A "Dance212" Reunion
For six seasons, online reality show “Dance212” has shown us what it’s really like to be a dancer living, training and working in the heart of NYC. Now, the show is catching up with more than 20 former cast members for an all-new season, “Dance212: Where Are They Now?” If you dream of making your way to the Big Apple, read on: Dance Spirit asked each of these dancers, “What one piece of advice would you give to DS readers?”
(Photo by Jordan Matter)
Since Season 3: “Second Companies,” Skylar has moved from ABT II to the corps of American Ballet Theatre. This past year, she won a Princess Grace Dance Fellowship Award and performed her first principal roles in Alexei Ratmansky’s Piano Concerto #1 and MarkMorris’s Gong.
Her advice: “Have fun throughout your journey. Though we try to make it look easy, a dance career is difficult, so it’s important to never lose sight of why you started in the first place. When you’re having a good time onstage, the audience can tell.”
(Photo by Alfonso Sjogreen)
After appearing on Season 4: “Summer Intensives,” Sterling moved from the Jacqueline Kennedy Onassis School at American Ballet Theatre into ABT II. In May 2011, he joined ABT as an apprentice; he became a member of the corps de ballet in December 2011. He’s since received multiple soloist opportunities in works including Twyla Tharp’s Bach Partita and Alexei Ratmansky’s The Tempest.
His advice: “Explore other ways to express yourself outside of dance. I’ve done this by writing and drawing, and by attending poetry clubs and plays. To excel in any art form, you must have respect and understanding for all kinds of human expression.”
(Photo by Jayme Thorton for Dance Magazine )
During Season 5: “Professional Aspirations,” in 2011, Paloma was in the cast of The Phantom of the Opera on Broadway. Since then, she’s danced in Nice Work If You Can Get It, in the Broadway Bares fundraising gala and at the Fire Island Dance Festival.
Her advice: “Know that you’re unique. No one in the world is like you, so sometimes a project will be right for you and sometimes it won’t. When things don’t go your way, take a deep breath, smile and know you’re exactly where you need to be.”
(Photo by Jade Young)
On Season 6: “Spring Season,” Simone was part of The Professional Semester at Broadway Dance Center. Since then, she’s performed with the Buglisi Dance Theatre and M.O.V.E, and was the lead in a short film called Gloria. She spent the summer of 2013 teaching in upstate New York before returning to NYC for BDC’s Work-Study Program this year.
Her advice: “It’s OK to dream big and think outside the box. Try to create a company, dance project, concept, movement or video that no one has ever thought of before!"
Harper Watters is a ballet dancer for today's generation. A social media maestro and a charismatic performer, the Houston Ballet soloist is equally at home in front of the camera hosting his hit YouTube series, "The Pre Show"; interacting with fans on his crazy-popular Instagram account; or showing off his beautiful classical technique onstage. It's a multifaceted identity that's proven to be invaluable to his career—and it's taking him to places he never even dreamed of.
Getting corrections from our dance instructors is how we grow, and as students, it's important that we do our best to apply every correction right away. But sometimes—whether it's because we're in physical pain, or have a lot on our minds, or are just not paying attention—those corrections don't sink in. And from a teacher's standpoint, giving the same corrections time and time again gets old very fast. Here are 10 important corrections dance teachers are tired of giving. Take them to heart!
Summer intensive auditions can be nerve-racking. A panel of directors is watching your every move, and you're not even sure if you can be seen among the hundreds of other dancers in the room. We asked five summer intensive directors for their input on how dancers can make a positive impression—and even be remembered next year.
When we think of a dancer who's broken barriers, American Ballet Theatre principal Misty Copeland tends to be the name that comes to mind. And though Copeland has been a crucial advocate for equality in the world of ballet, Raven Wilkinson—a mentor of Copeland's—is considered one of the original pioneers of the movement.
In 1955, Wilkinson became the first African American to dance with the renowned Ballet Russe de Monte Carlo. Her fortitude in the face of bigotry and hate cemented her legacy. Now, with the release of the new children's book Trailblazer: The Story of Ballerina Raven Wilkinson, a new generation of dancers will be inspired by her tale of overcoming obstacles to achieve a dream.
The book details Wilkinson's life, from her experience as a young dancer training in Harlem, to her run-ins with the Ku Klux Klan while on tour with Ballet Russe, to her later ballet career in Europe. "There were times where my heart really hurt because of the situations I had to deal with," she says. "But I always had faith that I was made to be a dancer and that I was gonna dance."
Dance Spirit spoke with Wilkinson to discuss the new book and get her take on racial equality within the ballet world.
Postmodern pioneer Trisha Brown redefined how dance is seen and felt. A founding member of Judson Dance Theater, Brown frequently collaborated with other experimental artists like Yvonne Rainer, Merce Cunningham, Twyla Tharp, and Steve Paxton.
She embraced pedestrian movement, pairing everyday gesture with rhythm and fluidity. "It's liquid," says Wendy Perron, who danced with Brown in the '60s and '70s. "Like a river with many tributaries, water coming out of a faucet, or being on a raft and seeing the water move away in different directions." Brown also pushed beyond stages with choreography in fields, museums—even on the sides of buildings.
There's a common misconception that a dancer's body has to be thin. But the truth is that talent knows no body type, and the number on the scale never determines an artist's capabilities. Here are some extraordinary dancers fighting the stereotype of what a dancer "should" look like.