* Dance * Theatre * Figure Skating * Performance Art *
* A Fusion Of Creativity *
Tuesday, July 15, 2008
SYTYCD's Mamma Mia
So You Think You Can Dance choreographer/Judge Mia Michaels has been on a bit of a tear this season. During rehearsel for the first week's performances she said that she didn't think dancer Mark Kanemura was turning out as well as she thought he would. Then, last week she took Jessica King to task for being "carried" through the competition so far by her much stronger partner Will Wingfield.
But according to Michaels herself, she's just misunderstood and is merely practicing her own brand of tough love.
"What America doesn't know is the relationship," she explains at the TCA Summer Press Tour, saying that what she brings to the judging table is a choreographer's perspective. "There's a beautiful, beautiful collaboration and very nurturing [atmosphere]. For me especially, I nurture them. I'm Mamma Mia and they look to me for that tough love actually.
"So, when I say it, American might go, 'Oh my God, that's so harsh.'
"[The dancers] are cool with it. They know. They know I only want them to be brilliant."
"I have been doing this since the 1940s, and I have been out of work one week in my whole life," says Donald McKayle, the African-American choreographer named by the Dance Heritage Coalition as one of the first 100 of America's Irreplaceable Dance Treasures. "And that one week that I was out of work, I couldn't even collect unemployment, because in California you need to wait 10 days before it becomes activated." McKayle has choreographed more than 90 works for the concert stage, numerous Broadway musicals -- including Golden Boy, Sophisticated Ladies, and Raisin, which he also directed -- the Hollywood films The Great White Hope, The Jazz Singer, and Disney's Bedknobs and Broomsticks, and the television special Free To Be...You and Me.
"Work in as many areas as you can," says McKayle, when asked what advice he would give to someone looking to establish a successful career as a professional dancer today. "The more colors you have on your palette, the more you have to work with and the more you can aspire to." In addition to his work as a choreographer and director, for the past 20 years McKayle has been a professor of dance and choreography at the University of California, Irvine. In 1995 he set up a student performance company there called the UCI Etude Ensemble. "It was in response to -- well, let me explain," says McKayle. "I'm on the board of trustees of the National Foundation for Advancement of the Arts, which gives awards to young artists, 17- and 18-year-olds. And I observed that the dance recipients didn't always have very good material to show, particularly in the modern-dance field. The ballet people, of course, had variations from the great classical ballets to perform. So I decided to choreograph something that the modern dancers could study -- like ballet dancers study classical variations -- and that they could perform at the auditions. I called the piece 'Rainbow Etude,' because it was based on 'Rainbow 'Round My Shoulder.' Then [former Paul Taylor principal dancer] Carolyn Adams and her sister -- they operate an organization called the American Dance Legacy Institute, out of Brown University -- they decided to publish my 'Rainbow Etude' in a video/DVD format to be circulated to students and teachers all around the country. I originally set the work on six students from UCI. Well, that group of six performers grew to 18, and that's basically how the student company was formed."
A multitude of influences and wide-ranging interests come together in the work of the intrepid and acclaimed choreographer Akram Khan, who brings two works to New York City Center beginning April 23.
After establishing himself as a major force on the British dance scene in his mid-twenties, his work was first seen in New York in 2001--most recently in collaboration with Steve Reich marking the seminal composer's 70th birthday in 2006.
His own strong presence as a performer--a fluent, inventive blending of Kathak, the South Indian dance style that was his earliest training, with the contemporary modern dance he studied later--has been a major part of each of the works seen this side of the Atlantic. But next month, New York City Center will present his newest work, bahok, the first major group work he has created in several years, and his first piece choreography in which he will not perform--a distinction that, he admits, "feels really strange and bizarre."
Mandy Moore: I grew up in Colorado and danced at the local studio, Summit School of Dance, from 8 years old to when I graduated. I took ballet, tap, modern, jazz and acro...it was a small town, but we had some great teachers at the studio. I moved to Los Angeles when I was 18 and auditioned for Edge Scholarship. I actually didn't make the program, but I ended up working at the studio for class. I eventually ended up selling merchandise for LA Danceforce, a dance convention that the owners of Edge also owned. After a year of that, I knew that my talents would be better used in the classroom, so I started teaching for them and that led to teaching at Edge, meeting more people and the rest...is history.
