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Feb 24, 2021
Skylar Brandt. Photo by Jayme Thornton
Take a Free Class With Skylar Brandt
What is the secret sauce to Skylar Brandt's seemingly superhuman technique? (Those balances! Those turns!)
Well, the American Ballet Theatre principal is ready to share some insights. Take a free online class with the cover star of our February issue through Dance Media Live! On Wednesday, March 3, at 4 pm ET, Brandt will teach a 45-minute ballet barre, followed by a short Q&A with participants.
<p>Click <a href="https://us02web.zoom.us/meeting/register/tZwtd-iqpjMsGNJUfkPT1_0RjF5_fJmu0LfV" target="_blank">here</a> to register for free, and submit any questions you'd like to ask her. The class is open to all levels. </p>
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Feb 25, 2021
DTH's Alexandra Hutchinson and Derek Brockington work out with trainer Lily Overmyer at Studio IX. Photo by Joel Prouty, Courtesy Hutchinson.
Working Out With DTH’s Alexandra Hutchinson
Despite major pandemic shutdowns in New York City, Alexandra Hutchinson has been HIIT-ing her stride. Between company class with Dance Theater of Harlem and projects like the viral video "Dancing Through Harlem"—which she co-directed with roommate and fellow DTH dancer Derek Brockington—Hutchinson has still found time to cross-train. She shares her motivation behind her killer high-intensity interval training at Studio IX on Manhattan's Upper West Side.
<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY4Mzc4MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNjM5NzI0NH0.CBCjd1fWsUSLdFV4llCFNoIBdW2ENGDaYU3M7why5XI/img.jpg?width=980" id="c78f7" class="rm-shortcode" data-rm-shortcode-id="d315054d2f0c13e1928ec53090800045" data-rm-shortcode-name="rebelmouse-image" alt="Alexandra Hutchinson does an arabesque on pointe in front of a NYC building's art-deco style entrance. She is wearing a maroon, mesh and velvet leotard, a black tutu, bare legs and flesh-colored pointe shoes." data-width="828" data-height="958" />
Alexandra Hutchinson
Viktoria Maley, Courtesy DTH
<p><strong></strong><span style="background-color: initial;"><strong>Dancing with DTH:</strong> </span>Following daily company class, Hutchinson has rehearsals, pointe or a conditioning class. DTH is currently working in its studios, following COVID-19 safety protocols, with occasional work from home.</p><p><strong>Exercising at Studio IX:</strong> In November, Hutchinson started working out with personal trainer Lily Overmyer, a friend and classmate from Indiana University's ballet program, at the newly opened Studio IX. The gym is run by Joel Prouty, a former dancer who trains stars like Sara Mearns and James Whiteside, so Hutchinson knew the workouts would be intense and effective, with a focus on ballet-applicable exercises.</p><p>"Before, I would go to the gym and find myself lost with all the machines and not really knowing what to do," she says. Prouty and Overmyer incorporate conditioning for rotation and balance, dynamic strengthening for things like grand allégro (think squats and lunges), and cardio intervals that mimic the varying intensities of dancing a full-length ballet.</p>
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</div></blockquote></div><p><strong></strong><strong>Staying motivated: </strong>When Hutchinson began training with Overmyer, she was preparing to dance a pas de deux. "I remember one specific workout when she had me doing reps and said 'Okay, think about this as your pas,' with squats and arabesque work. Then I would get onto a bike and do something really fast like I was doing the variation, and then I would do these lunges like it was the coda," Hutchinson explains. "Having that in my mind kept me going." She also works out to music from artists like Doja Cat, Megan Thee Stallion and Drake to keep her energy up.</p><p><strong>Post-workout snack: </strong>Hutchinson fuels her recovery with avocado toast topped with red-pepper flakes and an egg.</p>
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<p><strong>Respecting her body:</strong> "When I was dancing at The Washington School of Ballet, Ashley Murphy-Wilson and Nardia Boodoo hadn't joined the company yet, so I was really one of the only African-American women there," Hutchinson says. "Nobody was telling me 'You're too big,' but I just assumed I was supposed to look a different way." After joining DTH, she realized, "It's not about how my body looks in the mirror. It's more about what I do with my body and how I push myself to be the best dancer that I can be." Hutchinson has been vocal on Instagram about embracing her muscles and finding gratitude for her strength.</p><p><strong>Favorite strengthening exercise:</strong> Squat, straighten to stand, développé arabesque, lower her leg and repeat. Hutchinson favors squats for their glute strengthening, which helps power her jumps.</p><p><strong>At home: </strong>"I have more time now to roll out," she says, mentioning that she massages her muscles with a ball while watching Netflix. She finds that yoga and Pilates are easier ways to keep active at home, since they require little equipment and encourage calm during this stressful time.</p>
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Feb 22, 2021
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As Ballet Looks Toward Its Future, Let's Talk About Its Troubling Emotional Demands
As a ballet student, I distinctively remember being told that to survive ballet as a profession, one must be exceptionally thick-skinned and resilient. I always assumed it was because of the physically demanding nature of ballet: long rehearsal hours, challenging and stressful performances, and physical pain.
