Celebrating 20 Years of Helping to Shape Ballet’s Artistic Future

National Choreographers Initiative has become an incubator for commercially promising new dance works while holding tight to artistic director Molly Lynch’s vision to encourage experimentation.

It’s exhilarating to be among the first to spot new and inspiring talent, see original works derived from unique ideas and stories, and for emerging artists to embolden their craft. For 20 years, dance figure Molly Lynch has brought this exciting experience to Orange County through the National Choreographers Initiative (NCI). 

Each July, four choreographers and 15-16 dancers from across the country call Irvine home while they devote themselves to developing a new composition. They spend three weeks, six days a week, and about eight hours a day creating four new ballets that will be presented on stage at the Irvine Barclay Theatre. 

Four ballets? In three weeks? Yes, that time frame is short, but the inspired and fundamental hallmark of NCI’s program is that there are no expectations or requirements for the work to be finished or perfect. Rather, this time is for research. The choreographers have the freedom to investigate, experiment and create something new to them.

NCI dancers in a rehearsal for choreographer DaYoung Jung. PHOTO 1: Celeste Gaiera and Robert Fulton. PHOTO 2: Choreographer DaYoung Jung leads rehearsal. PHOTO 3: Brooke Gilliam. PHOTO 4: Celeste Gaiera. PHOTO 5: Robert Fulton. PHOTO 6: Choreographer DaYoung Jung laughs during rehearsal. PHOTO 7: Hunter Solomon and Brooke Gilliam. Photos by Drew A. Kelley, Culture OC

“I don’t ask for a proposal for what (the choreographers) are planning to do because I really would like them to come with an open book,” Lynch said. “I want them to feel like they come here and they can try whatever they want to try and that there’s nothing set. They can just see what the day brings and how they are inspired by the people that are there in the studio with them.”

What audiences are invited to see on July 27 is a rare look into the usually quite private creative process. It is a viewing of “dance drafts,” so to speak. In-progress excerpts or first versions of dance pieces that could be used later for a completed work.

“(NCI) is the highlight of my dance year,” said dance patron Bobbi Cox, who is on the advisory committee for NCI. 

“There is something so special about being the first to see something. These fresh new works are in progress, developing and that draws an audience into it. Over the years there are some pieces that I don’t like, others  that I absolutely love, but in each case, I am involved in the process on its way to becoming a completed work.”‘

This year’s choreographers, Charles Askegard, Cherice Barton, DaYoung Jung and Donna Salgado were chosen from 104 applicants. Lynch acts as curator of the program, choosing choreographers whose collective movement styles will make for an entertaining show for audiences and most importantly, choreographers who express an interest in working with ballet dancers specifically.

“I think there’s a lot more showcases and festivals that tend towards modern and contemporary work,” Lynch said. “I like ballet, I mean, that’s my area, so I think it’s about trying to help the ballet world evolve and develop. I want to see the ballet genre continue and this is a way to try to move it forward and support it.” 

Lynch doesn’t expect the choreographers to create purely classical pieces and they aren’t required to work with dancers in pointe shoes, but in hiring professional ballet dancers, she anticipates the aesthetic of ballet to shine through. The dance works typically highlight clean technique and sound anatomical alignment, but with the added style and artistry the choreographer envisions. 

NCI is not the only program of its sort, but it may have been one of the first, especially if we

measure from when Lynch started the choreography project (under a different name) in 1991 when she was the artistic director of Ballet Pacifica. 

Today, several ballet companies, including American Ballet Theater, Pacific Northwest Ballet and New York City Ballet have instituted similar programs.

“​​The idea of workshops or residencies for developing new choreography is catching on. (An NCI dancer) just told me that their company is doing something that’s very much modeled after NCI with four choreographers, three weeks,” said Lynch. “I guess imitation is the best form of flattery!”

Apart from the mission of building a place to nurture new choreography, NCI is unique in bringing dancers from different companies together which has led to amazing networking opportunities. 

Choreographer Ma Cong for example, attended NCI as a choreographer in 2008. During those three weeks, he created a work called “French Twist” that was picked up by Smuin Ballet in San Francisco. That was the first positive NCI connection. 

Then, two dancers from Richmond Ballet who were in the original cast of “French Twist” during NCI mentioned Cong’s work to their company’s artistic director. She eventually invited Cong to create a piece for Richmond Ballet and now Cong is the artistic director of Richmond Ballet.  

“NCI has provided such a great tool for dance creators to express their unique voices … Molly’s vision and leadership is extraordinary and my experience with NCI has provided me connections, knowledge and confidence, leading to where I am now,” Cong said when asked for comment via email. 

Cong is one example out of nine other past NCI choreographers who are now artistic directors of companies. The networking piece of NCI was not something Lynch planned for when she first set out, but she is glad to see it naturally develop that way. 

NCI dancers in rehearsal for a piece by Donna Salgado. PHOTOS 1 and 3: Donna Salgado, center, leads rehearsal. PHOTO 2: Dancers rehearse choreography. Each choreographer has 8 dancers to choreograph into their piece. Photos by Drew A. Kelley, Culture OC

Another NCI alum, Christopher Stuart, was recently named artistic director of Alabama Ballet. He gives credit to NCI for helping in his journey to this new role.

“Participating in the National Choreographers Initiative was a transformative experience for me, first as a dancer and later as a choreographer,” Stuart said. “The program opened numerous doors, providing invaluable opportunities for growth and artistic expression. Initiatives like this are crucial to the vitality of our art form and I extend my heartfelt gratitude to Molly Lynch for her unwavering dedication to keeping this program alive and thriving.”

As Lynch celebrates the 20th anniversary, she says she doesn’t yet know what will become of NCI in future years. For now, she’s content to keep the status quo and continue creating a wide open space for dance artists to play.  

Said Lynch: “The legacy of NCI is to continue to support artists so that we can keep the field moving forward and continue being new and innovative.”