Shimmy: What inspires you?
Mandy Moore: Everyday life inspires me...people fascinate me. I really like to people watch and I find that most of my idea's for choreography come from my observations. I love music, so I have to say that also inspires me. I love experiencing something great, be it a great performance, a great dinner, a great conversation, a great moment...the feeling I get after experiencing that, inspires me.
Shimmy: What are "dream roles" for you?
Mandy Moore: Dream roles for me are anything that challenges me to be better at my craft. I dance, teach and choreograph, so there are many "roles" to play. I really enjoy being in a situation that I don't know much about and trying to take in and learn from everyone involved with it.
Shimmy: SYTYCD has brought you and your work to the masses, will you return for season four?
Mandy Moore: I will be returning to SYTYCD for Season 4, in fact I was just speaking with the producers the other day and we were talking about what episodes I will be working on.
Shimmy: What contestants from the show did you enjoy working with the most and why?
Mandy Moore: Well, I was lucky, I got to work with Sabra twice!! She is great and works so hard, I love dancers that put in the work. I also loved Dominic, he had never really done contemporary when I worked with him and he came in with an open mind and heart and ended up being very successful.
Shimmy: The JUMP Convention- tell us about it.
Mandy Moore: JUMP is a dance convention that travels around the country and puts on workshop/competition for local dance studios. JUMP is so much fun to work on, we have a live band that plays in the classes, live camera feeds to huge screens for the dancers to see better, an all-star faculty, and tons of special classes and events all geared toward an amazing experience for any dancer that attends. I travel to twenty-some cities with them and it is one of the most fulfilling things I do.
Shimmy: You've dabbled in so many areas, what do you enjoy most of all?
Mandy Moore: I have to say that I have been very lucky to have been so successful in many areas... after all that I have done so far, I love dancing in class the most!!! I know that sounds crazy, but training and dancing in class is the best way I have found to keep in touch with the reason I started dancing, because I love it.
Shimmy: What projects do you have in the works or planned for the future?
Mandy Moore: I always have lots to do. Right now I am choreographing all the group songs for American Idol and will start SYTYCD in a couple months. I have JUMP Nationals at the Kodak Theater in July and will also be traveling to Italy to teach that same month. In August, I will be co-hosting an event with Nick Lazzarini, called "The Nick and Mandy Show." The event is a week of classes, workshops, and rehearsals ending with a show at a theater in Los Angeles. Next December, I am choreographing the Orange Bowl half-time show in Miami.
Shimmy: If I swiped your ipod for an hour, what would I be listening to?
Mandy Moore: I love Ani Difranco, so you are bound to listen to a song or two of hers...I just found William Fitzsimmons and Jon Foreman, acoustic and beautiful...a little Dane Cook, he is ridiculous...and you are sure to run across any good 80's song, most likely a big hair rock love ballad, I love em....
Shimmy: Three things you cannot live without.
Mandy Moore: Lip gloss, DKNY bedding and my Dad's apple pie
Shimmy: If you could switch places with anyone (not in the dance world) for 24 hours who would it be?
Mandy Moore: I would like to switch places with my grandmother, Betty. I can't imagine all that she has experienced in her life, it would be amazing to see the world and all it is presently through her eyes.
Shimmy: What advice would you give to aspiring dancers?
Mandy Moore: My advice to aspiring dancers is to make sure you love it, cause there are so many "No's" along the way and if you truly love to dance, the "No's" won't seem so rough.
Shimmy Video Pick- Neil Haskell and Sabra Johnson table dance choreographed by Mandy Moore.
For casual figure skating fans, Lori Nichol's name might not ring any bells. As Canada's top skating choreographer, Nichol is most famous for creating programs for Michelle Kwan from 1995-2001.
Before she became one of world's most respected figure skating choreographers, Nichol was an elite skater herself. She was a performer for the John Curry Company from 1983 - 1986 and was the 1983 silver medalist in the World Professional Figure Skating Championships.