It wasn't until I joined a ballet company that I learned the true meaning behind those words: that the reason one needs thick skin is not because of the physical demands, but because of the unfair and unnecessary emotional demands.
Undoubtedly, emotional and physical strength go hand in hand to some extent. But the kind of emotional demand I am talking about here is different; it is not the strength one finds in oneself in moments of fatigue or unwillingness. It is the strength one must have when being bullied, humiliated, screamed at, manipulated or harassed.
<p>The conditioning to endure intimidation and humiliation starts early for ballet dancers. Ballet<strong> </strong>training leaves very little space for the unique characteristics and personalities of young pupils. Instead, each student must fit into a mold that looks the same and acts the same. They learn that it is unacceptable to speak their mind or to challenge authority—all you must do is smile, nod and do as you're told. Ballet students become completely dependent on their teachers, and what comes to shape their sense of self is the words, opinions and attitudes of their instructors.</p><p>In many schools, there is little understanding of pedagogy and psychology; pedagogical training is based upon teachers' own experiences. Still, too often, ballet training fails to recognize children's vulnerability. Not every child learns and develops the same, and they have different needs and body types. Rather than fostering care, empathy and creativity, ballet training encourages a "survival of the fittest" mentality. This can easily lead dancers to believe that ballet is only for strong-minded people. On the way, we lose a staggering number of beautiful artists who are just as able, only too vulnerable. </p><p>From my own years in ballet school, I remember my teacher comparing me to other students, calling me a "cloud head" and a "lethargic snail," and continuously mocking me for my weight. There were some wonderful moments as well, moments when I felt ecstatic onstage or after a well-executed rehearsal, or when I felt I was cared for by a teacher who believed in me and my individualistic abilities. But even then, fear and insecurity shadowed every accomplishment.</p>
<p>This hostile environment continues from ballet schools to company life. In most cases, directors, ballet masters and choreographers are authority figures that, more often than not, hold all the ropes in their hands, making decisions that affect the lives of young, impressionable artists. Unfortunately, dancers too easily become marionette dolls who move, act and do what they are told with no personal agency, and with fear of being replaced or pushed aside at any moment.</p><p>Ballet as an art form is not emotionally hostile, tough or cruel. It is the atmosphere created around it. It is those certain choreographers who are bullies, those directors who play mind games, and those répétiteurs who humiliate and scream.<strong> </strong>For some odd reason, all of this is thought to just be "how it is." It is acceptable and normal. Many still believe that to create good art, one must be broken; that to produce something good onstage, the process has to involve screaming and shouting; that to get the best out of an artist, one must be tough, not kind.</p><p>During my nine-year professional career, I had the pleasure of working with extraordinary choreographers and répétiteurs who created an exciting and safe atmosphere in the studios. On the other hand, I lived in a constant state of fear. I felt that I had no control over my artistry or expression; every gesture, every movement, every choice was in somebody else's hands and one wrong move could destroy everything. No matter how unfair or cruel certain decisions were, they were always referred to as "artistic choices." During my career, I was told that I needed to have sex with men, be more feminine, be thinner but not too thin, be stronger, be more confident, have more personality but always stay in line…the list goes on. I was told to rehearse a variation on my own for months for an upcoming ballet only to see the cast list didn't even include my name. I was told to change how I dress, walked and talked. At the age of 18, my director told me that I must have a boyfriend and lots of crazy adventures outside of ballet to be interesting onstage. At the same time, a répétiteur told me that a good, dedicated ballet dancer must be committed only to dance and spend a minimum of eight hours at the theater daily. I always felt conflicted and unsure, unable to trust my own knowledge of my body or my own opinions. Whatever I did, somebody thought it was wrong or not enough. </p>
