Just Dance

Creative Spotlight

A Day in the Life of A Dancer

Growing up we are put on the beaten path of go to school, get good grades, get into college and get a good job. Everything we are told is connected to the next level we are supposed to take in our life. But that is not the path for everyone.

CZ was pleased and honored to meet with a younglady who has carved out her own path to success.Meet Jazmyn Nathaniel, an Alvin Ailey student withbig dreams and great determination!

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CZ: Have you always wanted to be a dancer?

JN: No, I actually majored in music and played in an orchestra throughout middle school. I played first chair clarinet and I wanted to join the New York Philharmonic someday. During seventh grade, Ms. Kasbar, the dance major teacher, offered dance classes instead of gym classes.

Since I hated gym classes I took dance classes when they were offered and in eighth grade, I decided to audition for high school dance majors and music majors. I figured I would continue with whatever I got into high school for. I got accepted for dance, so I kept with it.

CZ: How did you start dancing?

JN:I started at Alvin Ailey in the first steps program as a toddler. My parents put me in dance classes as soon as possible. I always enjoyed dancing and being physically active so this was a good way to channel all that extra energy I had.

CZ: Have you always wanted to be apart of the Alvin Ailey company?

JN: I have always wanted to be apart of the Alvin Ailey company because the company originated because of one Black man’s vision of the black experience in America. I think it’s important to always be connected to one’s heritage. Knowing where you come from, and who you are keeps you grounded. I’m proud to say that I go to an institution that celebrates diversity, and the beauty in everyone’s different struggles.

CN: What or who introduced you to Alvin Ailey?

JN: Since my parents put me there, it would definitely be them. Even when I wasn’t taking dance classes we would go see the Alvin Ailey Company perform twice a year every year. We still do. It’s a tradition. The Alvin Ailey Company has been a big part of my life and influence throughout

the years.

CZ: What's the average day like for an Alvin Ailey dancer?

JN: I typically wake up at 5am to shower and get my hair in a bun and makeup together for class. Breakfast is usually a smoothie with banana, almond milk, some peanut butter and honey. I leave home at 6:30 and I drink that on my ride to school on the A train or whatever is actually running properly that day. I get to the building around 7:45 and grab coffee and then go warm up until ballet class begins at 8:30. I have a break after that where I usually grab a light lunch of maybe some sushi and miso soup, or a croissant and some fruit, then start warming up for my next class.

Sometimes I just take a nap because I’m just exhausted. No shame there, sleep is important. I have Lester Horton Technique after that and I don’t really know how to describe it. It’s very dynamic and helps create very strong dancers because of the musculature and thoughtprovoking patterns we have to learn. It’s important to stay very sharp.

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At 1pm since my break is only 30 minutes on some days, I go to physical therapy and if I have an appointment then I get checked out for any aches and pains I may have, just to make sure I don’t do anything to injure myself. If I don’t then I typically do some self care and a few workouts to stay warm until my last class which is Martha Graham technique. It’s a very expressive technique and physically and emotionally engaging. Live music in every class really helps you to learn musicality and how to move properly to different types of music. Sometimes we have a pianist. One time we had a really amazing bass player that brought his entire soundboard for beats. Sometimes we have a percussionist, sometimes we have a percussionist that also plays the piano, it’s like they have a million arms and legs.

CZ: What are your career goals for dancing?

JN: At the moment my goals include getting into the Ailey company as it has been a goal my whole life. I am also working on building a network in order to restore the Charles Moore Dance Company to its former glory. I want to open a school and train up a new generation to carry out the repertoire. I think his legacy is one that should continue to be celebrated. If I’m granted their blessing to do so, it would be something I put my all into. I also would like to be a part of the Martha Graham Company. The Graham Technique is one that has been very pivotal in helping me learn to channel my emotions into my art, while keeping my technique clean and not getting too into myself. It can be hard to balance life and school. It’s always been hard to allow myself time to check in with myself and make sure I’m emotionally in order. I think as with such a packed day, and so much going on, it’s important to know where you stand with yourself before you do something so mentally taxing. I fell in love with Graham after the summer intensive I did when I was 15 years old. I learned and grew a lot as a dancer that summer. It pushed me to my limits, and it still does. Ever since then I’ve been somewhat attached to it.

CZ: If an aspiring dancer comes to you for advice what would you tell him/her?

JN: I would tell them that if you are lazy and unwilling to put in consistent work then you aren’t cut out for this. This is an unforgiving business, and you need to have some serious perseverance to make something of yourself. No dancer of prestige is where they are because they had an easy way up there. You will struggle and you will cry. You will also have moments where everything finally clicks and your progress skyrockets out of nowhere. But with no risk there’s no reward. You will do things that are scary, and that skin up your knees and elbows, and you will be sore most of the time, but you have to be open and willing to accept all of the wisdom given to you.

Take every correction, even if it isn’t for you because you never know what you aren’t doing and where you can improve until you actually do it. Don’t rely on connections because nobody can see your connections on stage. You need to be sharp and smart. You need to have the skill and the will to do anything required of you because connections can only get you in the door.

Lastly I would say to mind your business. Staying in your own lane is the best way to focus on yourself. Don’t compare yourself to others. Don’t worry about what the next person is doing. That’s not for you to worry about. You are in class to worry about yourself and your personal growth. Jaclyn Buglisi, my Graham teacher starts off every class by making us look in the mirror and tell ourselves “You are important. I am important.” Because YOU ARE. You are your own worst enemy and the only obstacle you have to overcome. Your only objective is to be better than the dancer you were yesterday.

CZ: What is the most important thing you've learned so far while pursuing dancing?

JN: The most important thing I’ve learned so far is that even though we do extraordinary things, even though we are dedicated, we need to learn when to stop. There have been times where I felt guilty for resting or sitting out of class when I had an injury or a flare up because I should be working all the time. It wasn’t until I got seriously injured and had to take a medical leave that I realized, maybe it’s time to rest for a bit. If you don’t take care of your body and your mind you’re setting yourself up to get seriously hurt in the long run. Sometimes if you take care of

something early on enough it can be fixed easier than if you keep making it worse. Sometimes it’s worth it to not try and push through when you aren’t well. You should

never do anything that causes you pain and if it does then you need to stop and find out why you have pain. Pain doesn’t always mean you’re doing it right. Sometimes it just means you’re hurting yourself.

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