In ballet, I have struggled with confidence. I always felt unworthy and inferior to everyone. Being considered a late starter, I always had the feeling that I was constantly playing “catch-up” when it came to my peers. I spent too many years at my first ballet studio, receiving bad training and abuse from my teacher who always made me feel like I would never amount to anything as a dancer. These feelings of inadequacy negatively impacted my attitude towards dance and also contributed to my low self-esteem. I always felt something was holding me back from dancing my best. It wasn’t until I underwent a major surgery that I came back to professional ballet with a newfound confidence and a greater passion for the art form.
Read MoreAlberto shares that what initially attracted him to dance was the challenge it presented to him. “It felt like something that you would have to try forever and never be perfect at,” he says. "That was something very alluring to me.” Today, he has an appreciation for the numerous skills dancers acquire, including musicality and coordination.
Read MoreThe title of Alberto’s work is “1 in 10^2,685,000" in reference to the statistical probability of a human being born. “The possibility of someone [being] alive is…a miracle. An honor,” Alberto says. After reading about this statistic and literature about the persistence of human survival, Alberto was inspired to create a piece that recognizes the triumph of being alive as well as the challenges of living. “It’s not easy to be alive,” Alberto recognizes. “It is happy, but it is a struggle.” He shares that the piece is about the miracle of existing on Earth and the heaviness that human journeys can carry. “You have to find beauty within the journey to be able to be happy,” Alberto says of human struggle.
Read MoreAlex Ung shares that when people ask about his nationality, he often uses an umbrella term, like sharing that his family is from Laos, rather than diving deeper into his more specific tribal culture of the Tai Dam. “It was just easier,” Alex says. “Immigration Stories” provided Alex with an opportunity to share more about his culture, in an effort to “not let it disappear into history books” and simultaneously help write history. “We’re a small tribal culture that not a whole lot of people know about and so I wanted to bring that to light,” he says of the Tai Dam people.
Read More“I would like to see a lot more empathy towards the culture and the people that created the dance,” Miguel says of a change he hopes to see made in the larger dance industry. He shares that many of the people who created dance genres like hip hop and breaking are still alive and accessible to dancers, yet their contributions can get drowned out. More focused on physicality, Miguel also hopes to see more dancers treating and training their bodies like the athletes that they are so that they can keep dancing for as long as they can. “You’ve got to put that work in so that you can keep going,” he shares.
Read MoreOn May 28, 2022, Megan will be holding “INTRODUCING SALTSHAKE” at the Nod Theater in Seattle, WA. At this workshop, Megan will be introducing “saltshake,” a movement form designed to help relieve trauma in the body. The movement form involves choreographed somatic healing techniques and Yoga Asana poses that have specific intentions behind them, such as regulating the nervous system.
Read MoreHow we are defined is important. It helps tell the world our values, our morals, and our interests. But who makes that definition? Do we set the parameters ourselves by means that we dictate? Or is it determined by our background, heritage, and childhood?
As with most things in life, I suspect it’s a little of everything. There are factors we cannot control that play insurmountably in how we are viewed, including skin color, eye shape, and our parent’s socio-economic status. But there are other things that ebb and flow with our own desires like our morals, our interests, and the places we go. And then there are things that just happen, random events that you may not even realize are significant until ten years later when you look back at your life and realize that one seemingly meaningless decision, event, or person, changes the trajectory of your whole life.
Read MoreAs a chunky Asian baby in a leotard, I had no idea yet how precious or valuable I was when I started in ballet. Instead, I only saw that I was clearly not cut from the same cloth as elegant princesses and swans whose dancing I admired. The chance to don yellowface in the Chinese variation during "The Nutcracker," or to be a kowtowing, shuffling child in "The King and I" in the school play felt like places I was welcome to exist—to shine—as a child who dreamed of being onstage.
Read MoreWhether its codified technique, body expectations, or gendered stereotypes, the dance industry has disseminated rigid values for many years. Such expectations can limit and harm talented dancers who don’t fit such cookie-cutter molds. Joshua Grant and Christopher E. Montoya are striving to knock down these barriers and foster a supportive and all-inclusive dance environment at Dance Conservatory Seattle. Under the tutelage of local talent, DCS is teaching Seattle dancers how to “live [their] best li[ves].”
Read MoreDuring the COVID-19 lockdown of 2020, many dancers lost the space and opportunity to do what they loved. Confined in their homes, dancers no longer had the capacity to move their bodies in the way they once could. It’s safe to say that for most of us, it felt like a return to “normal” would never come. This was one of the fears of dancer Erin Nichole Boyt, as she had just started getting acclimated to the Portland dance scene after relocating from Seattle. Now with the help of her new home studio space, Erin has been excited about reconnecting with dance in a more seamless way. Donate to Erin’s fundraising campaign for her live/work studio, known as Pottershop Studio, so it can be well-supplied and ready for dancers.
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