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Scary Dance Pieces to Get You in the Halloween Spirit

Whether it’s curling up to watch your favorite horror movie or tip-toeing through an eerie haunted house, Halloween is one of the only times of the year when people choose to get scared! There’s something about the rain clouds rolling in and the chill that falls in the air that makes people enthusiastic about spooks. For dancers that are passionate about the spooky season, we’ve curated a list of the most chilling dance pieces to get you into the holiday spirit.

By Madison Huizinga, DWC Blog Editor

“Dark Matters,” Kidd Pivot, choreography by Crystal Pite

In “Dark Matters,” the incomparable Crystal Pite showcases chilling choreography on her company Kidd Pivot. The work features a dancer being attacked by a puppet controlled by several shadow figures. The piece turns quite meta, as the person’s body is dragged away and his home is dismantled, with the words “THIS IS FAKE” projected across the stage. Lights flash, shadows are cast, and bodies move with creepy contours.

“Double Murder - Clowns,” choreography by Hofesh Schecter

CONTENT WARNING: IMAGES OF GUNS

“Clowns” is a part of the double bill, Double Murder, choreographed by the renowned Hofesh Schecter. Images of clowns are certainly evoked, from the billowy costumes, the bouncing motions, and the circus-esque atmosphere. Yet, there is something on edge about the movements, with shaking and flailing adding an eeriness to it all. It feels as though you’re peeping in on the inner workings of a cult of ex-clowns.

“The Hospital,” Quest Crew

Quest Crew’s “The Hospital” fittingly takes place in an eerie hospital, full of scares and creeps around every corner. Piercing music plays as a brooding nurse storms through decrepit halls. The patients swing axes and ramble nonsensically as the camera pans into each room of the hospital. The crew of doctors at the end showcases remarkable, gravity-defying breaking moves. With a surprise twist ending, this dance piece is undoubtedly not worth missing.

“The Rite of Spring,” choreography by Pina Bausch

Pina Bausch’s “The Rite of Spring” is a thriller through and through. Expertly blending frantic gestures with smooth lines, all kinds of energy flows through the piece to draw viewers in. Dancers flail about, throw harsh stares, and engage in jerking gestures, often in large clusters and circles, alluding to cult-like motifs. The chilling nature of the dancers’ movements and facial expressions, paired with the heart-pounding orchestral music makes the whole piece rather unnerving, perfect to watch during this time of the year. Click the link above to view behind-the-scenes rehearsal footage of “The Rite of Spring,” or this link to see an excerpt.

“Creature” (Because of What You Have Done) by Akram Khan

Finally, “Creature” by Akram Kahn conveys thriller-like qualities as well, but in a rather different form than “The Rite of Spring.” Stumbling around to a warped recording of Richard Nixon’s 1969 speech to the Apollo 11 astronauts, performer Jeffrey Cirio’s character appears in a sort of psychological prison. Timed with Nixon’s words, Cirio moves in slow motion and then snaps into jittery upright motions, mouthing the words and pulling at his jaw. The whole piece contains unsettling and evocative qualities fit for the scary season.

Who said dance can’t be spooky? Take a break from your trick-or-treating, horror movie binging, and candy-eating to check out these scary dance pieces. They’re sure to get you in the Halloween spirit!

Is Ballet Really the Foundation of All Dance?

Anyone who has danced for an extended number of years has heard the age-old mantra about ballet: that it is the “foundation of all dance.” Youngsters that have complained to their dance teachers about their disinterest in ballet have had this drilled into them. The idea that ballet is crucially supplemental to other dance genres is common knowledge to dancers around the world. It is information that is rarely questioned or scrutinized. But if we study the origins of ballet, we can see that it perhaps isn’t as universalized as it’s thought to be. The benefits of ballet technique cannot and should not be divorced from its problematic founding ideals that still influence dancers today.

A Discussion of Racism, Sizeism, and Classism in the Industry

By Madison Huizinga, DWC Blog Editor

Ballet was born during the Italian Renaissance of the 15th century and became intensely saturated and codified in France over the following hundred years. It was a coveted source of entertainment for elite aristocrats and King Louis XIV performed many popular dances himself before professional dancers were hired to perform at court functions. Storytelling ballets like Swan Lake, The Sleeping Beauty, and The Nutcracker developed through the 19th century and quickly gained traction. In the years that followed its conception, ballet spread throughout the globe, gaining popularity and prestige in Russia and later in the United States. In the 20th century, pioneers in neo-classical ballet, like George Balanchine, experimented with the medium by merging styles and creating contemporary works that warped ballet’s traditional rules. Though its style and aesthetics have been tweaked throughout time, ballerinas have remained a constant symbol of beauty, grace, fragility, and strength. And the concept of what type of woman should be allowed to symbolize these ideals has stayed relatively the same.

