NEXTSTEPPAD – Page 14

It’s Time to Reimagine Dance Funding

It was March 2019. Waiting inside my daughter’s doctor’s office, I scrolled through my email, coming upon a grant notification that seemed hopeful. Usually, I delete email responses to applications, sparing myself the piercing disappointment of “Thank you for your application…We received an unusually high volume of…regret to inform you…” Something about this one seemed unusual, so I dared to open it. The news was very good: A Guggenheim Fellowship was finally coming my way! To the dismay of my young teen, I screamed ecstatically, emitting tears of joy and relief.

I was sure that this meant there was much more to come. That the funding (and other) gates would flood open, and that I would never again face the debilitating fear that I might not have a future. It goes without saying that this amazing recognition changed my life in ways I would never have imagined: Besides funding through the mirror of their eyes at New York Live Arts in early 2020, it supported me and my family through many dark COVID-19 months. But, like all funding meant to take care of a single project or moment in life, as soon as the money was spent, I was back at zero.

I recognize that this is a privileged problem. That many artists, despite years of applying, never get their dream grant—the one they think will change everything. But whether you get one or a plethora of project grants or fellowships, the deadening cycle of project-to-project funding can lead to career-abandoning burnout. And yet we continue to grovel for this funding because, for many of us, it’s all we have, even at more developed stages of our careers. How many times have I heard (and felt): “I’ve gotten X, Y and Z, so what’s left?”

In this period of crucial rebuilding of our industry, let’s allow ourselves to really dream for a moment. We deserve funding that covers more than a single dance and set of fees. What if it expanded into an artist’s life and body of work, so that when one project ended, we didn’t find ourselves in the dust, having to begin again? What if funding allowed artists to pay themselves and provide a living wage over a period of time to an extended group of people (dancers, staff, technicians, designers), and/or to permeate a community so that their work became an essential part of it rather than a drive-through item? And what if we could actually apply for this kind of expansive funding rather than be nominated by some secret MacArthur- or Duke-like closed-door committee?

Kimberly Bartosik’s through the mirror of their eyes

Maria Baranova, Courtesy Bartosik

My dream grant would prioritize artists who have built a life through their work, have consistently supported those who work for them, yet are working outside of institutions. It wouldn’t be granted as an unrestricted lump sum of money, but would require recipients to budget for and articulate ways they would offer long-term support to those helping them realize their work.

Beyond-the-project funding would allow artists time to build an infrastructure; to support themselves while considering the future of others; to grow from the inside rather than piece together a flimsy exoskeleton through a series of patchwork grants. We need to secure a core so that if we have a few bad years, or we are struck again with the decimating force of a pandemic, all is not lost.

With sustained support, we could lessen attrition (who doesn’t know a freelance dancer, choreographer, designer or arts administrator who has abandoned the field because they could not afford to stay in it?); push artists from the margins and into the deepest foundations of the culture; and watch investments take hold, allowing more artists to realize their fullest potential.

For too long we’ve perpetuated the myth that hard work is all you need to succeed. That if we just stick with it, sweat it out no matter what, we’ll get our breakthrough moment. Yet no amount of hard work will fix a system that is failing artists. And then there’s the other dangerous myth that living on the edge leads to cutting-edge work. In truth, scarcity only breeds burnout. The edge is not something to be literally teetering on, but something we should be developing in our work.

We need funding models that embrace cycles of nourishment. We need funders to take more risks on more artists working in many different genres and for longer periods of time. An artist’s potential isn’t often realized in a single work, and sometimes the most significantly funded work isn’t the most successful. When we have systems that believe in us—when we don’t have to continually prove ourselves project after project—we make our best work.

We are greater than a single work of art.

The post It’s Time to Reimagine Dance Funding appeared first on Dance Magazine.

Rosy Simas on Using Dance to Unite Identity, Ancestry & Culture

Creating is a spiritual act for me, rooted in nature, formed through my link to the ancestors and the land of which we are made. I weave cultural concepts with scientific and philosophical theories. My work unites themes of personal and collective identity with family, matriarchy, sovereignty, equality and healing that centers the voices of those who are Native, Indigenous, Black and People of Color.

That is, of course, the artist-statement answer. I think, for me, the question is more “Why do I make dance?”

I wouldn’t particularly say I am a people person, but I need to make dance, even solos, in relationship with others. It is in the process of being with, listening to, witnessing others that my ideas become energy and matter moving through time and space.

Even the visual elements that I seemingly create alone—the moving images, sculptures and textiles—are interwoven into my performance, and the installation projects are rigged in collaboration with production artists.

I work primarily with composer François Richomme. We create working and performing environments in which the dancers can source movement from the history, culture and ancestry stored in their bodies. It is our job to string it all together, to frame it and to give them the best possible situation so they can thrive and grow.

