, summer programs tend to lend themselves to smaller class sizes, more individual attention and tons of dancing.

Broadway Dance Center Summer Students

Summer intensive programs like those offered at Boston Ballet School, University of North Carolina School of the Arts and The School at Jacob’s Pillow are called an “intensive” for a reason. Often up to six weeks long, with five to six hours of class each weekday and optional classes or rehearsals on the weekends, these programs are geared to the serious dance student. The day usually begins at 8:30 or 9:00 a.m. with a technique class, followed by specialty classes such as pointe, variations, character, men’s class, partnering or modern, and then repertory or performance preparation. In the mix are often also lectures on nutrition, injury prevention or career-building seminars, opportunities to work creatively with guest choreographers, and a culminating performance.

For a more short-term summer dance experience, such workshops as Broadway Dance Center’s Summer Workshop Series allow students to test out a variety of dance styles. During BDC’s SWS, students generally take a 2.5 hour morning class with a workshop instructor, have a 1.5 hour master class for two days and receive a five-class card good for any of BDC’s long list of classes.

Absorb it All

Whether attending an intensive or a workshop, dancers should take full advantage of everything offered to them. Students should arrive at any program well rested, injury-free, in good shape and eager. They should focus during each class, apply every correction and pay attention to all presentations and discussions. Dancers should “approach their work with an open mind, understanding that they can learn so much from their experience both from the expert faculty and their peers,” says Kelly Kerrigan, summer dance programs manager at Boston Ballet School.

“[Students] should not be afraid to ask questions,” says Douglas Gawriljuk, ballet faculty member at University of North Carolina School of the Arts. “Approach faculty and talk to them. Teachers are there to share their experience, so take advantage. And work hard, without overexerting oneself. The dancer should always leave a summer intensive feeling that you gave it your all.”

A summer dance experience could be the opportunity to not only hone in on technique and grow technically, but also to grow artistically. “It’s important to try something new,” says Emily Bass, marketing and events coordinator at BDC, “for dancers to get out of his/her comfort zone and explore different styles of dance and movement.”

The School at Jacob's Pillow Ballet Program participants with choreographer Karole Armitage. Photo by Kristi Pitsch

Sweat, Hydrate and Repeat

With an abundance of dance classes and, in some cases, extreme summer heat, it’s important to try to avoid overexertion and dehydration. Dancers should be sure to drink plenty of water. When students are dancing and sweating, it’s important to replenish and stock up on fluids.

J.R. Glover, director of education at The School at Jacob’s Pillow, advises to “pay attention to how you are responding to the weather and adjust your own patterns accordingly.” This could be anything from replacing a morning cup of coffee with a glass of water or wearing breathable dancewear.

Students should also be wary of overdoing it. “To prevent dancers from overexertion,” Gawriljuk says, “our teachers monitor the progression of their classes and remind students to make sure to pace themselves, especially during the first few days when energies are high!”

Likewise, Kerrigan suggests that dancers “use the down time in the day to rest and make sure to eat and drink sufficiently throughout the day.”

Glover adds, “We all want to see dancers in the studio and not on the sidelines. Trying to push through something, ignoring it or hoping it will ‘just go away’ are key factors in a dancer being sidelined. Learning what your body needs in order to dance long-term is one of the learning curves of summer training.”

Collecting Contacts

All program directors would encourage students to seize all opportunities to network and connect with dancers and teachers who could be beneficial contacts for the future. “The artist faculty come to know the dancers personally and can be strong advocates for them when their artist friends and colleagues are hiring dancers,” says Glover. At the Pillow’s program, which accepts only 24 dancers per each of its four departments (ballet, cultural traditions, contemporary and jazz/musical theatre), the staff stays in touch with its dancers as much as possible.

At a school like Boston Ballet School, which is directly affiliated with a professional company, a summer experience “could be the doorway to your future,” Kerrigan says. Many students who have attended BBS during the summer have joined the school, then BBII, are now principal dancers with the company.

Dance Now, Prepare for Later

A summer dance program will provide students with a “deeper knowledge and appreciation for what is required to work as a professional artist,” Glover says. If dancers are open to “try on” new techniques and movement styles, participate in all activities offered, embrace ideas and corrections (and smile!), then they could be one step in the direction of a long career.

Enjoy your summer dancing!

Top photo: The School at Jacob’s Pillow Contemporary Program participants rehearse in preparation for their Inside/Out performance.
Photo by Charlie Winter

By Alex Little & Sari Anna Thomas

At Feedback, you’ll find musicians against the studio mirrors, painters to your right, a photographer observing the room, a lighting designer setting the mood, a poet with pen in hand, a film student documenting the experience… and DANCERS everywhere.  Welcome to Feedback:  A two-hour journey where art inspires art.  “Feedback is the beginning of a new movement that combines every type of artistic expression into one class”, says Feedback student and dancer Kathryn McCormick of So You Think You Can Dance Seasons 6 and 7. “Feedback gives you the space to discover how much you have to offer.”

