Shock and Awe
Many choreographers present their work at the
Metropolitan Museum of Art these days. But
only one is asking her audience to work out with
her there, jumping and jogging next to masterpieces that most of us typically consider too
sacred to make sudden movements in front of.
As wacky as it may sound, The Museum
Workout somehow feels like a logical next step
for Monica Bill Barnes. Her success has skyrocketed in the three years since she premiered
her collaboration with popular radio host Ira
Glass. But she retains her playful, slapstick
charm no matter how high- or lowbrow the
venue. We witnessed this in person when she
showed up to her Dance Magazine cover shoot
with a four-foot tub of glitter confetti! Still,
she’s a hustler at heart. She will drag around her
own set, launch strategic business partnerships,
drive three hours to a performance—whatever it
takes to make a living out of dance, and convert
dance newbies into bonafide fans along the way.
For Dance Magazine’s choreography issue,
we also dove into a controversial topic that’s
been on many minds lately: Sometimes it seems
like dance has gone so far that every rule has already been broken, every movement has already
been explored. What is left that truly shocks us
and feels groundbreaking in 2016? Writer Madison Mainwaring tackles the reasons why we
feel like we’ve gotten stuck in a choreographic
rut—and, thankfully, why that fear is misplaced.
Because no matter what the naysayers argue,
choreographers will keep on creating and dancers will keep on dancing, eventually stumbling
into a delightfully out-of-the-box idea. Like
doing jumping jacks at the Met.
Editor in Chief
For more, page 26
we reached and
what do we
need to do to
get to them?”
—Anna Bass on the question
that drives her and
Monica Bill Barnes’ partnership.
Bass amd Barnes have
collaborated since 2003.