Simas wears a black shirt and pants and stands against a black background. Her body is tilted backwards with her right arm extended behind her. She has dark hair and her eyes are closed. — Photo by Imranda Ward, Courtesy McKnight Fellowships/MANCC

For the last 10 years, I have focused on developing a physical and intellectual decolonized practice which strives to benefit everyone involved: performers, design collaborators, partners, community participants and audience.

I am always asking how language can be generative and holistic while asking performers to explore new territory. Getting to the right sequence of words requires making mistakes. It also requires listening deeply so that I discover things that I never knew I knew. I learned this skill from my longtime teacher, Barbara Mahler, who is a genius at helping people find their individual physical strength and expression.

The key to language, though, is listening—deep listening, not just to words and sounds, but to the body in relationship, in perceived stillness, in gesture and in motion. For me, it is this union of listening and guiding others through carefully chosen language that makes the best dances.

The post Rosy Simas on Using Dance to Unite Identity, Ancestry & Culture appeared first on Dance Magazine.

What’s Shirlene Quigley’s Love Language? Dance

Dance is my love language. It’s the way I spread joy around the world. It’s my superpower, the purpose God gave me and one of the main reasons I smile.

I’m full of feelings, although some people may not know it because I am quite reserved, private and almost shy at times. Dance is the way I express whatever I’m feeling, or let go of any emotions I may not want to feel. It’s the one thing that removes any inhibitions that make me too meek to express myself.

Besides day camp, talent shows, drill team and moves I put together with my friends in the backyard, I didn’t have too much experience doing choreographed dance moves until I took a class at Millennium Dance Complex at 15 years old. That day, dance became my first love, stronger than any school crush. I started taking four to six classes a day, without Mom and Dad telling me to, but because I had to. I went from law school goals to dance class dreams, regardless of what anyone might have thought. Thank God I did, because all of my hopes, wishes and more have come true since I took that leap of faith.

With God in my heart, faith in my pocket and passion in my soul, I married dance long ago. I hope any dancer who truly loves dancing knows God is waiting to bless them tremendously. God would never give you that much joy in any area if He wasn’t ready to fulfill it. Timing and patience are key to reap the seeds of your dreams. That one job could change your life forever; you just never know when.

The post What’s Shirlene Quigley’s Love Language? Dance appeared first on Dance Magazine.

When doing more means moving less

The need to get things done and to cross off the proverbial to-do list is strong in so many of us. As dancers, especially, the need for perfection and excellence often goes hand in hand with those tasks, which can make it harder to accomplish them on time or put added anxiety and stress around getting those tasks done. How we interact and set goals has undoubtedly undergone a massive overhaul as we continue to operate in the times of COVID. Or perhaps it hasn’t and you find yourself overwhelmed, burned out and struggling to keep up. What happens when you feel like you cannot push yourself anymore? You do the opposite…move less to do more.

You might be confused, as my articles are often about how we can implement movement to enhance our mental health. That being said, it’s not always about moving more but instead moving better. It becomes moving with intention and learning to listen to what our body and mind truly need. When there is resistance and fatigue that is a sign to slow down, maybe even pause. Problem is when all we want to do is get things done, pausing is often the last thing we want to do. It can bring up judgment and guilt. It can make us feel lazy, unmotivated and perpetuate fear of getting even more behind than we already feel we are.

Many dancers have learned to override the internal sensations that urge them to stop and take a break for self-care or rest. This is when injury is at an all time high. So what can we do when we desperately need a break but feel the emotional toll this takes is worse than just pushing through? Consider these five tips.

#1. Slow down.

While that sounds easier said than done, here is one way to try it. Find ways to slow down the movement you are already doing. That way, you are not going cold turkey and doing the exact opposite of what your body and mind feel is necessary to survive. For my movers, that may mean focusing more on adagio, trying restorative yoga or taking jaunts around your neighborhood. If the idea of not moving makes your pulse race, then finding ways to move in a slower manner can be a good place to start. This can even look like eating slower, talking at a slower pace and pausing for moments of reflection throughout the day.

#2. Find moments of stillness.

This doesn’t mean you go from moving all day to sleeping on the couch. Keep in mind there is even movement in stillness. Your heart is beating, your lungs are expanding and contracting, and blood is flowing through your body. This doesn’t entail freezing in place or perfecting your #mannequinchallenge. It means bringing awareness to the micro-movements and subtle changes in movement that are happening involuntarily.

#3. Reconnect to your breath.

Breathing, when done in a certain way, can signal the parasympathetic nervous system which is responsible for the “rest and digest” reflex. One way to accomplish this is a 4-7-8 method of breathing. Breathe in for 4 counts, pause for 7 counts, and exhale for 8. This may need to be adjusted, which is totally fine as long as your exhale is longer than your inhale. This is what stimulates the vagus nerve, which is vital for regulation.

#4. Create opportunities to just be.

What does this mean? It is important to not make everything in your day about accomplishing a task or achieving a goal. Just existing in your skin, taking up space and acknowledging how you are feeling, while difficult, can be so powerful. Give yourself permission to just be and not do.

