• Contributors
    • Catherine L. Tully, Owner/Editor
    • Dance Writers
      • Rachel Hellwig, Assistant Editor — Dance
      • Jessika Anspach McEliece, Contributor — Dance
      • Janice Barringer, Contributor – Dance
      • José Pablo Castro Cuevas, Contributor — Dance
      • Katie C. Sopoci Drake, Contributor – Dance
      • Ashley Ellis, Contributor — Dance
      • Samantha Hope Galler, Contributor – Dance
      • Cara Marie Gary, Contributor – Dance
      • Luis Eduardo Gonzalez, Contributor — Dance
      • Karen Musey, Contributor – Dance
      • Janet Rothwell (Neidhardt), Contributor — Dance
      • Matt de la Peña, Contributor – Dance
      • Lucy Vurusic Riner, Contributor – Dance
      • Alessa Rogers, Contributor — Dance
      • Emma Love Suddarth, Contributor — Dance
      • Andrea Thompson, Contributor – Dance
      • Sally Turkel, Contributor — Dance
      • Lauren Warnecke, Contributor – Dance
      • Sharon Wehner, Contributor – Dance
      • Ashley Werhun, Contributor — Dance
      • Dr. Frank Sinkoe, Contributor – Podiatry
      • Jessica Wilson, Assistant Editor – Dance
    • Dance Wellness Panel
      • Jan Dunn, MS, Editor
      • Gigi Berardi, PhD
      • James Garrick, MD
      • Robin Kish, MS, MFA
      • Moira McCormack, MS
      • Janice G. Plastino, PhD
      • Emma Redding, PhD
      • Erin Sanchez, MS
      • Selina Shah, MD, FACP
      • Nancy Wozny
      • Matthew Wyon, PhD
    • Music & Dance Writers
      • Scott Speck, Contributor – Music
    • Interns
      • Intern Wanted For 4dancers
    • Contact
  • About
    • About 4dancers
    • Advertise With 4dancers
    • Product Reviews on 4dancers
    • Disclosure
  • Contact

4dancers.org

A website for dancers, dance teachers and others interested in dance

Follow Us on Social!

Visit Us On YoutubeVisit Us On TwitterVisit Us On PinterestVisit Us On FacebookVisit Us On Instagram
  • 4dancers
    • Adult Ballet
    • Career
    • Auditions
    • Competition
    • Summer Intensives
    • Pointe Shoes & Footwear
      • Breaking In Shoes
      • Freed
      • Pointe Shoe Products
      • Vegan Ballet Slippers
      • Other Footwear
  • 4teachers
    • Teaching Tips
    • Dance History
    • Dance In The US
    • Studios
  • Choreography
  • Dance Wellness
    • Conditioning And Training
    • Foot Care
    • Injuries
    • Nutrition
      • Recipes/Snacks
  • Dance Resources
    • Dance Conferences
    • Dance Products
      • Books & Magazines
      • DVDs
      • Dance Clothing & Shoes
      • Dance Gifts
      • Flamenco & Spanish Dance
      • Product Reviews
    • Social Media
  • Editorial
    • Interviews
      • 10 Questions With…
      • Dance Blog Spotlight
      • Post Curtain Chat
      • Student Spotlight
    • Dance in the UK
    • Finding Balance
    • Musings
    • One Dancer’s Journey
    • Pas de Trois
    • SYTYCD
    • The Business Of Dance
    • Finis
  • Music & Dance
    • CD/Music Reviews

Making “Mr. Gaga” – A Film About Choreographer Ohad Naharin

December 11, 2013 by 4dancers

a1555e_403d2bf009239d4bc6042048367c18df.jpg_srz_p_220_270_75_22_0.50_1.20_0
Tomer Heymann, Director

Today we are pleased to share with readers an interview with Tomer Heymann – the man behind countless hours of footage of the well-known dance figure Ohad Naharin. Heymann is working to create a film about the choreographer (Titled, “Mr. Gaga”), and it has been a project to which he has truly devoted himself.