The visual standard of what a ballerina is supposed to look like has continued to be narrow and exclusive. There is an expectation that ballerinas are tall, thin, and white. This standard was arguably cemented and perpetuated by prominent choreographers like George Balanchine, who was famously critiqued for only hiring women who were tall and thin. This is the same expectation present on fashion runways, in magazines, TV shows, and just about any other form of popular media in Western culture. This adverse ideal immediately excludes an abundance of individuals, including dancers of color and plus-sized dancers, and swiftly praises dancers with flat-chests, pale skin, and Eurocentric features. Around the world, young girls are being spoon-fed an ideal that most of them cannot achieve, leading to body shame and insecurity (read more here).

A variety of entertainment enterprises have made attempts to showcase a wider range of individuals and tell eclectic stories. But ballet is not one of them. Yes, some ballet companies have taken small steps. For example, in 2015, when Misty Copeland became the first African American principal dancer at American Ballet Theatre, people were rightfully ecstatic. Many marked that as a huge leap forward for the ballet world, in terms of promoting diversity and altering the whitewashed ballet standards. But it would be ignorant to praise Copeland’s individual achievements and think ballet has achieved equity and appropriate representation on a systemic level.

For example, in the United States, about 62% of dancers and choreographers identify as white, 11.3% identify as Hispanic, 11.7% as Black, and 6.11% as Asian. Like all art, dance is meant to express emotions, transport audiences to different worlds, and explore unique narratives. However, when white people make up two-thirds of the American dance industry, we cannot expect dance to be a comprehensive art form that communicates widely shared anecdotes.

“Challenge the idea that “ballet is the foundation of all dance,” by offering other styles and training elements that can support dancers’ growth in nuanced ways. This could include offering mental health workshops, cross-training classes, or master classes in different cultural folk dances. Give your students exposure to every corner of the dance world.”

It is universally implied that the lead roles in nearly every ballet belong to white women. And if any roles depict people of color, they are often extremely racialized and sometimes still played by white dancers. This is evident in the extreme case of blackface in the Bolshoi Ballet in 2019, but also characters routinely depicted by ballet companies around the world in the holiday classic The Nutcracker. The “Chinese Tea” role is often played by white girls in black wigs, often with eyeliner drawn to represent an offensive caricature of Chinese people. The “Arabian Coffee” is often depicted as sultry, exoticized, and wearing little clothing, sometimes even carried onto the stage in a cage or basket, like an animal. Meanwhile, the sparkly, often Anglo “Sugar Plum Fairy” floats around the stage like a princess. Yet, The Nutcracker is the most successful and long-running show each year at most ballet companies, usually showcased from Thanksgiving to New Year’s Eve. Each year, thousands of upper-class families splurge hundreds of dollars to see these stereotypes play out on the big stage with impressionable kids in tow.

Along with the blatant sizeism and racism that ballet perpetuates is clear classism. Since its origin, ballet has been a medium for the wealthy to enjoy. Today, not much has changed. Not only is ballet often extremely expensive to view, but it is also expensive to learn and practice. Dancers can begin wearing pointe shoes as early as ten years old and often start burning through them weekly. Pointe shoes alone (not including necessary accessories such as ribbon, elastic, sewing materials, padding, etc.) cost anywhere from $80-140 and when young dancers start practicing more frequently and intensely, their pointe shoe expenditures add up. This combined with ballet academy tuition, costume and performance fees, and supplemental physical therapy and cross-training creates a financial strain on many families.

Despite this perverse history and these persistent stereotypes and barriers, many dance teachers still preach the significance of ballet to their students without acknowledging any of the harmful values it perpetuates. As a dancer who experienced rigorous ballet training, I admit that ballet has allowed me to achieve excellent posture, ankle strength, and stamina. However, there are other genres of dance I have been unable to master due to my ballet technique hindering me. My intense ankle strength and rigidity have kept me from having the loose ankles essential for tap. My tendency to hold stiff ballet positions has caused me to struggle to “sit in the pocket” while dancing hip hop choreography.