#5. Do things you want, not just things you need.

When was the last time you asked yourself what you wanted? This might feel indulgent or selfish, but it is okay to give in to your wants sometimes. Keep in mind that we are focusing on healthy decisions. Curling up with a good book, socializing with a friend, eating a delicious meal are just some ways to focus on impromptu actions rather than sticking to goals or always staying on task.

If the thought of slowing down or moving less creates more anxiety, know you are not alone. Remember, though, there are resources and individuals available to help you reclaim your time and energy. Don’t be afraid to reach out for help. It doesn’t mean you are weak. Self-care is necessary, and during these challenging times, we should all be committed to taking care of ourselves so we can get back to moving with others.

By Erica Hornthal, LCPC, BC-DMT, Dance/Movement Therapist.

Erica Hornthal is a licensed professional clinical counselor and board certified dance/movement therapist based in Chicago, IL. She received her MA in Dance/Movement Therapy and Counseling from Columbia College Chicago and her BS in Psychology from the University of Illinois Champaign-Urbana. Erica is the founder and CEO of Chicago Dance Therapy, the premier dance therapy and counseling practice in Chicago, IL. As a body-centered psychotherapist, Erica assists clients of all ages and abilities in harnessing the power of the mind-body connection to create greater awareness and understanding of emotional and mental health. For more, visit www.ericahornthal.com.

The post When doing more means moving less appeared first on Dance Informa Magazine.

What Copyright Protections Do Choreographers Have Over Their Work?

When choreography is created, is it protected by copyright? Yes and no.

JaQuel Knight is facing this question today in his journey to copyright his iconic choreographic work with artists like Beyoncé and Megan Thee Stallion. Thanks to U.S. copyright law, the process has not been easy. Through a partnership with the Dance Notation Bureau, Knight has been working with Lynne Weber to put his work into Labanotation. On July 9, 2020, he received an approved registered copyright for his “Single Ladies” choreography, making him the first commercial choreographer in pop music to succeed in copyrighting his work.

Understanding the challenges in making this happen requires a close look at the history of U.S. copyright law. Here’s what dancemakers should know about the background of copyright, how they can register their work and what more could be done to legally protect dance.

What is copyrightable?

The Copyright Act of 1790 introduced a sense of ownership for creators, but did not incorporate choreography until its revision in 1976. Prior to this, the Copyright Act of 1909 could technically protect choreography as long as it fell under the category of drama. To be considered a “dramatic work,” the dance had to “tell a story, develop a character or express a theme or emotion by means of specific dance movements and physical actions.”

Under the Copyright Act of 1976, choreography is directly addressed and—once registered—protected as long as it is “fixed.” Attorney and former dancer Gregory DeSantis, who focuses his work on trademark and copyright law, says the definition of “fixed” choreography lies in the difference between something imagined and something tangible. “Thinking something in your head—not protectable,” he says. “Once you write it down somewhere, once you teach it to the dancers and you’ve fixed the choreographic work on a company, then there is something protectable.”

The United States Copyright Office defines a “fixation” in choreography or pantomime as something that allows movement to be performed in a “consistent and uniform manner.” Choreographers can fix their work through dance notation, video recording or textual descriptions or photographs. But to solely teach the choreography isn’t enough. It needs to be on paper or video, or documented somehow so it can be shared.

It seems simple, but there are exceptions. Common movements or activities, like yoga positions, line dances and exercise routines, are not copyrightable, even when they are unique. This even applies to the positions of ballet, like a tendu or an attitude.

Think of Balanchine’s work, for instance. While deep pliés and a specific articulation of the hands may be a recognizable hallmark of his style, the movements themselves are uncopyrightable. However, those elements did serve as building blocks for Balanchine’s ballets, which were fixed and copyrighted. Today, The George Balanchine Trust owns his ballets and licenses them for use.

How do you register your work?

Although a work is considered copyrighted when it is created, you can’t enforce rights, such as suing for infringement in Federal court, until that work is registered with the Copyright Office. “A copyright exists from the moment the picture is taken, the dance is made, the artwork drawn,” DeSantis says. But, he continues, “the enforcement of those rights, however, only happens once registration of that right occurs.” The effective date of registration is not assigned by the Copyright Office until it has received all components of your application and applicable fees correct and in full.

The registration process is extensive, so DeSantis advises choreographers to register their work before the premiere—or even during the creative process—to avoid a lag between when the dance is finished and when their work is registered. According to the Copyright Office, confirmation can take on average between six and 13 months but can be expedited for an additional fee.

Creators can register their work through the electronic Copyright Office (eCO) or through the mail. The process includes submitting a form with details about the work, those who created it and limitations to the claim. The limitations section is where all previous iterations of the work are noted—for example, if the choreography is based on another piece, a book or anything else that could be considered copyrightable material. Then a copy of the work (such as a video recording, dance notation score, or textual description, photographs or drawings) also needs to be provided. Filing a registration costs $45 for a single author or $65 for all other filings.

