Welcome! On this site you will find candid video interviews with some of the most respected and renowned artists in the global dance community and a blog with reviews and frequent articles relevant to today’s world of dance. New videos are released often, so come back for insightful and original content from the world’s top dance professionals.
William Wingfield speaks on how to meaningfully approach your art, being a contestant on So You Think You Can Dance, and performing on live television.
Christopher Wheeldon shares the story of his move from London to NY, joining NYCB and his transition from dancer to choreographer.
Frankfurt Ballet alum and Forsythe protege Jill Johnson talks about her experience working with William Forsythe during his prime creation years, Forsythe’s impact…
Here’s a sneak peek of who’s in the DancePulp pipeline. This list is just SOME of the people you can look forward to seeing coming up on DancePulp. We want to keep the rest a secret, because everyone loves a good surprise! We have a large archive of films and will release at least one every week.
Look forward to interview footage of these great talents in future DancePulp episodes:
The following list is not in chronological order.
Sidra Bell talks about her academic background and how it shaped her choreographic voice.
In our first video with Yumiko Takeshima she discussed her career path and her dancewear company. Now the Dresden Semperoper Ballett principal describes what she believes are her unique characteristics as a dancer and how they have played into her relationship with choreographer David Dawson.
Nederlands Dans Theater’s Andrea Schermoly compares NDT 1 & NDT 2, assesses the impact of her early exposure to contemporary dance on her career, and reveals her most unique choreographic experiences with the company.
Choreographer Christian Spuck (Stuttgart Ballet) talks about his choreographic influences, shares frustrations with the ballet world, and describes what characteristics he prefers in the dancers with whom he works.
Ballet Hispanico Artistic Director Eduardo Vilaro stresses the importance of educational outreach and shares his thoughts on why dance is worth fighting for.
ABT Principal David Hallberg shares how he rose through the ranks to become a star and shares his passion about forms of performance art other than classical ballet.
Nederlands Dans Theater’s Andrea Schermoly on touring with NDT, the company’s evolving repertory and resulting critical response, and the differences between dancing professionally in the United States and Europe.
Dresden Semperoper Ballett principal dancer Yumiko Takeshima discusses highlights from her career and how it motivated her to start her own dancewear company.
Former Spiderman: Turn Off the Dark dancer and Radio City Rockette Heather Lang talks about her experiences as a commercial dancer and shares her insights on to what makes for a successful career.
Safi Thomas speaks about the founding purpose and mission of the Hip Hop Dance Conservatory, unearths the parallel structures of ballet, modern and hip hop, and the discusses the importance of hip hop’s history in its future progress.
American Ballet Theatre soloist and Center Stage star, Sascha Radetsky, talks about the importance of having a good coach, his experience with the movie Center Stage, and his interests outside of dance.
Kicking off their season at The Ailey Citigroup Theater, the Steps Repertory Ensemble has proven once again their devotion to collaboration in Celebrate Dance 2013. Led by Artistic Director, Claire Livingstone, this company of twelve dancers showcased the choreography of six emerging and established artists, April 18-20, 2013.
Always enamored by the group’s constant dedication to one another, this show was no exception. With each piece requiring immense physical commitment, I full heartedly expected the ensemble to be at the top of their game; however, I experienced more a glimpse into the emotional vulnerability the men seemed to display with their partner(s), than the animal strength I was prepared for. A softened underbelly of devotion throughout several duets and trios exposed an openness I had yet to see from the Steps Repertory Ensemble’s past performances.
Nathan Trice’s Conversations highlighted a dependency the male role seemed to have for the female. With each couple establishing their own fever on stage, the intimacy between dancers Britney Tokomuto and Clinton Edward was hard to cool down. Moving in and out of each other’s negative space, the two captured a rhythmic synchronization you find in schools of fish, or highway traffic. Trice’s simple elegance in mobility and shape, made it easy to focus on the patterns and habits each couple set up for the next couple. Tokomuto and Edwards’ relationship carried the weight of soul mates, while Mindy Upin and David Scarantino applied a more playful atmosphere to the choreography. With soft lifts, jumps, and Upin’s come hither look and composition, I rather enjoyed the dancer’s fresh take on the old concept of boy meets girl relationship.
