The entertainment industry today stands as a global colossus, a multifaceted realm where dance, music, and drama intersect with technology and digital innovation. It’s an era defined by its breakneck pace and the constant blurring of traditional boundaries, demanding not only talent but versatility and resilience from those who dare to tread its paths. In this world, dance has emerged not just as a performing art but as a powerful medium of expression and storytelling, making dancers like Aleksandra Nalepa invaluable to the cultural and creative fabric of our times.
Aleksandra’s background is as diverse as it is impressive. From the moment she stepped into the spotlight, it was clear she was not just another dancer. We had the unique opportunity to delve deeper into Aleksandra Nalepa’s world, discussing her professional experience and collaborations. Through our conversation, it became evident that her work is more than a career; it’s a continuous dialogue with the world around her.
Her journey is a testament to the vibrant and ever-changing landscape of the modern entertainment industry and a reminder of the magic that happens when one dares to dream big and dance to the beat of their own ambitions.
Hello, Aleksandra! It’s a thrill to have you here with us today. Working with globally renowned artists like The Weeknd and Mark Tuan must be an incredible experience. Can you share a memorable moment or learning from those collaborations?
Different artists mean different experiences, aesthetics, and expectations. It’s incredible how, as a dancer, one must adjust to any vision while still expressing their own art within someone else’s creation. Working on large productions is extremely demanding and filled with surprises.
One of the memorable moments was when, while working on Mark Tuan’s music video, we had to dance on a floor that had been repeatedly flooded by huge hoses. The reason for this was the particular look needed for the camera. Dancing while slipping in our sneakers was extremely hard but also fun. It taught me that I have to be prepared for anything and able to execute no matter the ever-changing circumstances.
When collaborating on a music video, like the one with Chencho Corleone, how much input do you usually have in the choreography? How does the creative process work between you, the artist, and the director?
When choreographing music videos, like the ones I did for CJ Pitts or Josephinemusic, I have full creative freedom regarding the choreography and dancers I hire. The artist contributes the song and overall vision, while the director provides a list of shots needed and the scenery we’re working with. In the project with Chencho Corleone, I was hired as a freestyler, which means there was no choreography, and as dancers, we had to use our art of improvisation and the inspiration we got from the song to create movement on the spot.
From musicals to dance troupes to sports teams, your experience is varied. How do you adapt your style and performance for such diverse audiences and platforms?
A dancer is a chameleon. When performing, it’s important to determine who your audience is and what the set expectation is. I would perform differently before a basketball court audience, who expects pure entertainment and engaging, fun, lighthearted shows, than I would at a theater, where the audience seeks a deep, emotionally moving experience carrying a message. What enables me to adapt is the ability to be expressive and fully aware of the emotion I am portraying. Dance is a form of acting.
Being a part of a production like “Evita” at the Golden West Theater must be thrilling. What’s a typical day like when preparing for a musical performance of that scale?
Big productions consume one’s entire day, requiring full focus and commitment, especially considering that for “Evita,” I was debuting in the role of assistant choreographer. The job of an assistant choreographer is extremely demanding; one has to learn the entire play, including every dance part, to be able to correct and assist actors and dancers during the rehearsal process. I would wake up early and go through the whole piece by myself. Then, I would head to the theater for the first rehearsal, sit in the front row, and take notes during the run, ensuring I wrote down any important corrections. Afterwards, I would sit down with the choreographer, go over the notes, and make sure to implement them during the second run of the day. My day in the theater would end late in the evening, all the way up to show day.
How did your journey with the San Diego Kings Basketball Dance Team begin? How is performing at a sports event different from your other performances?
My journey began when I decided to audition for the team in my second year of college. Already a dance major and a track athlete, I am known for always seeking new challenges and ways to get involved. Performing at sports events is unique in the dance world in the way one has to execute and express. The basketball court dancing is very clean and strong; the moves and formations have to be visible even to those sitting high up in the audience. On top of that, the whole time we are out on the court, we have to be joyful, inviting, and engage with the audience to keep the fans’ spirits up!
Transitioning between dancing and modeling, especially for big brands like Lululemon, must require a different mindset and preparation. Can you discuss the contrasts and similarities between preparing for a dance performance and a modeling shoot?
There are many similarities regarding mindset. I need to understand who the artist or brand is and what their message and vision are. Once I have a good grasp of that, I can empathize and try to portray the vision with my own art, whether it’s my dancing or modeling expression.
For both modeling and dancing shoots, I need to ensure that I come on set as a blank canvas, with hair and makeup minimal but clean, to assist the makeup artist and hairstylist. For modeling, I practice poses I think are appropriate for certain projects; for dance, I review the choreography and make sure I’m warmed up and ready to go when needed.
With your modeling roles for brands like Wear.Am, what would you say is the most challenging part of merging the worlds of fashion and dance?
I think the most challenging part is time management. I have to ensure I plan my week accordingly, allowing enough time for my dance training, dance rehearsals, and extra time before modeling shoots to prepare. I must plan my transportation well ahead, considering LA traffic, and ensure I have everything I need in my car. I usually keep a bag in my car with extra makeup, heels, and a few outfits, just in case I get a last-minute audition or job.
Your collaborations span various domains, from music videos to dance troupes to modeling. How have these varied collaborations influenced your growth as an artist and performer?
First of all, as an artist, I’ve gained various perspectives on ways to translate ideas into movement. I’ve learned that I can incorporate other media, such as videography, into my choreography. Choreographing for the camera can be extremely interesting if one knows how to use camera movements and different shots to their advantage. Additionally, I’ve realized that movement that translates well on stage does not necessarily work for the intimacy of the camera. Modeling taught me how simplicity, paired with a strong internal intention, can have a much bigger impact than an overload of movements or expressions. The creative world of dance arts still has so much more to teach me, and I can’t wait to learn!
