Articles filed under From The Studio

  • 90 Days, 22,264 Miles, 174 Dancers

    I don’t know that the dance field is any worse than it ever has been, but universally dancers still struggle with the question: How am I going to make a career out of this, said dancer-turned-photographer Jonathan Givens. Read on for more.

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  • Dancing Around The World

    In mid-2015, dancer/choreographer Nejla Y. Yatkin began a yearlong tour to engage, connect, and collaborate with people and sites around the world. Learn about Yatkin's process for preparing for Dancing Around the World, which took her to 20 cities.

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  • A Cautionary Tale: What Can Happen When Your Personal Video Goes Viral

    Who hasn't shared a fun personal video on social media? Read dancer/choreographer Alexandra Beller's cautionary tale about what can happen when a personal video goes viral.

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  • How To Pick a College Dance Program That Will Work for You

    High school dancers — and parents — wondering what to look for in a college or university dance program? Ashley Thorndike-Youssef has some ideas and talking points to use on you college tours as you begin your process of narrowing down the right school for you. Not a matriculating at a college? This material is a anecdote of sorts to the ongoing discussions on academic dance programs as a pyramid scheme. Read on for more, exclusively in From the Green Room, Dance/USA's eJournal.

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  • Company Spotlight: Winifred Haun & Dancers

    The first in a series on Dance/USA’s From the Green Room focusing on member dance companies and their model programs. This month we look at Chicago’s Winifred Haun & Dancers, a small company that has evolved to make long-term, larger projects reflecting the choreographer’s artistic curiosity.

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  • Generosity in the Land of Ballet

    Stephen Manes spent a year at Pacific Northwest Ballet researching his 2011 book, Where Snowflakes Dance and Swear: Inside the Land of Ballet. He recently summarized one aspect of his findings in this holiday post, which we return to in this season of giving.

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  • Building Diversity in Ballet: Black Swans Are Still Too Rare

    In America, with the exception of a few male dancers, our ballet companies remain unrelievedly white.

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  • Everybody Knows This Is Now Here:

    The Mountain Empire Performance Collective explores ways of making work beyond geographic limitations. Utilizing both traditional and contemporary methods of communication, including video chats, telephone calls, letter writing, emails, and traditional methods of working together face to face, they make works that test the limits of communication and technology. Read Eliza Larson and Rachel Rugh in a collaborative piece that replicates in written form how they choreographically merge ideas and movements across the country. Technology, initially a means to an end, has become an integral part of the choreography, both in process and in performance. Read how they do it here.

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  • Performing Tradition, part 2

    The past decade has seen the emergence of interesting hybrids between old and new technologies and aesthetics. An example is the evolving phenomenon of house concerts -- small, acoustic music and dance performances held in private homes. The ambiance is informal. Usually the audience is limited; anywhere from 10-20 people, who contribute a comparatively small fee for the privilege of hearing music up-close and personal. These events are rekindling what music must have been like when it was enjoyed socially in people’s homes, and yet they thrive in the era of social media, and are marketed via Facebook, and captured and shared using Instagram, Vine and other media outlets.

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  • Performing Tradition, part 1

    If there is a single question that bedevils nearly all the dance communities I have encountered, it is the quest for authenticity. So many of the dancers and musicians I have worked with talk about “balancing tradition with innovation” that it feels a bit trite. Countless bios I have read include some variation on that phrase. And the thing that strikes me as weird about it is that there is an implicit assumption there that tradition and innovation are somehow at odds. Read more about building a traditional dance career in the 21st century.

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Covering the business of dance for dancers, choreographers, administrators, dance organizations and foundations with news, commentary and discussion of issues relevant to the field.
Editor: Lisa Traiger

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