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A Breakthrough for the Limón Company—Bare Legs
There was something very different about the Limón Dance Company last week during their season at The Joyce Theater. It was the costuming: For a long time, women just did not expose bare legs in the modern dance land of long dresses and long tights. But seeing the Limón dancers in Kate Weare's Night Light (2014)—suddenly they looked more like today.
Night Light costumer Fritz Masten dressed the dancers in loose tops and bare legs, giving the dancers a whole new look. The choreography transformed the elegant dancers into adventurous, even confrontational beings. With those bare legs, they sliced the space and entangled their partners. The dancers were restless rather than noble, human rather than heroic.
But here's the funny thing about styles that look new: Sometimes they hark back to the old. Take this photo of Betty Jones, brazenly bare-legged, with Limón in his The Apostate from 1959.
The Apostate (1959) with Betty Jones and José Limón, Photo by Matt Wisocki, Courtesy DM Archives
Of course there were classic Limón pieces at the Joyce too, in which his famous humanity was expressed in large, sweeping movements. But what I rediscovered is that, whether or not you like that aesthetic, his choreographic craft is a lesson in itself. In Concerto Grosso (1945), a trio, the architecture has a keystone in the male dancer, but the patterns are not predictably symmetrical. The clean lines and crystalline counterpoint give a sense of spiritual uplift. There's a nobleness to the dancers' stretched and etched lines.
Concerto Grosso with Elise Drew, Jesse Obremski and Kathryn Alter, Photo by Ben Licera
The Exiles (1950) takes this nobility and makes a story of it. Well…it's an old story: Adam and Eve and their cycle of attraction, intimacy and shame. There are no airborne lifts like in ballet. The partnering is grounded, with leverage, with effort—and startlingly inventive. Kristen Foote, one of New York's most magnificent dancers, passes through the changing emotions with honesty and dignity, while her partner, Mark Willis, is unwavering in his strength.
Mark Willis and Kristen Foote in The Exiles, Photo by K. Chang
Back to Kate Weare's work. Perhaps, under the direction of new artistic director Colin Connor, the definition of humanity in the Limón company is changing. Weare's angular moves and sharp interactions challenged the dancers to inhabit another mode of expression. In this "Choreography in Focus," she talks about giving roles to dancers that change them "psychophysically." But again, perhaps that's a clue to her ability to renew a kind of rawness that Limón had back in 1959.
My dance coach wants my word that I'll keep competing under his school's name for the next year and not audition. I'm 18 years old and already doing lead roles and winning medals. I love his teaching, but shouldn't I be ready to go out and get a job?
—Gil, Las Vegas, NV
How do we make ballet, a traditionally homogeneous art form, relevant to and reflective of an increasingly diverse and globalized era? While established companies are shifting slowly, Richard Siegal/Ballet of Difference, though less than 2 years old, has something of a head start. The guiding force of the company, which is based in Germany, is bringing differences together in the same room and, ultimately, on the same stage.
Before she became the 20th century's most revered ballet pedagogue, Agrippina Vaganova was a frustrated ballerina. "I was not progressing and that was a terrible thing to realize," she wrote in a rough draft of her memoirs.
She retired from the Imperial Ballet stage in 1916, and for the next 30-plus years, devoted herself to creating a "science of ballet." Her new, dynamic teaching method produced stars like Rudolf Nureyev, Alla Osipenko, and Galina Ulanova and later Natalia Makarova and Mikhail Baryshnikov. And her approach continues to influence how we think about ballet training to this day.
But is the ballet class due for an update? Demands and aesthetics have changed. So should the way dancers train change too?
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
Claude Debussy's only completed opera, Pelléas et Mélisande, emphasizes clarity and subtlety over high-flung drama as a deadly love triangle unfolds. Opera Vlaanderen and Royal Ballet of Flanders are commemorating the 100th anniversary of the composer's death with a new production of the landmark opera that is sure to be anything but traditional: Sidi Larbi Cherkaoui and Damien Jalet are choreographing and directing, while boundary-pushing performance artist Marina Abramović collaborates on the design. Antwerp, Feb. 2–13. Ghent, Feb. 23–March 4. operaballet.be/en.
Black History Month offers a time to reflect on the artists who have shaped the dance field as we know it today. But equally important is celebrating the black artists who represent the next generation. These seven up-and-comers are making waves across all kinds of styles and across the country:
When a new director began transforming Atlanta Ballet a couple of years ago, longtime dancer Alessa Rogers decided to finally explore her dream of dancing in Europe. "I always had this wanderlust," she says. She wasn't set on a particular city or company, but thought learning French would be fun. She began her research that September, making note of repertoire and the number of dancers as well as which companies employed foreign, non–European Union dancers. "I saw that Ballet du Rhin was looking for dancers," says Rogers. "They also had a new director coming in, so I thought it could be an opportunity." After sending a video, Rogers traveled during her layoff week to take company class. She was offered a job on the spot.
Uprooting and moving out of the country, far away from your support system, language and customs, is not something to take lightly. While it can push you as an artist and be an exciting opportunity for personal growth, working as a dancer in a foreign country comes with its challenges. Lots of research and an adventurous spirit are required.
Justin Lynch is surprisingly nonchalant about the struggles of being a full-time lawyer and a professional dancer. "All dancers in New York City are experts at juggling multiple endeavors," he says. "What I'm doing is no different from what any other dancer does—it's just that what I'm juggling is different."
While we agree that freelance dancers are pro multitaskers, we don't really buy Lynch's claim that what he does isn't extraordinary. In fact, we're pretty mind-boggled by the career he's built for himself.
At the annual Gala de Danza in Los Cabos, Mexico, the lineup of performers is usually pretty typical gala fare: You can expect celebrity performers like Lil Buck, reality stars like Ballet West's Beckanne Sisk and "So You Think You Can Dance" finalist Tate McRae, plus principals from top companies like New York City Ballet's Tiler Peck and Daniel Ulbricht.
What's absolutely not typical? The venue.
At 5'10" I felt like an ant in the studio with Alonzo King LINES Ballet. The San Francisco-based company is full of statuesque dancers whose passion is infectious. Every story was told not only through their movement, but through the expression on their faces and their connection to one another.
We talked to artistic director Alonzo King about his love of collaborations and why he thinks politicians need to dance more.