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How to Take Corrections, Correctly
Class can be a whirlwind of information. Your teacher throws out multiple corrections at once—often in the middle of a combination—and as much as you want to apply them, they don't always stick. Though some are notes you've heard time and time again, you get too overwhelmed trying to fix all of them to correctly incorporate any of them.
Ashley Tuttle, photo by Duncan Cooper
Feedback is a necessary part of a dancer's craft, providing the guidance to develop technically and artistically. But applying new information is not always easy. You might feel bombarded with too many notes at one time, or insecure about being singled out for criticism. Learning to implement corrections is an art in itself.
Be Receptive to Feedback—And Show It
Smart dancers know that feedback is a gift, so show that you're eager to receive it. Make sure your body language and attitude reflect a willingness to learn. "Have a pleasant expression and look really involved," says Deborah Wingert, who teaches at Manhattan Youth Ballet and the Ailey Extension. Once you've been given a note, try to make the change immediately, or go to the back of the studio and practice on your own. Show that you at least understand the concept, even if you can't apply it right away. (If you have an injury that prevents you from doing something, communicate that to the teacher before class.) Dancers who resist new information might discourage teachers from wanting to help them.
Laurie De Vito, photo by Justin Chao
Remember that teachers usually give attention when they see potential. "It's not that they're picking on you," says former American Ballet Theatre principal Ashley Tuttle, who teaches ballet at Barnard College, Mark Morris Dance Center and other schools. "Stay positive, and quiet the doubtful voice that can prevent you from receiving information and incorporating it."
If you're not getting any feedback, remember that you can benefit from other dancers' corrections as well. "You don't have to wait for a special invitation," says Wingert. "Just have a hunger to learn."
If You Don't Understand, Ask for Clarification
It's okay to ask questions if you don't understand a correction. "Wait for the break, or go up to the teacher after class," suggests Laurie De Vito, contemporary Simonson teacher at New York City's Peridance, Mark Morris Dance Center and Gibney Dance. "Ask for an alternate image and have a conversation about it." You can also talk to a dancer you respect or someone in your class who gets similar corrections. If you don't express your confusion, teachers might think that you're not listening—or that you don't care.
Wingert teaching at the Baltimore School for the Arts
Make Your Corrections Stick
You may need to use additional senses to cement a correction. Visualize it in your mind and, if possible, implement it while looking in the mirror. "Then get your brain out of it and let your body find the position," De Vito says. "If a physical adjustment will help you understand, ask your teacher to move your body into the correct shape." Attaching a movement to music might also help you solidify the right feeling.
Some corrections take time to physically manifest. "It's a commitment," says Tuttle. "Your brain understands, but your body follows to the best of its ability. It takes longer for some people." If you're being told to turn out more, for example, don't get frustrated because you can't do it immediately. Work on engaging the proper muscles, keeping your heels forward and sustaining your maximum rotation. "Remember that dance is not about being able to make the perfect picture, but being able to move in and out of the best positions you can make," says Tuttle. "Don't get down on yourself or force your body into places that will lead to injury."
"True artists have patience," says Wingert. "You do your best until it clicks.
Whether playing a saucy soubrette or an imperious swan, Irina Dvorovenko was always a formidable presence on the American Ballet Theatre stage. Since her 2013 retirement at 39, after 16 seasons, she's been bringing that intensity to an acting career in roles ranging from, well, Russian ballerinas to the Soviet-era newcomer she plays in the FX spy series "The Americans."
We caught up with her after tech rehearsal for the Encores! presentation of the musical Grand Hotel, directed and choreographed by Josh Rhodes and running March 21–25 at New York City Center. It's another tempestuous ballerina role for Dvorovenko—Elizaveta Grushinskaya, on her seventh farewell tour, resentfully checks into the Berlin hostelry of the title with her entourage, only to fall for a handsome young baron and sing "Bonjour, Amour."
When Andrew Montgomery first saw the Las Vegas hit Le Rêve - The Dream 10 years ago, he knew he had to be a part of the show one day. Eight years later, he auditioned, and made it to the last round of cuts. On his way home, still waiting to hear whether he'd been cast, he was in a motorcycle accident that ended up costing him half his leg.
But Montgomery's story doesn't end the way you might think. Today, he's a cast member of Le Rêve, where he does acrobatics and aerial work, swims (yes, the show takes places in and around a large pool) and dances, all with his prosthetic leg.
Last week in a piece I wrote about the drama at English National Ballet, I pointed out that many of the accusations against artistic director Tamara Rojo—screaming at dancers, giving them the silent treatment, taking away roles without explanation—were, unfortunately, pretty standard practice in the ballet world:
If it's a conversation we're going to have, we can't only point the finger at ENB.
The line provoked a pretty strong response. Professional dancers, students and administrators reached out to me, making it clear that it's a conversation they want to have. Several shared their personal stories of experiencing abusive behavior.
Christopher Hampson, artistic director of the Scottish Ballet, wrote his thoughts about the issue on his company's website on Monday:
When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.
"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."
A flock of polyamorous princes, a chorus of queer dying swans, a dominatrix witch: These are a few of the characters that populate the works of Katy Pyle, who, with her Brooklyn-based company Ballez, has been uprooting ballet's gender conventions since 2011.
Historically, ballet has not allowed for the expression of lesbian, transgender or gender-nonconforming identities. With Ballez, Pyle is reinventing the classical canon on more inclusive terms. Her work stems from a deep love of ballet and, at the same time, a frustration with its limits on acceptable body types and on the stories it traditionally tells.
The latest fitness fad has us literally buzzing. Vibrating tools—and exercise classes—promise added benefits to your typical workout and recovery routine, and they're only growing more popular.
Warning: These good vibrations don't come cheap.
My life is in complete chaos since my dance company disbanded. I have a day job, so money isn't the issue. It's the loss of my world that stings the most. What can I do?
—Lost Career, Washington, DC
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among them is the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.
The encounter with man-eating female creatures in Jerome Robbins' The Cage never fails to shock audiences. As this tribe of insects initiates the newly-born Novice into their community and prepares her for the attack of the male Intruders, the ballet draws us into a world of survival and instinct.
This year celebrates the 100th anniversary of Jerome Robbins' birth, and a number of Robbins programs are celebrating his timeless repertoire. But it especially feels like a prime moment to experience The Cage again. Several companies are performing it: San Francisco Ballet begins performances on March 20, followed by the English National Ballet in April and New York City Ballet in May.
Why it matters: In this time of female empowerment—as women are supporting one another in vocalizing injustices, demanding fair treatment and pay, and advocating for future generations—The Cage's nest of dominant women have new significance.