<p>Diverse body types and ethnicities are traditionally not celebrated in ballet, and neither are unique personalities and emotions. But every dancer's history, cultural context and lifeworld is colorful and personal. Some artists are strong and undefeatable, others are vulnerable. While screaming and yelling might push one dancer to her very best, it might break someone else. Ballet schools and companies need to recognize each student as an individual. No workplace, artist or performance has ever been ruined by fostering an empathetic and kind atmosphere.</p><p>Ballet demands discipline, resilience and patience, but there is no reason why these assets cannot be developed through care and support. Thick skin is not built by belittling. One's will is not strengthened with manipulation. When it comes to ballet, it is often thought that the end justifies the means. For some, art gives legitimacy to bad pedagogy. For generations, we have bowed in front of creative geniuses, putting them on a pedestal despite their ways. But no art is good art if it leaves broken artists behind.</p>
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<p>The circle keeps going: Broken dancers become broken teachers who produce broken pupils. It is time to create an art form that is inclusive and accepts mistakes and vulnerability. After all, the best art happens when one allows oneself to be vulnerable. Ballet, too, is at its best when what happens on the inside shows just as much as beautiful lines and clean movement.</p><p>There has been much concern in recent years about ballet's place in the modern world. Will it become one of those ancient art forms that's left in history, or will it continue to resonate with the viewers and artists of today? Perhaps the only way ballet can survive and keep its place is if it leaves its oppressive traditions behind and evolves along with the world into a kinder, more empathetic and accepting environment.</p>
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Mar 01, 2021
The late Frank Hatchett accepts his Dance Teacher award. Photo by Kyle Froman.
Nominate an Educator for a Dance Teacher Award!
Know any extraordinary dance educators? (We're guessing the answer is yes.)
Nominate them for a Dance Teacher Award! Every year, we recognize excellence in teaching by honoring four educators for their contributions to the field.
We are currently accepting nominations for the 2021 Dance Teacher Awards, and are looking for dance educators who:
- Have a unique or outsized impact on their students and/or community
- Strive to bring out the best in their students as dancers and people
- Have a thoughtful and forward-thinking approach to pedagogy
- Are dedicated to their own continued learning
- Have a body-positive teaching style
- Prioritize dancers' mental and physical health and safety
- Are committed to anti-racism, equity and inclusion inside and outside the studio
Dance educators of all kinds are eligible to receive the Dance Teacher Award, including those working in private studios, K–12 schools, conservatories, higher education institutions and more. Nominations will be reviewed holistically based on their alignment with the above criteria. Nominations must be submitted by March 31.
Find the nomination form here, and a list of past DT Awardees here.
Feb 24, 2021
Courtesy Dance Theatre of Harlem
Cicely Tyson and the Enduring Legacy of Arthur Mitchell’s Dance Theatre of Harlem
Cicely Tyson, the legendary 96-year-old Black actress whose February 16 funeral at Harlem's Abyssinian Baptist Church was attended by, among others, Tyler Perry, Lenny Kravitz, and Bill and Hillary Clinton, is remembered for performances that transcended stereotypes and made an indelible impression on a nation's heart and soul.
Among the most fondly remembered is her breakout role in the 1972 movie Sounder, which depicts a Black sharecropper family's struggle to survive in the Jim Crow South. The role catapulted Tyson to stardom, winning her an Academy Award nomination and a reputation as someone committed to enhancing Blacks' representation in the arts. Throughout a seven-decade career, countless critically acclaimed, award-winning roles in films, onstage and on television reaffirmed that image. Yet one role reflecting the depth of that commitment is much less visible—the supporting one she played working with longtime friend Arthur Mitchell when he envisioned, shaped and established the groundbreaking Dance Theatre of Harlem.