This is likely because there are aspects of many dance genres that have roots in styles that aren’t ballet. For instance, tap involves elements of “African-influenced shuffle dances, English clog dancing, and Irish jigs.” Hip hop and breaking have roots in the hip hop culture born in New York City in the 1970s and 80s, specifically the Bronx, and is directly influenced by African American culture. A variety of cultural folk dances have roots that expand past the United States and Europe, such as Indian folk dances and Japanese folk dances.

The origins of jazz dance are traced back to African and African American dance styles. White entertainers stole and falsely claimed elements of the jazz style after years of parodying African American styles of dance and music, often using mediums like blackface. African American performers like Pepsi Bethel, JoJo Smith, Fred Benjamin, and Frankie Manning have often been denied credit for their contributions to the jazz style, while white performers are widely recognized and celebrated instead.

Thus, saying that ballet is the “foundation of all dance” is entirely inaccurate. All movement didn’t begin in 15th century Europe and claiming that it did is dismissive of many different styles of dance. Moving forward, dance teachers must be thoughtful when educating their students on ballet and its significance in their dance training. It’s time to start taking strides to change this antiquated art form for the better. Here’s some ways we can get started:

Educate students on problematic ballet history

As more studios and ballet schools add dance history lessons to their curriculum, we must offer critical context to students about the racism, sizeism, and classism that’s prevalent in the ballet industry. Making sure that students have an awareness of the systemic problems that have existed in the dance industry for centuries is the first step for them to become agents of change. Here are some helpful books to gain education on the problematic aspects of ballet and how to move forward teaching dance at large:

Revise offensive and archaic ballets

As I mentioned earlier, many iconic ballets like The Nutcracker have portrayed marginalized groups, particularly people of color, offensively since their conception. However, many choreographers like Donald Byrd, have revised these works so that they center the perspectives of non-white individuals, whose stories have rarely been brought to the forefront in ballet. Eliminate the racist caricatures in your studio’s annual production of The Nutcracker and other works, and collaborate with fellow community members to create shows that uplift all dancers.

Create a more well-rounded curriculum

Challenge the idea that “ballet is the foundation of all dance,” by offering other styles and training elements that can support dancers’ growth in nuanced ways. This could include offering mental health workshops, cross-training classes, or master classes in different cultural folk dances. Give your students exposure to every corner of the dance world.

Support creators who are challenging harmful ideals in ballet

Seek out choreographers and dancers who actively challenge racism, sizeism, and classism in the dance industry and support them in any way you can. Buy tickets to their shows, hire them to teach a master class at your studio, collaborate with them on a piece, and more. These are the types of creators we need to see more of in the dance industry.

This isn’t a matter of loving or hating ballet. I have taken ballet classes since I was five years old and have fallen deeper in love with the art form throughout my life. That’s why I want to see changes made in the industry. It’s a matter of challenging this dance genre that we’ve all grown to cherish and creating needed systemic change.

DWC Holiday Shopping Guide

At last, the gift-giving season is upon us! When it comes to shopping for holiday gifts, an unnecessary amount of stress can easily accrue. What do I get for them? What’s on-trend? Will they like it? Countless questions circle through our brains, making an activity that’s supposed to be festive feel a bit overwhelming. That’s why here at Dancewear Center, we’re making your life a bit easier by giving you our ultimate guide to holiday shopping for your favorite dancers! From stocking stuffers to affordable activewear to luxury leotards, DWC is your one-stop shop for holiday gifts this season. Read on to learn about our top picks that you can get for 30% off at our Small Business Saturday Sale, starting with the more affordable finds and leading into more upscale items.

By Madison Huizinga, DWC Blog Editor

Once Upon a Dance Books ($)

Once Upon a Dance is a local, woman-led business born during the COVID-19 pandemic (click here to learn more about their founding). The brand, run by Terrel Lefferts, offers movement and dance books for children of all ages. Check out the “Dance-It-Out” series for stories that stimulate young children’s imaginations while giving them guides for movement. The “Dancing Shapes” books make excellent gifts for older elementary-aged children to learn ballet and body awareness in a fun and guided fashion.

Pirouette Planner ($$)

With 2022 coming around the corner, it’s getting close to the time of year when people make resolutions for the new year. The Pirouette Planner is the perfect present for dancers who are eager to set goals for the upcoming year and track their growth. Designed for dancers by dancers, this planner contains guided journaling and goal setting and a monthly coaching section, covering topics like nutrition, audition prep, team building, and more.