1. How did you first meet Ohad Naharin?

I met Ohad Naharin more than twenty years ago on one of my vacations from military service. My aunt was a director of the Batsheva Dance Company at the time and I got a ticket to see Naharin’s piece “Kir” (“Wall”). This was the first piece he staged in Israel after his return from the U.S. I had never seen any dance before in my life, so I didn’t know what to expect.

But from the moment I saw the dancers move, the movement, their bodies, I just couldn’t take my eyes off it. By the end of the show, my eyes were sore from staring. It was phenomenal. Since then I haven’t missed one of Ohad’s productions: I have seen 25 of Ohad’s pieces, and more than once. A few years later, I also fell in love with a dancer from Batsheva.

One time, when I was working as a waiter in a coffee shop, I found the courage to introduce myself to Naharin.

2. What made you decide to do this film?

Even before I’d become a filmmaker, I felt I had to be close to this man. I had to understand how he creates something that magnificent, that inspiring. As we became friends I never abandoned the idea of making a film about Ohad Naharin. But only after I had made a few films, did I feel able to approach him and ask. This turned into an obsession, I stalked him. And only 7 years ago did he finally agree to let me bring a camera to the studio.

3. Did you find that filming dance was a challenge? Why or why not?

Before agreeing to participate in “Mr. Gaga” Ohad had many times told me that he forbids the filming of dance, as it goes against the momentary and fleeting nature of dance. This is why it was very challenging for me to shoot and edit this film. Where do you cut when you are editing a wholesome creation, a dance piece? I hope that I have managed to capture these moments, to make a collection of these moments that evolves into something larger than just the sum of its parts and also tells a story.

4. Where has the filming taken you in terms of following Ohad and Batsheva?

I have followed the company to seven different countries and spent countless hours in the studio in Tel Aviv. I’ve witnessed some dancers “grow up” with the company and Naharin, starting in the ensemble as kids 18-19 years old and then coming to the company to become extraordinary dancers–and then move on to other places. For example Sharon Eyal, once a prodigy of the company, and present a lot in our footage, now is one of the leading choreographers in Israel and Europe. Danielle Agami, another talented dancer now has her own successful company in L.A.

Being with Batsheva and Ohad Naharin really became a part of my life. It is safe to say that I spent 1 to 2 days of every week in the past seven years with them, not counting the hours I spend in the editing room.

“Mr. Gaga” is a film that took me one step further as a filmmaker, as a director – in terms of the responsibility it demanded from me, the amount of people involved, the volume of materials to be processed, and in terms of the time and resources I am investing. Ohad is such an influential figure in his field, and this puts a lot responsibility on me to deliver a film that will match his stature.

5. In your view, what stands out about this man and this company?

What is so interesting about Ohad Naharin is that he is one of the rare choreographers who appeals to a very wide range of audiences; not just regular dance fans who are familiar with classical ballet. His language and art are universal; it goes deep into something primal in our emotional selves–to our bodily awareness of ourselves. And he also does this without becoming “pop” or compromising his art. On the contrary, Naharin always finds new ways to recreate, to redefine his language.

6. What has been the biggest challenge in this process so far?

There was a lot of resistance. It may seem like a very rosy picture from the outside: We are friends, we are intimate and I am making a film about Ohad Naharin over seven years. But the opposite is true. Ohad is a difficult and complicated man and he gave me a hard time. There was a lot of resistance. Sometimes he would just say “cut” – as if he were the director – he would just “cut” the communication, stop cooperating with me, exclude me from his space. But in these moments I knew we were only spiraling deeper in our relationship, reaching yet another new level of intimacy.

Tomer and Ohad Naharin

7. Can you talk about a special moment you experienced while filming?

One example–I knew that Ohad had a TREASURE chest in his home: An enormous collection of still images, recordings, rehearsals, performances, family footage; his work in New York with Martha Graham, work with Maurice Béjart, his first wife – the legendary Alvin Ailey dancer, Mari Kajiwara, many many things. I was obsessed with these materials for years; I knew that I had to get them into the film somehow.

