Cincinnati Ballet Shows Even More Love for Women Choreographers This Season
At Cincinnati Ballet, the 2017–18 season boasts that 8 out of the 15 company productions are from female choreographers. For the past five seasons, Cincinnati Ballet had devoted one program a year to works by women, which allowed for a directed conversation about the need for female voices. "People always responded strongly to that series, so I thought, Why am I sequestering them?" says artistic director Victoria Morgan. "We have enough feistiness to respond to the conversations that are happening, not only in our community but across the country, about the lack of women in leadership."
To that end, the fall kicks off with the Kaplan New Works Series, featuring premieres by Heather Britt, Penny Saunders, Travis Wall, associate artistic director Johanna Bernstein Wilt and Morgan herself. (Two of Morgan's full-length ballets are also programmed this season.) The Saunders commission, set to the music of female composers from various eras, will explore the life of musician Maria Anna Walburga Ignatia Mozart, Wolfgang Amadeus' little-known sister. Later on in the season, two more premieres, from Kate Weare and Jennifer Archibald, will share the stage with Justin Peck's Murder Ballades. Archibald's new ballet will feature a collaboration with contemporary chamber ensemble Eight Blackbird, performing live; Weare will choreographer for pointe shoes for the first time.
Making all of these collaborations and firsts even more exciting is the appointment of Archibald as the first female resident choreographer in the company's history. "Jennifer is powerful, smart and very demanding, and the dancers are highly responsive to her," says Morgan. The Ailey-trained choreographer, whose resumé ranges from the world of ballet to commercial dance, is slated to create an annual premiere during her open-ended tenure.
Archibald is looking forward to this opportunity to create work on a larger scale and see the dancers evolve within her aesthetic, which blends hip hop and ballet. "Of course powerful female choreographers exist, but doors are not always open to these voices," says Archibald. "When young female choreographers approach me and say, 'It's so nice to see a woman on the bill,' that's when it hits me. I am quickly reminded that this is not the norm, and female choreographers still struggle to be represented on ballet-produced platforms." However, with Morgan paving the way, a season like this could soon become the new normal. "My goal is always to have the best, most adventurous work, to be relevant to younger generations," says Morgan. "I put all those various hopes and dreams together and this is what I came up with."
For the past 3 years, choreographer Stephen Petronio has been reviving groundbreaking works of postmodern dance through his BLOODLINES project. This season, although his company will be performing a work by Merce Cunningham, his own choreography moves in a more luxurious direction. We stepped into the studio with Petronio and his dancers where they were busy creating a new work, Hardness 10, named for the categorization of diamonds.
'Tis the season to have some fun in the kitchen. If you want to get more creative than simply baking another pumpkin pie, try these Nutcracker-themed treats—created by and for dancers. These recipes from former Boston Ballet and Joffrey Ballet dancers were first published in Dance Magazine's December 1990 issue. Today, they're still guaranteed to turn any holiday party or dressing room into a true Land of the Sweets.
It's no secret that affording college is a challenge for many students. And for dancers, there are added complications, like the relative lack of merit scholarships that take artistic talent into consideration and the improbability of a stable salary to pay off loans post-graduation. But no matter your budget, a smart approach to the application process can help you focus less on money and more on your training.
According to Drexel University performing arts department head Miriam Giguere, figuring out the kind of financial assistance a school offers is just as important as navigating what kind of dance program you want. Here's how to incorporate finances into your decision-making process:
When dancers get injured, they often think they should eat less. The thought process goes something like, Since I'm not able to move as much as I usually do, I'm not burning enough calories to justify the portions I'm used to.
But the truth is, scaling back your meals could actually be detrimental to your healing process.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"
Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.
Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.
With her fearless demeanor onstage, it's easy to see how Washington Ballet apprentice Sarah Steele attracted the keen eye of former American Ballet Theatre stars Julie Kent and Ethan Stiefel. Promoted mid-season from the studio company by artistic director Kent, Steele was cast by Stiefel as the lead in Frontier, his world premiere for The Washington Ballet, this past spring. For the space-themed piece, Steele donned a black-and-white "space suit" onstage, exhibiting dual qualities of strength and grace. Most evocative about Steele's dancing might be her innate intelligence—she was accepted to Harvard on early admission, and plans to resume her studies there in the future. But first, she'll dance.
Lots of college groups do stepping—a form of body percussion based on slapping, tapping and stomping—but Step Afrika! is the first professional dance company to do it. They are currently at New York City's New Victory Theater, presenting The Migration: Reflections on Jacob Lawrence, a show based on the painting series by Harlem Renaissance artist Jacob Lawrence about The Great Migration of the 1900s, when millions of African Americans fled the Jim Crow South and traveled by train to the North for a better life. The Great Migration transformed the demographics of the country, and Jacob Lawrence's paintings became famous for their bold color and evocative power.
As we approach Thanksgiving, there's much to be grateful for. Perhaps one of the most important things on your list is dance. Whether you're a full-time company member, an aspiring professional, an audience member, or you simply delight in dancing in your daydreams, this art form is a creative escape.
That's not to say that being a dancer is easy: Pursuing such a competitive career can be heartbreaking, especially when you're faced with rejection.
La Folía, a short dance film by director Adam Grannick that was recently released online, echoes these sentiments in under 12 minutes.
It took two years of intense nutrition counseling and psychotherapy to pull me out of being anorexic. My problem now is that I've gained too much weight from eating normally. Is there no middle ground? I can't fit into my clothes, but I don't want to go back to being sick.
—Former Anorexic, Weston, CT