Icenetwork.com sat down with Nichol to chat about the new judging system, and what it's like to choreograph the top stars in competitive figure skating. You choreograph for many different skaters. How much time do you spend assessing the strengths and weaknesses of, say, Mao Asada versus Kimberly Meissner?
I don't work in the 'versus' mind set. My work is about emphasizing a skater's strengths, choosing music that I think is good for them and also that they like enough to skate to all year, sharing the magic and art of skating from the blade on up and providing a safe accepting environment for an enlightening and educational experience.
What are two or three of your all-time favorite programs?
I have many more than two or three favorites. They range from when I coached precious little ones who discovered themselves in a program and would work so hard with each and every detail, to the entire process with Michelle Kwan leading up to that supposedly 'overnight transformation' of "Fiesta Flamenco" and "Salome" (and I did like "Dream of Desdemona," "Taj," and Rachmaninoff a great deal as well), to the entire experience with [Jamie] Salé and [David] Pelletier. They astounded me long after winning the Olympics with their devotion to their craft and their gorgeous performances of "Come Away With Me" and "Who Wants to Live Forever." I have tons of favorites this season too; any time a skater gives it everything they've got, I have a new current favorite!
Shimmy: Please tell readers how you got started dancing.
Shane Sparks: Dancing chose me. I played sports and did gymnastics, but none of them kept my attention like dancing. I was born to dance, and nothing else. I couldn’t stop if I tried!
Shimmy: Where do you get your inspiration?
Shane Sparks: I get inspired by anything and everything; music, animals, TV, people, and anything that has something to say. I love songs that tell a story, and then I bring it to life. I love that.
Shimmy: You’ve choreographed for television, film, videos, etc. At this point, what is your favorite genre to work in?
Shane Sparks: Actually, I love teaching more than anything because I am free to do whatever I want. But if I had to choose, I would say movies, because there are no boundaries.
Shimmy: You’re not returning to SYTYCD this season, overall how was that experience?
Shane Sparks: I am not returning this season, but you never know what the future holds! I am going to miss it, and miss showing the world the thing I love doing most, choreography.
Shimmy: How has it been working on “America’s Best Dance Crew?”
Shane Sparks: It is the biggest blessing I could have ever received. This show is incredible, from the crews, to the creators. Randy Jackson is the man, and I think him for believing in me.
Shimmy: Are you still teaching, doing workshops, etc?
Shane Sparks: Yes, I am still teaching and doing workshops. I still travel with The Pulse, and I am still teaching at Millennium. I will do it until my legs fall off!
Shimmy: What projects do you have in the works, and planned for the future?
Shane Sparks: I am working on a film called “Backdown” with Marques Houston, and Omarion, and the creators of “You Got Served.” There is a new movie I also am doing called “The Jump Off.”
Shimmy: If I swiped your iPod for an hour, what would I be listening to?
Shane Sparks: It would be straight R&B, Neyo, Chris Brown, and a little bit of Boys II Men’s first album. Flo Rida’s “Low Low Low” is on there too! I listen to pretty much everything, and I also can’t get enough of Alicia Keys’ new CD. I love it!
Shimmy: Three things you cannot live without.
Shane Sparks: God, my mom, dance, music, and Francia, my girlfriend.
Shimmy: If you could switch places with anyone [not in the dance world] for 24 hours, who would it be?
Shane Sparks: Adam from Adam and Eve, because if I could be him for a day, back in the day, I could have changed the world!
Shimmy: What advice would you give to aspiring dancers?
Shane Sparks: To dream! I have been a dreamer all my life, and I dreamed about my life right now. If you want it, you can have it. Work hard and stay focused, stay away from the drama, don’t let any male or female stop you from going for your dream. I love you all, and one day we will all be dreaming together
The Jerome Robbins celebration to feature 33 ballets by the great American choreographer who made New York City Ballet his artistic home for nearly 40 years. Guest artists to include dancers from American Ballet Theatre, Paris Opera Ballet, and The Royal Ballet.