Nutcracker Products ($$)

What’s more holiday and dance-related than The Nutcracker? Dancewear Center’s got your Nutcracker lovers covered, with Nutcracker-themed sweatshirts and hoodies galore. And check out these adorable makeup bags and mesh bags from Ansliewear, featuring designs inspired by the beloved Snow scene in the classic holiday production.

Wear Moi Knitwear ($$)

With the frigid winter months upon us, dancers often need to wear extra layers to class to stay warm. From cozy legwarmers to stylish wrap sweaters, Wear Moi knitwear is sure to keep your favorite dancer warm this season. Offered in a variety of colors and patterns, these pieces are functional and fashionable.

Girl Power Sport ($$)

Girl Power Sport is a small, local gymnastics, dancewear, and activewear brand based out of Vancouver, WA (click here to learn more about founder Lisa Fairman). The brand offers leotards and biketards in colorful prints and patterns, as well as cozy hoodies that read the phrase #girlpower. These products are perfect for a young gymnast or dancer who loves bright colors and extravagant designs.

Flexistretcher ($$)

The Flexistretcher is one of the world’s leading training tools for flexibility and strength. Unique from your average resistance band, the Flexistretcher contains custom hardware to prevent sliding, adjustable loops and custom strength elastic to adjust resistance levels, rubber stoppers to keep the loop in place, and much more. This is an excellent gift for older students eager to work on their flexibility and strength for the upcoming dance year!

AK Dancewear ($$$)

AK Dancewear is a small, woman-led business that never compromises on quality. Offered in a rainbow of colors, from vibrant corals to subdued blues, these leotards contain dynamic designs sure to make any dancer feel comfortable and confident. We love the rose print on the Emery in Rose Garden Leotard and the monochromatic tones of the Celia in Motley Leotard.

Jule Dancewear ($$$)

The woman-led dancewear brand Jule Dancewear offers beautiful leotards and dancewear geared towards older children and adults. Well-known for its line of “meshie” crop tops, tights, and skirts, these high-quality products contain classic color combinations and shapes, sure to bring a smile to any dancer’s face. The color blocking on the Luster Leotard and Royal Leotard and unique texture on the Royalette Crushed Velvet Leotard are some standout picks.

Bonus: Stocking Stuffers!

Apolla Performance

Apolla Performance products are a must-have for any dancer looking for specialized dance socks and leg warmers to train, perform, and recover in. This USA-based, entirely women-led business was founded with dancers in mind, aiming to reduce the staggering number of injuries in the dance world. The Apolla Amp Shock, Performance Shock, and Infinite Shock compression socks have cushioning on the balls and heels of the sock for shock absorption from jumps and a tight squeeze around the arch. The K-WARMER Shock is a thigh-high compression leg warmer that’s perfect for the chilly winter months.

Tiger Balm

Tiger Balm is a tried and true topical ointment aimed at effectively relieving pain for sore muscles and minor bruises. It’s helpful for active dancers to keep a jar of this in their dance bag or on their shelf after those long classes and rehearsals that leave their muscles feeling weary. Shop for it in-store at Dancewear Center!

Bullet Pointe Skirts

Since their conception, Bullet Pointe skirts have taken the dance world by storm! These circular skirts possess flowy fabric sure to drape beautifully and flatter every body type. The Bullet Pointe skirts come in a wide array of colors, one for every day of the week and then some! They’re also easy to roll up, making them an excellent option for stocking stuffers.

Holiday Keychain

The classic pointe shoe keychains Dancewear Center carries just got a whole lot more festive. This winter-inspired, holiday-themed keychain from So Danca makes the perfect stocking stuffer for your favorite dancer, especially those who just began driving and need something to hold their keys on.

Covet Dance Apothecary Set

The Dance Apothecary Set is an ideal stocking stuffer for any active dancer. The set comes with four of Covet’s most popular “after dance” care products to help relieve dancers of muscle pain, bruising, and swelling.

We hope this DWC holiday gift guide has given you a little bit of guidance this holiday shopping season. Come down to Dancewear Center Saturday 11/7 and Sunday 11/28 for our Small Business Saturday Sale to pick up the perfect treasures for the dancers in your life. Happy Holidays!

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