KEEPING IN STEP WITH THE TIMES

BDA Dance Forum, a three-day event initiated by the Beijing Dance Academy, was held from Nov 1 to 3, bringing together more than 200 performers, scholars and educators from over 24 countries and regions, under the theme of "New Era, Dance in China, Challenges and Opportunities".

Major issues, such as the cutting-edge academic development of dance from a global perspective, the training of dance talent and the future of dance education, were covered during the 19 branch forums, exploring the current issues that dance as an art form, and its education, are facing.

"The COVID-19 pandemic has made the past three years very challenging for dancers and choreographers around the world. We gather here today, hoping to share our views about coping with the current situation and bringing new ideas about dance," said Ba Tu, Party secretary of the Beijing Dance Academy, during the opening ceremony of the event on Nov 1. He notes that, since its establishment in 2019, BDA Dance Forum has gathered over 500 dancers and 2,000 dance experts and scholars.

"Life in the time of the coronavirus pandemic is stressful and isolating.

"But dance is powerful. That's why we have so many people joining us for the event," says Chen Weiya, veteran director who has been appointed as the honorary president of the Beijing Dance Academy's School of Creative Studies.

Chen was the deputy director of the opening and closing ceremonies of the Beijing Olympic Games in 2008. He attended the forum on Nov 1.

"Dance plays an important role in grand galas at national level as well as being popular among the public. People love dance," says Chen. "We have also incorporated new technologies and materials into dance, making the art form accessible to more people and expanding ideas about dance."

Besides guest speakers from China, the event invited about 80 international guests to share their views and ideas about dance online. Joey McKneely, a two-time Tony-nominated Broadway choreographer, talked about his views on "embracing the new dance century".

"Dance continues to redefine itself according to the generations that embrace the exploration of creativity. There is great opportunity to offer, in our classical ballet, folk dance, traditional dance and jazz dance, an alternative narrative," McKneely said during the forum on Nov 1.

"When it comes to dance in musicals, the traditional format doesn't really exist the way it did in the past. Audiences are young, sophisticated, internet savvy and hungry for entertainment that excites them.

"I find that a lot of directors of musicals don't like dance. It's because they don't understand it. Plus, most choreographers are only doing steps. Meaningless dance steps. Not based on character or emotion. Not connected to storytelling," he adds. "Choreographers need to become storytellers with their choreography. They need to take movement and connect it to an emotion and character."

Appointed by the Beijing Dance Academy to teach in the school's musical department, McKneely came to Beijing two months ago. He is the second foreign teacher the academy has announced since the new semester, which started in early September.

Before McKneely, legendary ballet dancer and choreographer Vladimir Malakhov joined the school, teaching in the ballet department.

"It's been great working as a fresh member of the teaching faculty here at the Beijing Dance Academy during these past two months," said Malakhov, who talked on the theme of "How ballet dancers can reach the highest level?" during the forum on Nov 1. "Before I was appointed, I had been very concerned about the cultivation of high-level dancers, based on my past work experience as a dancer and an artistic director."

Born in Ukraine, Malakhov joined the Wiener Staatsoper in 1992 as a principal dancer and, in 1994, he joined the National Ballet of Canada. In 1995, he made his debut with the American Ballet Theatre in New York.

As a choreographer himself, Malakhov made debut in 1999, when he presented his version of La Bayadere at the Wiener Staatsoper. From 2004 to 2014, he directed the Staatsballett Berlin.

"A high-level ballet dancer should have knowledge and an impression of life, the world and humanity. The mind of the high-level dancer must be open; they must try everything," he says. "When the public come to see you, they must believe in you from the beginning. You must remain in character until the end."

Malakhov emphasizes emotions rather than simply concentrating on skills, when a dancer is preparing for a new role. He recalls that, in the past, there were no smartphones, which made him interested in going everywhere and educating himself, such as visiting the theater to see a new performance, going to a new exhibition, and watching the latest movie.

He suggests the young dancers and choreographers put their phones aside for an hour and just go to the park and relax, "to see the color of the trees and leaves, smell the wind, look right and left, and have the wonderful feeling of new inspiration when preparing for a new role".