The 2008 Spring Season to Also Include a World Premiere by Alexei Ratmansky as Well as Works by George Balanchine, Mauro Bigonzetti, Peter Martins, Susan Stroman, and Christopher Wheeldon
Principal Dancer Damian Woetzel to Give Farewell Performance on Wednesday, June 18
This spring New York City Ballet will celebrate Jerome Robbins, the groundbreaking choreographer and director who transformed American musical theater, and who also made NYCB his artistic home for nearly 40 years.
The Jerome Robbins Celebration, which will mark the 90th anniversary of the choreographer's birth in 1918, will take place at the New York State Theater from April 29 through June 29, 2008, and will feature 33 ballets that Robbins created over a span of more than 50 years.
Dancers across America, lace up your dancing shoes! As Reality TV Magazine previously reported, FOX’s So You Think You Can Dance is auditioning for the 2008 season. Recently we had the opportunity to chat with So You Think You Can Dance judge, Dan Karaty, about the upcoming season, his faves, and what it takes to land a spot on the show.
Karaty, who, along with fellow judge, Mary Murphy, and the rest of the So You Think You Can Dance crew, will be visiting, Washington, D.C., Los Angeles, Milwaukee, and Salt Lake City, says that he’s most looking forward to one audition in particular.
“I’m really looking forward to Washington, D.C., just because we’ve always had so much talent in New York City. We’re hoping that the talent of New York City filters on down to D.C.”
Yet, Karaty is quick to point out, he’s also looking forward to seeing what D.C.-natives have to offer, and certainly can’t count out any dancers in any city, openly encouraging all dancers to come out and “take your shot,” even if you’re a hip-hop artist who doesn’t know a thing about ballroom dancing.
“What our show does is incredible,” he says. “The versatility that we require from the contestants is just insane. How many dancers can do [all genres of dance]? To be able to do everything is almost unheard of.”
The key word, of course, being “almost.” Karaty admits that his favorite past competitors are the hip hop artists nobody expected to be able to handle ballroom dancing, such as season one’s Jamile and Ivan, from season two. But both dancers, Karaty explains, “got better every week,” and that’s what he loves most about So You Think You Can Dance.
“Every year it seems like the dancers get better,” he says. “We truly find the most talented dancers out there.”
This, Karaty explains, is what makes So You Think You Can Dance unique from the other dancing shows that have cropped up in the reality TV world. Yet, Karaty couldn’t be more thrilled for the competition.
“I can’t tell you how happy I am [to see more dance competition shows on TV]. For years dance was a background art form – in the back of commercials, in the back of movies, behind the lead singer of a band. I say the more the merrier. I watch all the shows. [America’s Best] Dance Crew is incredible.”
I'm just finally back in the states teaching and it feels so good to be back to that. I haven't been in awhile and it's always the best thing because you feel like you're in shape and doing something to better the dance community. I was in Minneapolis last week where it was like 40 below- not my kind of weather- but I was working with the PULSE Tour. PULSE is incredible. It has just grown into something amazing. It started out about five years ago, when Wade Robson and myself did the first PULSE in New York as a one-off workshop. We drew in so many people and built it into something incredible. We would do it every year and different choreographers would be brought in and then I got together with Broadway Dance Center and we decided to make it a little more than it already was. That's when we brought Mia Michaels on and it was just incredible. We saw that there was definitely a future in it so Mia and I became creative directors and brought on the rest of the faculty.
In the era we're in right now, with reality tv the kids look up to the people that they see on tv and we felt that they'd be more receptive to learning because they trust us. We're in a position that they want to be in one day and we see great results from the kids when we do these workshops. They're crossing barriers that they've never crossed before. A lot of teachers say that they just can't get their students to perform, to break down that wall that they've put up and to really step outside it. We've seen more of that in the last two years of doing this then I think I've seen in a decade before.
Breaking down the walls is about no judgement. You have to fall before you can walk. You've got to make mistakes and you have to put yourself out there and be vulnerable. It's okay to feel that way. People that refuse to try will never make progress. I tell students it's an open place when you come into my room. I want to see you make a fool of yourself because then I'll know that you're really putting yourself on the line.