For some, Romeo and Juliet is a story of love. For others, it is a tale of tragic fate. But in Pacific Northwest Ballet’s production, which ran last weekend at City Center, it is primarily a story of adolescence — which provides a duly tormented backdrop for the story’s central conflicts.
Not intended to be a faithful telling of Shakespeare’s tragedy, choreographer Jean-Christophe Maillot’s version eliminates swords, Renaissance sets, and even a few roles to focus on painting emotional portraits of the main characters, while relying on Prokofiev’s episodic score to advance the plot.
Like the play, the ballet begins on a portentous note, with a wiry Friar Laurence (William Lin-Yee) flanked by two fictitious acolytes. Supporting the anguished cleric in poses that invoke Christ’s Passion, the acolytes, according to a program note, are intended to represent the friar’s conflicted state of being as his good intentions pave their tragic path.
The following scene introduces the Montagues and Capulets — richly costumed in shimmering neutrals and deep jewel tones, respectively — but with the spotlight on Romeo (Seth Orza) and his prurient posse, it’s clear that these lads would rather fondle than feud.
How many career advice books are there in publication? You could spend hours in the Personal Development section learning about the health and growth of your personal financial portfolio, how to hone your interview skills, tips on networking in “the field,” not to mention ways to innovate in your office.
But how many are there on those of us who don’t have an office? How many manuals have been written about getting home at 2 AM from a bar shift and auditioning the next morning at 9 AM and how to make the coffee strong enough to stomach it? How about the roller coaster of successful performance tours and the confusion when tours end? Or advice for musicians who have worked tirelessly to build a band through the nights, but still sit at a service desk in the day? We performers are strange creatures who have a hard time squeezing our carefully quirky lifestyle into the paradigm of 9 to 5. This is old news. We are used to thumbing through career books to find the one chapter that might truly apply. The one about time management.
Ciara Pressler just put something new on the shelves, and it’s for us.
As a result, “Exit Stage Right” has our community a-buzz. This handbook strictly for performers on how to navigate the sharp turns of a career on stage, and more specifically how to find your way gracefully into a supplementary or after-the-fact career has us talking about our experiences. The book incites us to reexamine the skills we gained in this uncommon business that in fact are viable in other markets. It allows us to confront the idea that we do not have to only be actors, dancers, musicians. That our lives don’t end when we don’t perform. We can have it both ways, and the guidebook makes it seem less daunting.
To kick off 2013, New York City will once again turn its full attention to the performing arts. The annual Association of Performing Arts Presenters conference joins hundreds of performing artists with presenters from all over the world in hopes of forging connections and fostering plans for future engagements. It’s like a giant shopping expo of performances, peppered with seminars, meetings, and parties.
But you don’t have to be a professional artist to enjoy what’s happening at APAP. Anyone can buy a ticket to the theatre and dance pieces on display.
Dance takes center stage from January 8-14. That’s when the Focus 2013 dance festival will appear at the Joyce Theater, Ailey Citigroup Theater, the NYU Skirball Center, and New York City Center.
The mission of this multi-part, multi-venue showcase is to highlight American dance with an eye toward international touring. With 30 dance companies performing on three stages over one week, both casual and passionate dance fans can find something satisfying.
In honor of the new year, DancePulp and Classtivity are partnering to giveaway The Classtivity Passport to one loyal DancePulp follower!
The Classtivity Passport is a 30-day, 10-class discovery pass to try some of the best classes at 20 different venues in NYC. This means that those new year’s resolutions you have to take more class are about to get a little easier to conquer. And Classtivity covers all types of classes on the passport, making it easy for you to add something completely fresh to your dance and fitness repertoire. You can try Martial Arts, or pole dancing. You could try a Bollywood style fitness class. Then in the same day you could head to the Gallim Dance Studios for dance or yoga. It’s all on the same card. And if you win, it’s going to be free.
So: Here’s how you enter our drawing.
We want to hear about one specific memory you have from a class you took this year.
Maybe you had an AHA! moment when a dance teacher used perfect imagery to help you balance better. Maybe you were in a zumba class and you realized your life calling. Maybe during pottery you worked out your five-year plan. Or maybe it wasn’t a formal class, but you tried something out-of-the-ordinary and smiled the rest of the day because of it.