And suddenly this year I felt that we had reached the point where I could ask for it. I just told Ohad: “Give me this!” And he just gave it to me, all of it, just like that. He just handed over his past into my hands.

8. What do you think people might be surprised to learn about Ohad Naharin?

Ohad harbors a very sensitive nature under his tough appearance. People might also be very surprised to discover Ohad’s sense of humor and the relationships he builds with the dancers.

9. What does the next phase of this project look like, and when are you hoping to finish it?

Right now we are processing the footage shot over the past year and adding it to the rough cut. It includes Ohad Naharin working on his latest creation “The Hole” with the Batsheva Dance Company. Interesting footage because there was a special octagon stage created for this piece in one of the studios of the Suzan Dallal center in Tel Aviv, with dancers also standing right behind the audience and even under the very ceiling. It’s really a 360 degrees experience for the audience; something very special. We also filmed Ohad working on his repertoire in Finland and we travelled with him to New York.

At the same time there is a team of 5 very experienced researchers that are looking for any piece of archival material there can be found about Ohad Naharin or the company. We are finding unbelievable footage and all of that needs to be incorporated into the film as well.

Should we succeed with our Kickstarter campaign we will be able to acquire this footage and to proceed with the post-production. We are planning to release the film in spring 2014, in conjunction with the celebrations of the 50th anniversary of the Batsheva Dance Company in Israel and in the U.S.A.

Filed Under: Dance Video, Making Dances Tagged With: choreographer, dance film, dance video, mr. gaga, Ohad Naharin, Tomer Heymann

Olivia May: Choreography And Raw Interactions

October 27, 2013 by 4dancers

This is the third in a series of four interviews about COLEctive Notions – a concert program that will be presented in Chicago on November 1st, 2nd and 3rd. We are featuring a behind-the-scenes look at the choreographers that are involved–today we are hearing from Olivia May…

Can you describe what your piece is about?

The dance started as a bit of a character study of women. I had each of the dancers write a bit about a women they saw as supremely feminine and then also write a bit about a woman that they admired. From those written traits we created some dance phrases and character movement and eventually created relationships (with movement) between each of the women/dancers. For me the dance plays on my admiration of Southern women that I grew up observing but not having a strong understanding of. Through the creation of the piece I have let the interpretation of “the women” really be the dancers’ own, so I know each one of them has a different connection than I do to the piece.

olivia
Olivia May, Photo by Eric Olson

As both a choreographer and a dancer I really enjoy the part of the creative process where first connections are made. Where the raw interactions really show themselves for the first time. In TDC we spend a while creating movement (usually individually), then “rubbing” it together to create relationships and layered phrases of movement, then lastly putting these phrases of movement together. I really love that second step, when all of the creative possibilities are revealed.

How was Margi able to help you clarify and shape your vision for this piece?

Snowballing off of my answer to the second question, my other favorite part of the creative process is when Margi comes into rehearsal and adds what we call the “Margi Spice.” She gives suggestions about tempo of movement and spacing and makes little tweaks to the phrases that really bring out the richness in the movement quality. When she mentors the choreographers during COLEctive Notions, she is able to add her “Margi Spice” by asking questions. These questions really help me understand what my piece is saying to the audience and thus help me to clarify what I am trying to say with my work.

What was it like to work with the dancers?

Working with the dancers is always enjoyable. These ladies are some of my closest friends, and I am very comfortable being creative around them and sharing my creative vision with them. I especially love when they interpret my creative vision through their dancing; that is when I feel the process is truly collaborative, which I have come to know is my preferred way of making dance. This time around with COLEctive Notions, I gave my ideas a little room to be interpreted. I didn’t try to be too rigid with what I wanted to see on stage, and I really think I was able to create a more well-rounded piece that the dancers really feel connected to as well.