Feedback’s mission is to provide a space for artists of all genres to gather, co-create and inspire one another. So far, it has accomplished just that. The structure of the class, danced to live music, includes a warm up, an across the floor moment to loosen up and an improvisation section for all dancers and musicians to ‘feed off one another’. This is then followed by a dance combination for an hour. After class all are encouraged to mingle around the ‘Artist Xing’ table where artists post their info and promote themselves and their products. This is where painters show their works, bands sell their CDs, and upcoming events are shared.

Founded by Alex Little, a Los Angeles-based dancer/teacher/choreographer, Feedback was an idea that has rapidly gained momentum. Alex’s goal was to get rid of the stereo and create a class she could teach to 100% live music. “There is nothing like moving and being one with the piano, the guitar, the voice… essentially the story. In this awareness your dancing changes. It deepens because the sounds are visceral and you feel the presence of a connection between one another’s artistry. As a dancer this experience awakens a sense of awe and gratitude that spurs your discipline to dive more deeply into your senses and find a more developed musical self. It enhances the purpose and intention in your movement – it’s just contagious!”

Alex teamed up first with musical director Steve Maggiora. Alex knew Steve’s voice and musicianship would lend itself beautifully to the project. Steve suggested using local bands for the sound and shortly thereafter began scouting the scene and lining them up. Next Alex recruited teacher and choreographer Sari Anna Thomas who became her partner. Not only does Sari help develop and produces the events, but she also co-teaches each class with Alex. All three felt extremely passionate about the need for this community -based project to begin, where artists could not only be offered another outlet to work on their craft, but could find one another.

“For the last decade I have wanted nothing more than for the world to see and hear how talented my friends are! We can start with the community- then the world”, Alex says regarding singers, artists and musicians she can’t wait to have be a part of the class. Feedback’s first class was held at Elevation Studios with local band “Four Stops to Freedom”. With 35 dancers, a photographer and a painter attending the first class, they knew they had begun something unique, and ever since the word has spread like wildfire.  Today, Feedback is attracting fine artists from all realms, and is quickly growing into a creative haven for all artists to be challenged and inspired.  “The people attending are there to live, love and learn”, says dancer Alex Blitstein. “This is not a class, it is an experience. I only wish Feedback could be in so many more places at once… I see so many wonderful things for Feedback’s future.”

Currently, Feedback is held once a month at the state-of-the-art facility, Foresight Studios in Los Angeles, but there is the potential to utilize other venues. “Feedback is hoping to expand to theaters by the end of the summer. We feel that one of the real backdrops for this class is a theater”, says Thomas. “By removing the mirror and allowing space for an audience, Feedback will finally be able to take the shape we envision.” Feedback has already been invited to take place at a few different venues in LA. “We are also thrilled to take Feedback on the road as we are now offering it as an in-studio workshop”, Thomas adds. The Feedback team sees their class in other site-specific places, such as the lawn of a museum, at the beach, and even at an art gallery. Painter Amber Helmstetter has painted at each class since the beginning. “I feel honored to take part in such a unique blend of music and dance… the energy and vibe of the experience brings out imagery in my paintings that I know is inspired by the dancers.”

Dancing to live music is as old as time and The Feedback Experience hopes to honor the tradition that has brought communities together throughout history. “In the middle of an industry where there is so much competition for work as an artist, we hope that for these two hours, our class will transcend all of that” adds Little. “When everyone feeds off each other, the walls of fear and judgment seem to dissipate. I have witnessed the surrendering process happen and when pure authenticity comes out the body, the fingers, the paint brush, the lense, the pen, the mouth, the mic, the amp. … it is profoundly beautiful.” As Phillip Attmore, So You Think You Can Dance Season 6, Top 20 contestant, put it, “I felt like I was in New York again… it was simply a forum of artists gathering together and sharing their passions with nothing to prove.”

For more information, view videos/photos or contact the FBX, please visit the website www.theFeedbackexperience.com www.facebook.com/thefeedbackexperience

Photos: Cheyenne Boivin, CDB PHOTOGRAPHY

By Deborah Searle.

Tap Extraordinaire Jared Grimes is a performer with heart. I recently met Jared at a New York dance competition he founded called ‘Run The Night’ where he gave young dance hopefuls a chance to perform in front of their peers and industry judges for feedback, encouragement and a cash prize. His heart for the next generation of dancers is evident as he strives to give artists a chance to shine and develop their talents.