Without a registration, DeSantis says, you can otherwise enforce your rights by using the “©” symbol or sending a cease-and-desist letter.

The work is registered. Now what?

Once registered, if a choreographer’s work is copied or infringed upon in any way, the creator can now take legal action to protect it. Even then, instances of litigation are limited, says DeSantis.

“What we’re really missing, I think, is the amount of litigation required to fully understand what the elements of copyright infringement for choreography are,” he says. There simply aren’t a lot of cases to base litigation off of. In court, lawyers will base many of their arguments on previous case results. Because dance has very few cases in copyright, it is difficult to take to court.

DeSantis says that a contributing factor to the rarity of litigation is the cost. Choreographers and dancers don’t have the same financial backing as, say, a music corporation like Sony Music or Warner Music Group.

Where does the Digital Millennium Copyright Act fit in?

Choreographers should also be aware of the Digital Millennium Copyright Act (DMCA), established in 1998. For content creators and artists, DMCA made it easier to protect their work on places like Facebook and YouTube, while protecting the platforms themselves, DeSantis says.

The best example of this is when you upload a video to YouTube. In the background the audio is being checked to see if it matches any copyrighted music. If it does, YouTube will notify the user, and in most cases, the video will be removed or will lose its audio. This is the DMCA at work.

What does this mean for choreographers? Those who want to show their work online have to be careful about uploading movement set to music. The best recommendation is to use an original score, says DeSantis. Alternatively, you can use something in the public domain or creative commons. Some choreographers even reach out to independent artists who are willing to let them use their music for a video, but DeSantis notes that even this can be risky. “We generally recommend communicating through legal counsel unless there is some preexisting relationship between the parties,” he says. As much as you’d like to use your favorite song, you need permission to choreograph to it and post it online.

What more can be done to protect choreography?

Entertainment lawyer Robin Russell, former senior executive vice president of business and legal affairs for Sony Pictures Entertainment, believes the DMCA and the Copyright Act are outdated and lack support for dance creation.

“There’s nobody in Congress or the Senate who feels it’s important enough to spend any time or money on [dance copyright], and the Digital Millennium Copyright Act is so outdated, but that’s where the work has to be done,” Russell says.

She suggests that dance needs to be treated similarly to music composition, and that choreographers could benefit from something akin to a music synchronization license. When a group requests to use a song in a media project, such as a film or video game, the copyright holder must first grant them permission.

In terms of dance, this may look like a license provided to media groups requesting to use pieces of the copyright holder’s choreography in a music video or film.

Although dance has a long way to go in copyright law, DeSantis says this should not inhibit the desire to create. “We don’t want people to not share their great ideas because they’re afraid someone is going to steal them,” he says. “Intellectual property rights, in general, are a give and take with the public.”

Depending on a dancemaker’s specific situation, advice may vary, and general legal knowledge, as shared in this article, should not be substituted for obtaining legal counsel.

The post What Copyright Protections Do Choreographers Have Over Their Work? appeared first on Dance Magazine.

For the Mariinsky’s Maria Khoreva, a Life in Dance Is Inevitable

Do you think I have not tried doing any activities other than ballet? You bet I did. But if they showed anything, it’s just that dance is what I want to do most of all. There is a method in mathematics called proof by contradiction, which consists of refuting the denial of a statement to prove the incorrectness of everything that contradicts the statement. No matter what I took as a possible alternative, everything would lose to ballet with a crushing score.

Little by little, an understanding of what is called fate began to accumulate in my head, but a real feeling of inevitability came to me when, as my Instagram and YouTube accounts grew, more and more people began to remind me of the similarity between the sound of my surname and the Greek verb “to dance”: Khoreva = Choreva = Χόρευα = dance. I danced. That’s all. Full stop. Now there is definitely nowhere to go. And I don’t want to, to be honest. Looking at the great ballerinas of the past and present, I want to learn to do what they could and even more. And more. And a little more.…

This quarantine time has set all priorities especially clearly. Probably, there is someone who is happy to spend time at home, read new books, watch new films, devote time to family and friends—all this, of course, is wonderful. But my dream, with which I fall asleep, with which I wake up and live all days through, is to go back onstage in one of my favorite performances. If I can’t go onstage, then at least to the rehearsal room, to my favorite mirrors, the ballet floor, the barre, my coach, my partners—how I miss them all!

Maria Khoreva in La Bayadère with Mariinsky Ballet

Svetlana Avvakum, Courtesy Mariinsky

That is why I started developing workout routines on my YouTube channel, teaching variations, online classes, filming videos and taking pictures—everything that has at least something to do with ballet, without which life loses its meaning and taste, like food without salt.

Both Chekhov and Tolstoy at different times said something to the effect of “If you can do without writing, do not write.” I can’t do without ballet. This is just beyond my will. So I am dancing, and I hope I always will.