How is choreography different for you from dancing?

Choreography for me is definitely more challenging than dancing with my peers. I feel that I make intuitive creative choices when I am dancing and creating movement on the floor with the other girls, but when I step to the side and become the person in charge, I don’t always have that same intuition. However, it is always very satisfying to see movement develop from a thought to a theme and then into a dance, and it’s great when it is yours truly, an idea that grows and takes shape.

Are you interested in doing something like this again?

I am always interested in creating, and I truly appreciate the opportunity Margi gives us with this project, so I have been quick to take advantage and submit a proposal because you never know when the opportunity will happen again. As with anything, having the time to really put thought and energy into the project so the final piece is a quality product is always the deciding factor for me. I know I don’t really have the creative spontaneity to come into a project like COLEctive Notions and work off the cuff, so I know I need to spend a lot of time developing and creating outside of the studio. Hopefully I will be able to commit if and when a project like this happens again.

Olivia May is in her 6th season with the Dance COLEctive. She is a Dance BFA graduate of The University of North Carolina at Greensboro and has studied dance through middle school and high school as well as studying abroad in Cape Town, South Africa during her time at UNCG. Here in Chicago she is the director of Starbright Dance as well an athletic trainer at On Your Mark Coaching and Training. This past summer she completed her first half Ironman Triathlon and is really looking forward to new challenges with the Dance COLEctive this season.

Filed Under: Making Dances Tagged With: choreographer, choreography, colective notions, margi cole, olivia may

Shannon Edwards: Choreography And Nostalgia

October 24, 2013 by 4dancers

This is the second in a series of four interviews about COLEctive Notions – a concert program that will be presented in Chicago on November 1st, 2nd and 3rd. We are featuring a behind-the-scenes look at the choreographers that are involved, and today we have some thoughts from Shannon Edwards about what it was like to work on her piece…

Can you describe what your piece is about?

Chronicles of Nostalgia is about the deep, nostalgic memories of a specific person that creep into our thoughts at unexpected times. It is about missing someone without consciously knowing it. This piece chronicles three unique, nostalgic experiences. Emotional in their own way, these recounts happen sort of unwillingly. As in our own lives, memories can be avoided, abrupt, and uninvited. However, recounting the experience is almost always visceral.

shannon
Shannon Edwards, Photo by Eric Olson

I went into choreographing for COLEctive Notions this time willing to use spoken text. It was an avenue I had been eager to go down for quite some time now. I was willing to try it, throw it out if need be, or go with it. I found the use of text effective in setting the tone of my piece. I found it challenging at times. At times I found it interesting and fun. Now, I am not just choreographing a dance, but I am directing vocals and exploring different ways of delivering text. So this new tool brought an interesting new way of shaping the work.

How was Margi able to help you clarify and shape your vision for this piece?

Margi is incredibly open to our work. She comes in as an eager viewer, not judging or expecting anything. This is so important to me as an artist. The hardest thing about making work can be fulfilling expectations of others. Margi watches with a viewer’s eye, not a director’s eye. She notes what she saw, what she enjoyed, which parts resonated with her, and even what parts were confusing. I take what I need from that. If I have questions, I ask, and she honestly replies. If I need her suggestions, she is right there with honest input. I appreciate that honesty and openness about her. It always puts me in the right direction.

What was it like to work with the dancers?

It is always a pleasure to work with women who I have worked very intimately with for years. I love seeing what they come up with when I give them directions. It is so lovely to watch from the outside. The thing is, we (as dancers) have developed a deep partnering/group relationship over time. So I knew going into the work how these dancers would be at taking direction and developing relationships within Chronicles of Nostalgia. I had full faith in their ability to work intimately. And, more recently, we have had the pleasure of practicing our spoken text on stage. So I was pretty confident in these wonderful ladies since the beginning.

How is choreography different for you from dancing?