Producing his own shows and performing across the US, Grimes is making his mark in the tap and hip hop dance scene with an infectious charisma on stage and off. He has danced alongside legends such as Wynton Marsalis, Gregory Hines, Ben Vereen and Jerry Lewis, has toured with Mariah Carey and danced for Common, Salt-n-Pepa, Envogue, Busta Rhymes and the Roots. Jared’s theater credits include Cirque Du Soleil’s, Banana Shpeel, Twist, Scottsboro Boys, Pure Country, Babes in Arms, Sammy, Vaudeville and Broadway Underground, a show he directs himself. Grimes has also appeared in commercials for Coca-Cola, Subway and MTV, along with several television shows and films.

Jared performs at Run the Night by Broadway Underground

So who is Jared Grimes? What are his passions?
I am a performer. My passion is tap. I feel my greatest strength is the ability to connect with people.

What are you proud of?
I’m proud to be a person who has lived by all the morals and principals instilled in me by my parents. They gave me the everlasting gift of never giving up on people.

Tell us about your dance background
I moved to NYC in 2001 for college and had no money after tuition. My feet conjured up food and rent for about four years. The subway is where I built my performing stamina, drive, and execution in tap. If I couldn’t connect with a crowd they didn’t stay and watch. Relating to different cultures, races, genders, and ages is what I had to do to last a day in the subway.
I started dancing when I was 3. My mother was my first teacher.

What is your favorite dance style? Tap or hip hop?
Tap is my favorite style of dance. Hip hop is second.

What is your career highlight?
My career highlight is regularly performing with Wynton Marsalis, whom I call my professor. He has a wealth of knowledge and his perspectives on music send me to the stars and back with every performance and every conversation.

Tell us about your show ‘Broadway Underground’.
Broadway Underground is a culture in the making of performers who have the ability to do it all. We are a culture of triple threat performers much like Fred Astair, Sammy Davis Jr., Gene Kelly, the Nicholas Brothers and Gregory Hines. We are like them, but for our time. Broadway Underground is how we put a twist on old ideals of performing. Broadway Underground will soon be a television show fusing dance and comedy!

How do you keep inspired to perform, teach and create?
I stay motivated! I don’t know why or how I keep pushing forward, but there is something inside me that is never satisfied with the moment. I’m always seeking perfection outside the box and it is an obsession that I have learned to live with. It never stops. When I was little I can remember challenging my image in the mirror [laughs]. In life I never want people to figure me out. My brain is always trying to stay ahead of itself and I am just trying to keep up with it by feeding it my heart and soul. It’s a crazy thing. Teaching is an outlet for what is constantly going on in my head.

What is your advice for young street dancers?
My advice to all dancers is to know your history. There’s nothing worse than a dancer that does not know who paved the way for them.

What are your current projects?
I’m currently doing the musical TWIST at the Pasadena Playhouse directed by my friend Debbie Allen. We will be doing shows from June- July 25.

What are your dreams?
I want to take over the world in a way that hasn’t been done since Sammy Davis Jr!

Video: Courtesy of youTube.
Dance Informa/Dance News International takes no responsibility for the content of any videos viewed through youTube.

Joyce Theater, New York
April 17 2011

By Deborah Searle

As I took my seat for DanceBrazil, in New York’s renowned Joyce Theatre, I wasn’t sure what to expect. I gathered I’d see some Capoeira and maybe some traditional tribal dancing, but I didn’t know how well this would translate on stage. However, very quickly I was engaged and energized by the dancers performing before me. DanceBrazil has a strong cast of vibrant and expressive dancers that kept me entertained and artistically challenged throughout the show.

Performing three distinct works we were treated to a display of extraordinary athleticism, strength and stamina as both the men and women in the company highlighted their Capoeira expertise. I enjoyed seeing not just tricks, but real choreography blending the Capoeira balances, stunts and high kicks together into beautiful dance movement that was at times soulful and at other times explosive. There were so many amazing acrobatic movements within each dance phrase that it was hard to see when one move finished and the other began – brilliant choreography!

The second act, ‘A Jornada’, allowed the dancers to show their modern dance training and strong dance technique. After the first act I wondered how technically trained the dancers were in the more popular styles of ballet and modern, but I was left without any question after their flawless performances in ‘A Jornada’.

The last piece, ‘Memorias’ was joyful and vibrant, celebrating Afro-Brazilian culture, and was a fitting end to an evening celebrating one of Brazil’s best dance companies.

DanceBrazil was thrilling and thoroughly entertaining. The combination of live and recorded music was uplifting and rhythmic, and the dancers brought every beat to life with the perfect combination of choreography, committed performance and colorful costuming. Congratulations to Artistic Director Jelon Vieira and his talented artists.