The post For the Mariinsky’s Maria Khoreva, a Life in Dance Is Inevitable appeared first on Dance Magazine.

Harnessing the power of movement for resilience and well-being

These days, you may find it harder to stay present, especially when being in the moment reminds us that things are not what they used to be. The inability to be present can lead to a decrease in body awareness, which has a huge impact on our movement overall. As we continue to live in this pandemic and move into the colder darker months, it is even more important that we utilize movement for resilience and well-being. You may be wondering how changing your movement increases your emotional resilience. Let’s break it down.

Resilience is the capability to “bounce back” or overcome difficult circumstances. It is essentially elasticity of the mind. When you expand your movement and the aesthetics of that movement, you create more elasticity in the body. The mind and body are connected, so essentially elasticity in the body leads to elasticity of the mind. The more movement you have at your disposal, the greater ability you have to move through stressors in your life or just keep moving period, even when we you don’t know what the future holds.

You have the power to slow down, observe and take action. By challenging your status quo and moving outside your comfort zone, you create greater capacity to handle stress and the emotions that come with it. Think of it as your emotional gas tank. Adding to your movement profile, or all the movement at your disposal, creates a larger reserve, which means less breakdowns on the side of the road as well as less trips to the gas station.

When you increase your movement and body awareness, you get more emotional miles per gallon. So how do you maximize your emotional miles per gallon through movement to support resilience and overall well-being? Here are some tips:

#1. Bring attention to your movement.

You are moving all the time, but so much of it is unconscious. In order to become more aware of our body, we must pay attention. You are already using your phone, right? So make it work for you! Set a reminder or alarm on your mobile device to check in with your body. How does it feel? What parts of your body are tight? Loose? What parts are you aware of, and what parts need more attention?

#2. Challenge your movement.

Engaging in the same movement pattern or habits doesn’t do anything for your body or mind. In fact, it can reinforce the “stuck” feeling you may already be experiencing. Challenging your movement isn’t about making it more difficult but rather uncomfortable. It is in the discomfort where you grow and change. Try a new way of moving, switch positions, “shake” it up! Notice what movement is safe and comfortable, and invite in the possibility or potential for something out of your comfort zone. Sometimes just the thought of this can bring on anxiety. It is important not to push yourself, but again challenge even the idea of new and different movements.

#3. Keep a movement journal.

Keeping a journal may not be your cup of tea, but it can be a great way to create awareness and support your mental health. You can participate in the Body Awareness for Mental Health Journal by asking yourself these three questions:

What is one sensation I am feeling in my body right now?
How does or will this (sensation) impact my mental health?
What ways can I manage or address this (sensation) to support positive mental health?

Here is an example:

I am feeling tension in my shoulders.
Tension in my shoulders usually means I am overwhelmed and taking on too much.
I will be careful not to add anymore tasks to my schedule and set aside time to connect with myself through a self-care practice (i.e. hot bath, quiet time, dance or yoga).

Try this in the morning as a way to start your day; setting an intention and paying attention to your movement and body will help hold yourself accountable before the business of the day sets in. You can also use a journal to keep track of how you are challenging your movement and how your body awareness is changing.

These are just small ways to increase your awareness through movement. But remember that small changes can have a big impact. Movement, no matter how small, can have a large influence on your overall well-being and more specifically your mental health.

Looking for more support?

My workbook, Body Awareness for Mental Health, is for you! Rooted in theories and methodologies from the field of dance/movement therapy, this workbook is designed for:

Anyone looking for a more holistic approach to mental health.
Individuals who have reached a plateau in traditional talk therapy.
Anyone who has difficulty accessing and processing emotions.
Anyone who is disconnected from their body due to trauma, anxiety and stress.

By Erica Hornthal, LCPC, BC-DMT, Dance/Movement Therapist.

The post Harnessing the power of movement for resilience and well-being appeared first on Dance Informa Magazine.

‘Embrace What Makes You UNIQUE’ in 2021

What makes you unique?

Is it a special talent of yours? Your look? Your personality?

“The world is so judgmental, and we all feel a pressure to fit into a mold,” shares Andrij “AJ” Deneka. “When you can showcase your individuality, it helps you stand out among others. It’s refreshing.”

Deneka is the founder of Embrace What Makes You UNIQUE, a fashion line and movement inspiring people to live as their authentic self. After years of dancing and modeling professionally while living in L.A., the Buffalo, NY-native is thankful for the opportunities he had but feels he could have accomplished more if he had the confidence to always be true to himself.

Andrij 'AJ' Deneka. Photo courtesy of Deneka. — Andrij ‘AJ’ Deneka.
Photo courtesy of Deneka.

“From my past experience, when I wasn’t being my true authentic self, those moments weren’t as fulfilling. When I stayed true to who I am is when I felt better about myself and my accomplishments,” Deneka reveals. “We’re always going to have those moments when we feel like we didn’t fully embrace who we were, but recognizing it and having that understanding is part of the process.”