<p>The first time many learned of it was during the Riverside Church tribute following Mitchell's passing in 2018. There the elegant, petite <a href="https://www.youtube.com/watch?v=3MUjL3NJNDY" target="_blank">Tyson recalled</a>, through tears and laughter, their decades-long friendship: "To say he was one of the dearest persons in my life is an understatement." The story she shared that day, which is recounted in her current memoir <em>Just As I Am </em>(written with Michelle Buford)<em>,</em> involves an important piece of dance history.</p><p>Following the 1968 assassination of civil rights leader Dr. Martin Luther King, Jr., Tyson writes that she and Mitchell, like so many others, wanted to "carry on Dr. King's legacy...to move his dream from rhetoric to reality." Then, Mitchell had a brainstorm. It happened one morning at 3 am, during one of their hours-long, late-night phone calls that had become a habit following their chance meeting on a New York City street several years earlier, when Tyson's star was beginning to ascend and Mitchell's was shining bright at New York City Ballet, where he would become the company's first Black principal dancer. That night on the phone, Mitchell had a eureka moment: "I've decided what we should do. I am going to form my own dance company." Tyson recalls, "The fervor in my friend's voice, the passion with which he spoke, dragged me from my bed. I washed my face, pulled on a trench over my pajamas, and took a cab over to his place a few streets away. On Arthur's living room floor, amid papers and photographs he'd assembled while brainstorming, we sat talking about how we could move his vision forward."</p>
<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY4NDI4NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYzOTI2OTU1Nn0.XF4xUBhukgq2kpz1QEsZktBArxnvZ4G7xGrXZRBMCsc/img.jpg?width=980" id="fc42d" class="rm-shortcode" data-rm-shortcode-id="96d361ea5563acd38e2086449af67f1f" data-rm-shortcode-name="rebelmouse-image" alt="Cicely Tyson, wearing a billowy white blouse and her shoulder-length hair in braids reaches towards something across the table at Dance Theatre of Harlem's costume shop. Karel Shook, a white man with light hair and in a black T-shirt, sits to her right while Zelda Wynn Valdes, a black woman with short hair and glasses, sits to her right. A male and female Black dancer stand behind them, looking on." data-width="2664" data-height="1842" />
In foreground, from left: Karel Shook, Tyson and costume designer Zelda Wynn Valdes
Thaddeus Goven, Jr., Courtesy Dance Theatre of Harlem
<p>Before the sun came up, they had invited the actor Brock Peters, a mutual friend, to join the deliberations. The three thrashed out Mitchell's vision, as Tyson writes, of "opening a classical ballet school, a place where Black children—toes pointed, horizons expanded—could learn the rigors and discipline that had lifted him toward prominence." And, as the saying goes, the rest is history. Mitchell would reach<strong> </strong>out to his mentor, famed ballet teacher Karel Shook, beckoning him to return to New York from the Netherlands to be part of the venture, and secure the pivotal support of NYCB's George Balanchine and Lincoln Kirstein.</p><p>Countless young dancers have benefited from the vision hatched during a late-night phone call between two close friends. Not the least among them is DTH's current artistic director and founding company member Virginia Johnson, whose career includes critically acclaimed performances in such ballets as Balanchine's <em>Agon, Giselle, A Streetcar Named Desire</em> and <em>Fall River Legend. </em></p>
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<p>Recalling the charismatic Tyson, Johnson said recently that the actress was not only a dear friend of Mitchell's but also served on the DTH board for a time,<strong> </strong>becoming one of the company's national advisors. "[She was] a voice we looked to," said Johnson, "to tell us how she saw DTH in the world as the world changed, moving forward." Tyson even accompanied DTH on tour, teaching acting classes for the dancers. "It was an amazing experience," Johnson said. "She was teaching us a craft that we would use as dancers as much as she used it as an actor." In fact, while Johnson's roles in such dramatic ballets as Agnes De Mille's <em>Fall River Legend</em> "came in the '80s, when Tyson was no longer that involved with the company," Johnson said, "what she taught me in those early days stayed with me and were part of the tools I used to develop those characters."</p>
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<p>Of course, Cicely Tyson will always be remembered as the legendary actress whose career reflected a desire to shatter stereotypes and battle injustice. She portrayed characters who embodied strength, resilience and dignity. She must also be remembered as Arthur Mitchell's dear friend who helped form the blueprint of a ballet company that would accomplish a similar mission: shattering stereotypes and battling injustice while embodying excellence.</p>
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