On September 12, 2021, I hopped on a plane and moved from Seattle to Ireland to study contemporary dance at the University of Limerick. It was a move five-years in the making, fueled by my lifelong love of Ireland itself and my growing career as a movement artist. I can say without reservation that this move was the best personal, professional, and artistic decision I’ve made to date. Living in a country that feels like home while advancing myself as a dancer has been transformative on a cellular level. I would love to share with you a bit of what I’ve learned on my Irish journey so far.
Read More“Human expression on the most natural level is non-binary,” said Ashton Edwards, former Dancewear Center (DWC) Ambassador, in an interview for the DWC Blog. Ashton is a dancer with Pacific Northwest Ballet, and an exquisite one. I’ve been following them on Instagram since they partnered with the DWC ambassador program in 2020. They inspire me and give me hope because when I was growing up, queer dancers were invisible.
Read MoreMay is Mental Health Awareness Month! In this series, we are giving the staff here at DWC a platform to talk about their personal mental health journeys. We believe in supporting the wellbeing of the whole dancer; both body and mind. We want you to know that you are not alone. We believe in the importance of talking about mental health openly, especially within the dance world. So let’s talk about it!
In this article, Cherie, Social Media Director here at DWC is sharing her experience with depression.
Read MoreNW Dance Project’s Artistic Director Sarah Slipper believes that there is a need for women representation in leadership positions in the dance industry. When asked about the true power of a title, she says that, in her opinion, it is less about “power” and more about the opportunity to guide, provide wisdom, and lead individuals. “It is important to see shared equality in leadership roles,” Sarah says. “Representation is very, very important, especially in key roles.” In an industry dominated by women participants, ensuring that leadership reflects that is of the utmost importance.
Read MoreOn the first day of a theater camp for homeless and abused teens, I walked down the line of 40 campers and tried to teach what I had naively considered a “basic” ripple of movement. I stood next to a kid I would later learn was named Bruno, demonstrating and loudly explaining to the room how they should reach and hold each other and told the camper behind him, “now put your hand up on her shoulder like this.”
Bruno flinched at the sudden touch, and then his head snapped around, big brown eyes flitting from straight at me to the ground and back again.
Read MoreI think there are ways that dance teachers can focus on molding confident students who are gentle with themselves and love their bodies, over and above seeking technical excellence. I think studios can welcome in and effectively serve each dancer that walks in their doors. Punishing and accusing our bodies can be seen as an outmoded means to success. Exclusivity and unreachable standards don’t have to be what defines the dance world. Instead, body liberation can be the guiding force and joyful expression can be the ultimate goal of dance education.
Read MoreToday, Emmy has carved spaces for herself and others that have been long overdue in the dance industry, specifically through the creation of the Best of My Abilities (BOMA) program. The BOMA program, offered at Issaquah Dance Theater and The Dance School, introduces students with disabilities to dance and provides a space for dancers of all abilities to learn and build relationships. “I know that there are lots of people who are afraid to step into a dance studio because they feel like you have to be a certain way...My entire dance life has been [dedicated to] figuring out ways to use dance to show people how loved they are,” she shares.
Read MoreWhile there is still so much social progress that needs to be made in the dance world, it’s exciting to see studios and companies taking steps to celebrate inclusivity and diversity in ways that didn’t exist years ago. Celebrating inclusivity in the dance world involves inviting dancers with all kinds of backgrounds and identities into the industry, and making them feel welcomed as they are. This also includes celebrating dancers with autoimmune diseases. DWC Ambassador Grace Pilo is passionate about advocating for dancers with autoimmune diseases, particularly those with type 1 diabetes, like herself. Read on to learn more about Grace’s dance journey and advocation efforts!
Read MoreThere are more ways to be involved in the dance industry than just being a professional dancer. Community members like DWC Ambassador Emily Borders are proving this to be the case by partaking in community classes and studying physical therapy in hopes of making dance more accessible to a wider array of individuals. Read on to learn more about Emily’s personal dance journey, hopes for the larger dance community, and plans as a DWC ambassador!
Read MoreIn talking with the older dancers, they all say that LYBW has really shaped their perspective of themselves and dance. It’s also found its way into their life outside dance. They’ve been quick to point out when a friend at school was being unkind to their body, and look at social media with less self-judgment. I’m so excited and proud that I’m able to work at a studio that holds this week with high regard. And we continue the ideas of LYBW throughout the year. It’s become so embedded in ATD’s culture, there’s a different feeling just walking into the building.
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