Deneka is currently a resident teacher at dance studios in Buffalo, guest choreographs for several studios throughout the United States, and is a judge for Spotlight Dance Cup and Thunderstruck Dance Competition. For several years, he noticed himself using the phrase Embrace What Makes You UNIQUE with his students, or using it as a special award at competitions. The phrase originally came to mind after he listened to a speech by one of his favorite artists, Janelle Monáe.

“One year, I choreographed an opening number and made all of the kids in the routine a pin that said Embrace What Makes You UNIQUE,” Deneka recalls. “The studio owner encouraged me to make shirts or clothing with the phrase on it and said she would buy it.”

In September 2019, Deneka, who also studied at the Fashion Institute of Technology in NYC, took her advice and launched his own fashion line, putting his token phrase on t-shirts, long sleeve shirts and hoodies. It wasn’t long before people were asking for more products, including tank tops, joggers, sweat pants, pop sockets, lawn signs and bumper stickers.

“Yes, it turned into a business, but it’s more than that to me,” Deneka says. “What excites me is the movement aspect of it. It’s something I truly do believe in.”

Although growing up he felt he had a great support system of people who encouraged him to be whoever and whatever he wanted to be, Deneka felt he lacked confidence and wish he embraced his own uniqueness sooner in life. “I feel like with teaching, it’s important for me to remind kids to be who they are, not who they think society wants them to be, because it’s not always something I did myself. I was confident to a certain extent, but it didn’t click fully until after I left L.A.”

By using the phrase in class, he feels his students have realized that by being themselves, it will help them shine at their brightest potential. “There are so many talented individuals in the world, and when you’re not truly yourself, you’re just another number,” Deneka says. “When the phrase clicks with the kids, I noticed it gives them pride for who they are, not just as dancers but as individuals. It strengthens their everyday lives.”

Andrij 'AJ' Deneka hopes to inspire children like Camryn Hogate (pictured) to grow up to be their authentic self. Photo courtesy of Deneka. — Andrij ‘AJ’ Deneka
hopes to inspire children
like Camryn Hogate (pictured)
to grow up to be
their authentic self.
Photo courtesy of Deneka.

As he travels for teaching and judging, he sees many students afraid to be who they want to be. “Regardless of age, sex, race, political beliefs, we are all different…and that’s the point! People all over the world are being ostracized for the way they were born or for what their religion is. I luckily was brought up in a family and a studio with pretty awesome people, but not everybody has that. I feel like Embrace What Makes You UNIQUE is broad enough that everyone can relate to and hope it inspires my students, or people in general, who are struggling.”

Recently, Deneka was inspired watching a woman accept an award who discussed how we are all made up of different cells and how it is a scientific fact that we are all different and that’s how we were put onto this earth. It inspired the second phase of his line that he calls Moleculary UNIQUE.

“Reminding ‘ourcellves’ of the intrinsic beauty of our bodies highlights the blend of sameness and diversity that comprises each of us,” Deneka posted to social media when he released his new products. “So often we reduce someone to one thing. We reduce someone to a stereotype, an object, their race, their gender…but we’re not one thing. We’re many trillions of things. So, next time you want to pay someone special a compliment, just tell them, according to science, you are a magnificent molecular masterpiece.”

As you take on 2021, find your confidence, tune into your individuality, and nourish your soul to its fullest potential. Individuality never goes out of style. and you are a magnificent molecular masterpiece.

It’s time to Embrace What Makes You UNIQUE.

To learn more about the movement, follow @embracewhatmakesyouunique on Instagram.

By Lauren Kirchmyer of Dance Informa.

The post ‘Embrace What Makes You UNIQUE’ in 2021 appeared first on Dance Informa Magazine.

What Makes a TikTok Dance Go Viral?

Kara Leigh Cannella, a senior dance major at the University of the Arts in Philadelphia, was scrolling through TikTok one day this fall, when she came across a sound that caught her attention. It was a 15-second clip called “HOOPLA,” by the user known as @kyleyoumadethat, and it instantly made her want to dance.

She started out by improvising, as she often does when choreographing for TikTok. Between popular moves like the Woah and the Wave, she mimed releasing a basketball into the air and dribbling it between her legs, picking up on themes in the sound (which samples the 2002 Lil Bow Wow song “Basketball”). “Then I cleaned up the moves,” she says, “because I was like, ‘I don’t want to make this too hard.’ ”

Though she didn’t know it yet, Cannella, 22, had struck a perfect balance for TikTok dance virality: something eye-catching and rhythmically satisfying but still accessible, not outside the reach of amateur dancers. She filmed the dance in her bathroom and posted it with a call to “try it and tag me.” By the next morning, to her surprise, the video had already received 10,000 likes, and soon the dance was all over TikTok. Among those who tried it was the 16-year-old dancer Charli D’Amelio, the app’s most-followed user, who posted it for her then-95 million followers.