Choreographing is quite different and laboring. Choreography is a passion, and a thrill for me. However, it does not come easy. I spend a lot of time pondering, contemplating, and thinking intensely about every single step. Dancing is very natural and instinctual in my body. Although dancing is laborious in a physical way, and I do spend time thinking about intentions, I am intuitive about it. Choreographing is where I spend a lot of time answering my own questions, making sure that each step means exactly what I want it to mean, and second guessing (and then reassuring) each part of the dance.

Are you interested in doing something like this again?

I always have new ideas and interests that I would love to explore on the dance floor. So I am sure I will be doing this again when I have the opportunity.

Shannon Edwards graduated with a BA in Dance from Columbia College Chicago. She was a member of MaryAnn McGovern and Dancers from 2009-2011. Shannon has recently performed in works by Liz Burritt, Pete Carpenter, Maggie Koller, and Stephanie Williams. Shannon recently co-founded Mongan Dance Academy in Evergreen Park. She enjoys sharing her knowledge and passion for dance with children at other local studios, as well. Shannon is thrilled to be dancing her fifth season with The Dance COLEctive.

Filed Under: Making Dances Tagged With: choreographer, choreography, colective notions, margi cole, shannon edwards

Katie Petrunich: Choreography — Running Parallel

October 22, 2013 by 4dancers

This is the first in a series of interviews with choreographers from the upcoming “COLEctive Notions” showcase, which will run in Chicago from November 1st – November 3rd.

COLEctive Notions is choreographed by dancers from The Dance COLEctive and performed by members of the company. This concert program was covered by 4dancers last year as a way to learn more about the choreographic process. We’re pleased to present it again for you this year…

We’ll hear from Artistic Director and Founder Margi Cole and three choreographers over the next week. First up is Katie Petrunich…

Can you describe what your piece is about?

Running Parallel is a duet that portrays the progression of a lifelong marital relationship. The intimate and quirky movement was generated utilizing literature, photographs, and real life experiences. The dated costumes, blues and jazz music fragments, and stagnant static of an old record player create a cozy and recognizable atmosphere. Watching the piece reminds me of looking at photographs of my grandparents when they were in their early 20s and first married, in which I find comfort.

katie
Katie Petrunich, Photo by Eric Olson

The initial movement was inspired by “Love Poem” by Linda Pastan. I wanted the descriptive words and flow of the poem to translate into the structure of the piece. The well-known 1945 photograph of a sailor kissing a woman in a white dress, V-J Day in Times Square by Alfred Eisentaedt, was the sole image used to set the tone of the piece and created a warm connection between the dancers. I also developed a survey in which I had grandparents, co-workers, and random elderly strangers from a breakfast shop fill out together or on behalf of their experiences within marriages lasting 40-50+ years. The dancers and I used their experiences to create movement phrases. In the surveys, I discovered that some individuals lost their other half, which changed my initial concept. The piece unfolded in the opposite direction, but I am completely happy with the outcome.

The richness of the movement also stems from the dancers’ personal experiences, which resulted in soft gestures against strong, sharp movement.

Although I am not committed to a lifelong relationship, I believe that the secret to maintaining a successful and happy marriage is that each individual must be on the same path, consisting of similar wavelengths in relation to morals, beliefs, values, understanding, and having the ability for adjusting and accepting one’s daily habits and quirks. How does one adapt initially and how does it shift in later years? There are ups and downs, and in order to obtain functionality, the through line should flow naturally, running parallel to one another. I have Maggie Koller to thank for our hour-long conversations on this topic, and this is definitely the concept I have embraced and translated into Running Parallel.

What did you enjoy most about this process?

I simply have enjoyed the feeling of being inspired to delve into choreography. I feel like we can get caught up in our habitual, redundant daily routines. It is exciting to work towards personal goals, and this has been a great one of mine to accomplish. Getting into the studio and watching the dancers’ movement materialize and evolve has been a magical experience. I have also enjoyed seeing the movement and intentions solidify into the dancers’ bodies—they are very passionate and lovely.