I was creative director on X Factor and we just finished the full season. I just got back from London last week and that project has finally set sail. We will be doing next season again and I'm in the process of inking other deals for other shows. Hopefully I'll be back on American television soon. It was hard for me having to leave So You Think You Can Dance but in the end I had to make the choice that was best for me. I miss the show and I miss getting to say my opinion because I feel like I have a lot to say! I think it's important for the kids that watch these shows to know that the choreographers, we're normal. We're exactly like them. we came from the same places as them. There's nothing different between us and the fans, we all wake up the same and we all have the same issues. Use us for inspiration and role models, but know that we're normal people. Don't ever place anyone higher than you.
Inspiration-
I'm inspired by the kids because they are so eager to learn. It makes me want to give to them. I'm also inspired by the faculty that I teach with. They're all the biggest names in the business right now and they all have so much to share. I find myself evolving just by being around them. I use my relationship with my friends and family as inspiration. Music, art, travel- I get inspired by everything. It's important to have a life outside of what you do because you end up bringing that experience back to what you do.
You'd Never Guess-
I'd loved to choreograph for Michael Jackson. I'd love to do something for Madonna, she is great and that opportunity just hasn't happened for me. I think it's great to keep goals and I never feel like I've achieved everything because there's always somewhere else to go. I'm incredibly insecure and I'm my own worst enemy. People perceive me as confident but I think the reason that I keep moving forward is because I'm never completely happy with anything I do. I always think I can do better, could have worked harder and I think that's what drives me. I don't think people would expect that I'm completely insecure. I don't mind that I haven't worked with everyone that I want to, it just makes me work harder.
The Future-
I initially grew up immersed in theater. Musicals are something that I love and the first thing that I ever did was join a theater group even before I was in dance classes. I'm cheesy at heart. I went into the commercial world instead though. I would never want to be onstage doing theater but I would love to choreograph stage shows.
I see my future in more of an executive position. I want to start doing my own thing. Creating my own shows, creating my own product line. I already have my shoe and clothing line but I want to see it on a larger scale. It's incredible for me to go out and do PULSE and look at the kids out there. They're wearing my product! That just blows my mind. I never in my wildest dreams would have thought that I'd have shoes, it's just crazy for me to think. I remember being a young dancer going to conventions and I had on my Tremaine jazz shoes and it was a huge thing to think that these people actually had shoes you could wear. Not only am I taking from this person, but I'm wearing there shoes. To know that I've reached a level where people either want to dance like me or feel the way I do, it's a pretty surreal feeling! I chased this idea down. No one brought a deal to me and said, "Here, do you want to make a shoe?" I had to chase it down and make it happen. It's good for kids to see because you can chase down your dreams and you can make anything happen. You don't have to wait for things to come to you.
Shimmy: What was it like growing up with parents that performed on Broadway?
Dan: Well, growing up in the Karaty family was a lot of fun. I'm the youngest of five kids, and although my parents were Broadway veterans, when they decided to have kids they gave it up. My father was a stockbroker and my mom stayed home with us. My parents decided to open up a dance studio when I was about 13 years old, and that's when I started to dance. They certainly had plenty of knowledge, talent and experience to pass on to me.
Shimmy: What was your own experience in Footloose like?
Dan: My experience in Footloose was brief, but amazing. To be a part of an original Broadway cast was something I always wanted, and it made my parents very proud. To be honest though, we opened in October and I gave my notice in November…I had one semester left at New York University and wanted to finish my education. If I took any more time off I knew I would never go back.
Shimmy: Would you ever return to the boards?
Dan: I wouldn't return as a performer, but as a choreographer or director? I would be there in a heartbeat, that's another dream of mine.
Shimmy: When did you transition from performer to choreographer?
Dan: The transition from a performer to a choreographer just sort of happened. Wade Robson and I worked together quite a bit, and while I was dancing on some gigs for him I began helping out with choreography. We always worked well together and things just happened from there.
Shimmy: What was it like working with Britney Spears back when she was at the top of her game?
Dan: Britney was an absolute joy to work with. We created some memorable performances together and that girl really knew how to turn it on when she hit the stage. Britney was always a hard worker and didn't quit until she got it right. I wish her nothing but the best.