Cannella’s dance is just one example of what has, in the past couple of years, emerged as a new genre of digital performance: the TikTok dance challenge. Dance has always found an audience on social media, but TikTok, more so than other platforms, has given rise to its own highly recognizable, easily reproducible style. Drawing from a lexicon of hip-hop–inspired moves—like the Dougie, the Dice Roll and Throw It Back, to name just a few—the micro-dances of TikTok are typically front-facing and most animated from the hips up, tailored to the vertical frame of a smartphone screen. Governed by time limits of 15 or 60 seconds, they also tend to stay in one place; you can do them pretty much anywhere.

While these TikTok dances might seem purely fun and frivolous, there’s an art to creating and performing them in such a way that gets attention, in the form of views, likes, follows, shares, downloads and comments. And that attention can translate into financial opportunities for dancers, especially precious at a time when so much in-person performance remains on hold.

So what’s behind the broad appeal of TikTok dances? And what determines whether a dance gets seen, or lost in an endless sea of other videos?

“Everyone Can Do It”

While plenty of professional dancers showcase their hard-earned skills on TikTok, the app, which was released globally in 2018, has become known as a space where dance is for everyone.

“It’s not about having the perfect body for dance; it doesn’t matter if you’re a pro,” says Alessandro Bogliari, CEO of the Influencer Marketing Factory, a company that specializes in social media marketing campaigns. “It’s about having fun and re-creating certain moves.”

When Cannella choreographs a TikTok dance, she keeps that in mind. “I try to make something creative and different,” she says, “and also simple and easy, so that everyone can do it.”

For new TikTok users, a simple, catchy dance challenge can offer a way into the app. Maya Man, 24, an artist and computer programmer who trains in commercial dance styles, notes that TikTok dances provide structure in a digital space full of creative options.

“Constraints are the key to participation,” says Man. “It’s pretty intimidating, getting on a short-form video platform—the fact that you can make anything. It’s so open-world that you almost don’t know where to start. But the dances act kind of as trend templates for you to know what to do. You have a sound to use, and you can take this short-form choreography, and remix it, and make something yourself.”

Standing Out

What does it take to get noticed as a dancer on TikTok? Ultimately, dancers are at the whim of the app’s complex, cryptic algorithm, which feeds content to each user’s “For You Page,” an infinite, individually customized stream of new videos.

Jennifer Mika Nelson, 25, achieved sudden TikTok fame last spring, while quarantining with her parents in Virginia, when she began doing dance challenges with her mom. While Nelson is a professional dancer with a background in classical ballet, Graham, modern and jazz, her mom, she says, had “never danced in her life.” Her videos of them dancing together—Nelson’s exuberance offsetting her mom’s earnest focus—drew millions of views. “People love parents trying things,” Nelson says.

Nelson mostly learns existing TikTok dances, rather than making her own. At first, she recalls, “I was really awkward. It was honestly like learning a new style.” One hallmark of that style, she discovered, is exaggerated facial expressions. “That, in and of itself, is a crucial step in the dancing,” she observes. “I get more likes and engagement if I smile more.” Cannella, too, has found that a high-energy approach gets more attention. “I have to be 10 times more enthusiastic with my TikTok dancing,” she says.

Jarred Manista, 19, a member of the (on-hiatus) cast of West Side Story on Broadway, who has about 350,000 TikTok followers, notes that lighting and scenery are also crucial. “If I film a video in front of a white wall, versus outside in front of a blue sky, maybe a lake, the prettier background will tend to do better,” he says.

A Biased Algorithm?

The TikTok algorithm also operates in more nefarious ways. Sydney Skybetter, director of undergraduate studies in Theatre Arts & Performance Studies at Brown University, says that TikTok, which is owned by the Chinese company ByteDance, is unique among video-sharing apps because of how it prioritizes artificial intelligence—technologies like pose estimation and facial recognition, which are thought to drive the algorithm.

“I think that TikTok, and specifically the artificial intelligence that powers TikTok, is the most sophisticated dance curator on the planet,” says Skybetter, who researches intersections of dance and technology. “It is a computational and curatorial marvel, and it should be viewed with awe and terror accordingly.”

With respect to terror, Skybetter points to the revelation, in 2019, that TikTok had suppressed videos by creators who it identified as disabled, fat and queer, under the guise of protecting those who might be “vulnerable” to cyberbullying. Discoveries like this, he says, suggest “that not only is TikTok trying to suppress certain kinds of bodily appearances, but it’s actively trying to serve up other kinds of bodily appearances.”

It’s notable that while many TikTok dances are rooted in Black social dances, and often originated by Black creators, the app’s top two most-followed accounts belong to young, white, female dancers, who are also slender and nondisabled. (For further reading on algorithmic bias, Skybetter recommends Safiya Noble’s Algorithms of Oppression: How Search Engines Reinforce Racism.)