How was Margi able to help you clarify and shape your vision for this piece?

Working directly with Margi has been a pleasure, offering me guidance with her innovative and experienced eye. I am lucky I had access and the ability to reap the benefits of obtaining the opinions from such a skillful dancemaker. During our feedback sessions, Margi questioned many aspects of my piece, not because there was a right answer or because she did not trust me, but to make sure I had the answers to these questions in order to understand the piece as a whole for myself. She brought awareness to the minute details that make the special moments more meaningful. Margi gives her dancers a wide range of creative freedom. We can either take or leave her suggestions, but in the end we are able to make the final decision, which is a huge responsibility and accomplishment in seeing the final product. I am grateful for her resilience and her trust in allowing us to make smart choreographic decisions.

What was it like to work with the dancers?

Shannon and Julie’s dynamic movement styles and creativity is exactly what Running Parallel needs. I appreciate their willingness to be vulnerable, which helped to fuel the movement and create a strong personal connection. They have embraced the concept genuinely. I enjoyed visualizing their progression of the piece, bringing it to life during each rehearsal. They worked really hard and I am thankful for their dedication.

How is choreography different for you from dancing?

Choreography goes far beyond just dancing. When choreographing, I am thinking of the big picture, whereas dancing, I am mainly thinking about the movement itself and what feels right in my body. It is gratifying to be able to see the dance from the outside. When initiating a TDC piece, Margi lets us create our own movement phrases and she puts it all together and adds what we call, “the Margi spice.” Starting as a dancer and being able to witness Margi’s tactics for the past five seasons, I finally felt well prepared and comfortable enough to choreograph. I used a similar framework in constructing the piece. I was able to form a sequence of the dancers in unison, but the majority of the movement was generated by the dancers.

Are you interested in doing something like this again?

I definitely would be interested in choreographing again, as long as I have the opportunity, an idea, and support. I already work with a great group of dancers, which makes this whole process fun, easy, inspiring, and completely satisfying. If I could be successful in this profession once, if not more, I would be overly pleased and proud. I cannot imagine how it feels to accomplish the same 18 years in a row, such as Margi has done for TDC.

Katie Petrunich received a BA in dance from Columbia College Chicago in 2008. Katie has performed with Antibody Dance, the Minneapolis based company, HIJACK, and has danced around for various projects at the MCA for DanceUSA and CDF. She’s also had the pleasure to perform works by Margi Cole, Jeff Hancock, Stephanie Williams, and current and former members of TDC. Katie also works as a legal assistant for a law firm downtown and spends her free time volunteering at Lurie Children’s Hospital. Katie is honored to be apart of TDC for her fifth season, thanking Margi for letting her delve into an inventive, fulfilling process year round. Katie also thanks her family and friends for all of their love and support; she’d be lost without them.

Filed Under: Making Dances Tagged With: choreographer, choreography, colective notions, Katie Petrunich, margi cole

PSA For Small Dance Companies: Why You Aren’t Getting The Press You Want

July 15, 2013 by 4dancers

by Lauren Warnecke, MS

photoI’ve had several conversations lately with small-scale choreographers and company directors who are frustrated by the dance press. The little guys have a hard time getting exposure among the big companies, who always seem to make it into the papers. Since I play both sides of the coin as a freelance choreographer and freelance dance writer, I am intimately acquainted with the dilemma of fighting for press over the heavy-hitting companies.

Commonly heard complaints:

“It’s not fair.”
“It’s always the same people getting reviews.”
“The big companies don’t even need the help from the press.”
“I don’t even bother to read reviews anymore because they just don’t get it.”

Trust me. I get it. But within these statements are a couple of grievous mistakes that aren’t helping your cause.

1. You’re barking up the wrong tree. Time spent researching your press list is well spent. Working your own press isn’t rocket science — it just takes time, persistence, and Google. Sending impersonal releases to editor@bigtimenewspaper.com will get you nowhere fast. If you don’t have the time and the desire to seek out and form relationships with the individuals who are actually going to write about you, then hire someone.