* Dan performing with Britney Spears at the 2000 Video Music Awards *
Shimmy: You've dabbled in so many areas- teaching, judging, doing commercials, choreographing tours and television- what do you enjoy the most?
Dan: You know, my career has continued to evolve over the past 10 years or so and I've been happy every step of the way. I consider myself a lucky man because I do what I love. Honestly, I'm excited to see where things take me next…but I'm extremely happy with what I'm doing now. Choreographing movies and commercials and being on television, it's not so bad
Shimmy: So You Think You Can Dance has brought your work to the masses, will you return for season four?
Dan: I'll be there! I really can't wait to see what amazing talent shows up this year. Oh, and rumor has it that I'll be showing up on other versions of the show around the world. See you overseas too!
Shimmy: What contestants from the show did you enjoy working with the most and why?
Dan: I love performers more than anything else. Yeah, show me that you can dance, but entertain me! That's what I'm really looking for. Nick Lazzarini from season 1, Lacey from season 3, those are the type of dancers I love to work with. They bring so much to the table and make it fun.
* Lacey Schwimmer & Kameron Bink dancing a Dan Karaty number on SYTYCD *
Dan: Well, Gil Stroming is the man in charge and he does an incredible job. He has really changed the convention world and has taken it to a whole new level by having a great faculty, live music, amazing sets, and so much more. All of us on JUMP travel around the country to teach, inspire and motivate dancers of all ages. From hip-hop to jazz to contemporary, we offer the kids the best of everything. And oh yeah, this past summer we held our national finals at Radio City Music Hall, and this summer we'll be holding it at the Kodak Theater in Los Angeles.
Shimmy: What inspires you?
Dan: Inspiration can really come from anything…an experience in my life, an incredible dancer, a piece of music I hear, anything. I do my best to keep things fun and entertaining for the masses to enjoy. I like to make people smile, laugh, or at the very least have a good time, that's my goal when I'm creating.
Dan: Ha, actually, what I'm doing right now is a dream for me. Hopefully I can do more of the same. I really would love to choreograph and direct a musical…and anything else I can get my hands on.
Shimmy: If I swiped your ipod for an hour, what would I be listening to?
Dan: My choices in music can vary depending on the mood I'm in. I love listening to Kanye, and chilling out to Maxwell. Oh, and Led Zeppelin's music is forever. I'll always love Biggie and Jay-Z…and any old school hip-hop.
Shimmy: Three things you cannot live without.
Dan: The New York Yankees, the New York Giants, and Starbucks!
Shimmy: You have a degree in journalism. What areas are of interest to you?
Dan: You know, I've always just loved to write. I don't know if I'll ever have a career in it, but its something I like to do in my down time. I would love to someday sit down and write about all of the crazy things I've done, seen, and experienced. I'm not sure if anyone else would be interested, but it seems readable to me.
Shimmy: Leap ahead ten years, if you are no longer involved in dance what might you be doing instead?
Dan: Ah, that's a good one. First of all, I'll hopefully be married with some kids running around. Whether I'm on-camera or behind it, I know I'll be involved in the business one way or another. Maybe I'll be following the Yankees around the country….now that would be fun!
Shimmy Video Pick * Anya Garnis & Danny Tidwell dancing a Dan Karaty number on SYTYCD *
Tania Pérez-Salas brings a unique perspective to dance. As a choreographer, she draws not only on the vocabulary of dance, but on the languages of art and film. And her taste in music is nothing if not eclectic, ranging from Arvo Part to Vivaldi.
The result is works that are striking not only for their movement, but for their stage imagery and sheer theatricality
You may or may not know who Compton, California native Dave Scott is, but if you have seen the movies You Got Served or Stomp The Yard then you have seen his moves.
As a self-taught dancer, Dave Scott has worked his magic on the big screen and television. He has also choreographed many music videos and stage performances for the likes of Ginuwine, Tyrese, Brian McKnight, Bow Wow, Immature and B2K.
Back with the new movie Step Up 2 The Streets, Dave is steadily developing new shows for TV and more movies. We talked with him about the ins and outs of a choreographer’s career, the challenges he faced in mixing step and dance styles for Stomp The Yard and his views on Hip-Hop dance crazes .
