Class at the University of Southern California Glorya Kaufman School of Dance (photo by Ema Peter, courtesy USC)
If you closed your eyes and pictured dance paradise, what would it look like? Maybe you'd start your morning in rehearsal with a renowned contemporary choreographer, and then work on a dance driven by computer programming, and then run to a music video audition, and end the day discussing the impact of African dance styles on American pop culture.
Guess what? That dance paradise isn't just a dream. It's the University of Southern California Glorya Kaufman School of Dance, a young program that's already attracting some of the most talented dancers around—for good reason.
Click here to meet Alyssa Allen, Simrin Player, and Jake Tribus, three of USC's standout students.
From left) Simrin Player, Jake Tribus, and Alyssa Allen (Photo by Joe Toreno)
The University of Southern California Glorya Kaufman School of Dance is about to graduate its first class of dancers. We asked students Alyssa Allen, Jake Tribus, and Simrin Player to tell us about their experience at one of the best collegiate dance programs in the world.
Western Michigan University Department of Dance students in Frank Chaves' Charanga (photo by John Lacko, courtesy Western Michigan University Department of Dance)
For many non-dancers,planning a post–high-school gap year can feel like a necessary step toward getting college-ready. For potential dance majors, though, taking a year off between high school and college might sound counterintuitive. After all, you're essentially delaying your entry into dancing professionally. But a gap year can provide helpful experience, training, or personal growth—it all depends on how you use the time.
James Whiteside (photo by Nisian Hughes, courtesy Whiteside)
The world isn't always a welcoming place for LGBTQIA+ people. But for those figuring out their sexuality, dance can provide welcome opportunities for expression. We talked to five star dancers about their experiences coming out and growing up, and how dance helped them live their full truth.
"I had a unique path to dance," says Nardia Boodoo, a luminous, elegant apprentice with The Washington Ballet. She briefly studied ballet as a child, but didn't start serious training until she was 14 years old, attending Baltimore School for the Arts. "I didn't know what a pirouette was," she says. "I would wake up really early to stretch and remember my corrections." But, a focused student, she advanced quickly: Soon she was attending prestigious summer intensives, and she earned a spot in The Washington Ballet Studio Company in 2014. Now, Boodoo is working with her childhood idol, TWB artistic director Julie Kent, and dreams of someday dancing the title role in Giselle.
Boodoo is acutely aware of the power of representation. "It has only recently become OK to have a Misty Copeland," she says. "It's no longer socially acceptable to only have girls who look exactly the same, in any aspect of entertainment. But at the same time it feels like a trend, and I'm not a trend, I'm a human being." Boodoo wants to see genuine diversity, from top to bottom. "You need teachers and directors, ballet masters and répétiteurs," she says. "Diversity on every single level is progress."