2. You assume we get paid to write reviews. If you’d like to supplement your dance income with something other than waiting tables, I wouldn’t recommend writing. We don’t write for the money, but rather because we love it and want to serve and support the dance community. Like any other artistic endeavor, there just isn’t enough money or time to go around. Many, if not most, independent writers and bloggers are writing for free, making pennies per posts, or have to put sufficient time and effort behind selling advertisements and endorsements on their sites. Page views can also impact our income, which is one reason why it can be beneficial to write about the big companies. Page views to a writer are butts in seats to a choreographer. The network of readers outside the dance community is larger for the big companies, so the review is likely to have a greater impact. Yes, this is a backhanded excuse, but I would argue that small companies who do receive press could have the same impact by sharing copiously with their networks and engaging in the ongoing discussions on publications from which they want support.

3. Butts in seats are not necessarily directly correlated with press reviews. Reviews for dance shows don’t often promote the show reviewed. Let me explain: with the typical one-weekend, 2-3 show format, a review will likely have minimal impact on ticket sales because there isn’t enough time for it to land with readers. The point of getting reviews is not so much driving new audience members to this show, but rather the next one. That’s not to say you shouldn’t share reviews and leverage them to try and persuade people to come, but the real benefit of reviews is in your marketing materials and grant applications for future projects. If the goal is butts in seats now, you should seek previews rather than reviews, or run your show for two weekends and invite reviews to the first. Invite members of the press to view an open rehearsal or request an interview. Use previews in your e-blasts and supporting arguments for why people should come see your show next weekend.

Note: Press comps should be extended to preview-ers as well as potential reviewers. They may not bite (especially after seeing a rehearsal), but it’s good form to offer a comp as a courtesy. Recall #1: we don’t get paid very much and seeing free dance is sometimes our only source of income. And, p.s., I won’t review a show I had to pay for.

4. You may not believe this, but we don’t enjoy writing negative reviews. It’s not pleasant to criticize something that I know has taken a lot of time, effort, and passion to create, but I’m also not interested in lying. To pad a review with unnecessary or unwarranted compliments, in the end, does a disservice to the readers and to the company at hand. If your company has something they could do better, I’m going to say so, and I expect you to take it like a (wo)man. Here’s the thing: at the end of the day, anything a dance critic writes is the singular viewpoint of one person. As much as we try to dissuade our biases and opinions, a review is just that: an opinion. You can take it or leave it. You can put it on your website or not. To banter on about how horrible the press is, or to stop inviting a critic who wrote a negative review isn’t a fast track to success.

5. Big companies need press just as much as you do. Sure, they might have more money and a dedicated person hired or contracted to take care of media relations, but they are also tasked with filling massive houses, thousands of seats, often in multiple cities. The argument should not be to stop writing about them and start writing about you, but instead to bolster the dance writers so we can cover everybody.

Long story short, if you want better press for your company, here’s the bottom line (or two, actually): [Read more…]

Filed Under: Editorial, Making Dances, The Business Of Dance Tagged With: choreographer, dance companies, press

  • « Previous Page
  • 1
  • 2
  • 3
  • 4
  • 5
  • …
  • 8
  • Next Page »

Dance Artwork

Get Your Dance Career Info Here!

Dance ebook cover

Podcast

Disclosure – Affiliate & Ad Info

This site sometimes features advertising, affiliate marketing, or affiliate links, such as Amazon Associate links and others. When you click on these links, we get a small sum that helps to support the website operations. Thank you! There’s more detailed information on ads and our disclosure policy under the About tab in our navigation at the top of the site. We clearly mark any and all posts that contain these features.

Copyright Notice

Please note that all of the content on 4dancers.org is copyrighted. Do not copy, utilize, or distribute without express permission. We take cases of infringement seriously. All rights reserved ©2022.

Copyright © 2025 · Metro Pro on Genesis Framework · WordPress · Log in