TikTok also has no built-in mechanism for crediting dance creators. The issue of unattributed dances came into the public spotlight early in 2020, when The New York Times published a story on the then–14-year-old creator of the viral “Renegade” dance, Jalaiah Harmon.

“It wasn’t just Jalaiah,” says Trevor Boffone, author of the forthcoming book Renegades: Digital Dance Cultures from Dubsmash to TikTok. “There were other instances where you had these Black teens who were not getting credit for their dance, and you had white teens profiting off of the same dance, which replicated hundreds of years of imbalances in the U.S., and especially in the dance world.” Cannella says that ever since the “Renegade” story, dance credits—abbreviated “dc” in captions—have become more common, but not as widespread as they should be.

Even with these darker implications, dance on TikTok has developed into an irrepressible online phenomenon. Skybetter posits that for those who still see dance as tied to the setting of a theater, the app may have lessons to teach. At a time when live performance remains largely on hold, he says, “we ignore platforms like TikTok to our own risk and detriment.”

The post What Makes a TikTok Dance Go Viral? appeared first on Dance Magazine.

12 Childhood Pics and Videos That Prove These Stars Were Born to Dance

When you hear names like Maria Kochetkova, Sutton Foster and Robbie Fairchild, you immediately picture flashes of them as the fully-formed, phenomenal performers they are today.

But even when they were kids, they had a glimmer of their future star power, giving a glimpse of what was to come. Thankfully for Instagram, we’ve got the pictures and home videos to prove it.

Robbie and Megan Fairchild

Now:
Talk about talent running in the family. Sister Megan is now a principal at New York City Ballet, while her brother Robbie has since departed NYCB, delving in to Broadway and film, including the much-anticipated Cats film.

Then:
The sibling duo was putting on their own shows at home, with Megan lending her old costume to her Robbie. Mid-performance, Robbie even gets snot rubbed off his face.

Diana Vishneva

Now:
Full-on ballet royalty, at 43, she’s still performing with the Mariinsky and runs her contemporary dance festival, CONTEXT.

Then:
Back in 1994, 18-year-old Vishneva gave a welcome address to kick off the new school year at the Vaganova Ballet Academy. It was an honor awarded to the program’s most promising senior student.

Natalia Arja and Renan Cerdeiro

Now:
The longtime friends are colleagues at Miami City Ballet, where Arja is a principal soloist and Cerdeiro is a principal.

Then:
Back home in their native Rio de Janeiro, Brazil, the pair was chummy, seizing the opportunity to dance together even outside of class.

James Whiteside

Now:
Whiteside
is his own brand of triple threat: a principal at American Ballet Theatre, pop performer JbDubs and a choreographer.

Then:
He was a regular teen who admittedly loved dancing to Britney Spears. We can’t say we’re surprised.

Daniil Simkin

Now:
An international ballet superstar—currently a principal at Staatsballett Berlin and American Ballet Theatre—known for his bounding jumps and sailing turns

Then:
A promising young dancer, known for his bounding jumps and sailing turns. Some things never change.

Catherine Hurlin

Now:
A captivating soloist who’s scooping up roles at American Ballet Theatre, Hurlin is also known by her nickname, Hurricane.

Then:
At age 3, Hurlin seemed to be channeling Isadorables vibes, posing in a flowing vintage dress.

Kathryn Morgan

Now:
Morgan
leaps back into company life this season as a soloist at Miami City Ballet.

Then:
From a young age, she was cheesing it up and already feeling at home in a mess of tulle and sequins.

Kyle Abraham

Now:
The busy MacArthur “genius” choreographer is creating work this season for his own company, A.I.M, plus Misty Copeland, Paul Taylor Dance Company and Hubbard Street Dance Chicago.

Then:
Abraham was that cool kid in high school who was also deeply intellectual. A longtime music lover, he played cello as a teen.

Maria Kochetkova

Now:
Though the ballet maverick has struck out on her own, leaving traditional company life behind, Kochetkova continues to perform around the world.

Then:
While most ballet students dance in a Nutcracker growing up, very few can say their first was at the Bolshoi Ballet School. Welcome to the life of Kochetkova.

Ryan Heffington

Now:
Heffington has molded a career out of making the awkward enticingly cool, whether he’s choreographing for Sia or crafting the central “five movements” for Netflix’s “The OA.”

Then:
He was a spiffy dance student who appeared several times on “Star Search.”

Karina González

Now:
A longtime principal at Houston Ballet, the audience favorite also became a mother last year.

Then:
As a kid in Venezuela, González was literally bending over backwards to dance. After showing up at the wrong address for dance lessons, we’re extremely glad she was swiftly redirected to the right school.

Sutton Foster

Now:
Foster is preparing to strike Broadway gold once again for the 2020 revival of The Music Man, in which she’ll star opposite Hugh Jackman.

Then:
Based on this early tap routine, Sutton was clearly destined for Broadway.

The post 12 Childhood Pics and Videos That Prove These Stars Were Born to Dance appeared first on Dance Magazine.