Meet the Ballerina Who's Not Letting Her Height Get in the Way of Her Dancing
At 5' 10.5", Sara Michelle Murawski stands taller than most people, let alone most ballerinas. As a student, Murawski was always told her height was a positive thing, and that elongated lines are what ballet is all about. But in the professional world in the U.S., she encountered a totally different mentality. Her story went viral last December, when she was fired from Pennsylvania Ballet for being "too tall." After a devastating few months, Murawski was the first principal signed to the new American National Ballet, a Charleston, SC, company whose mission is to celebrate dancer diversity. Here, she tells her story. —Courtney Bowers
Growing Up Tall
Even as a young ballet student, I was already quite lanky—all legs and limbs, and no torso. When I was 15 (and already 5' 9") I discovered The Rock School for Dance Education in Philadelphia, PA. Training there was probably one of the most influential parts of my life, because they embrace the beauty of all dancers. My teachers taught me that being tall was a good thing, and I started to accept my height.Murawski with dancer David Marks (photo by Sloviter, courtesy Murawski)
Building a Career
At 17 years old, I started in the corps de ballet at Dresden Semperoper Ballett in Germany. I already knew that
I should probably be dancing in Europe—European companies tend to be more open-minded about height. I didn't even audition in the U.S. At the time, Dresden had some very tall dancers in the company—some of them even taller than me! Later, I went to dance with Slovak National Ballet, where I was able to perform principal roles in full-length ballets with a principal male dancer who was about 6' 5".
Heading Back Stateside
While I was at Slovak National Ballet, Ángel Corella, the artistic director of Pennsylvania Ballet, reached out and offered me a principal contract with his company. I was elated because I grew up in Philadelphia at The Rock, so it was like home to me. I was very grateful and humbled.
I started my first season in August 2016, and everything seemed great. I was getting positive attention for roles not even meant to be danced by tall girls. When I danced the Sugarplum Fairy in The Nutcracker, I had so many moms with children at the school come up to me and say things like, "You're breaking the mold!" It wasn't just about me—it was about future generations, too.Murawski as the Fairy Godmother in Pennsylvania Ballet's "Cinderella" (photo by Alexander Izilaev, courtesy Murawski)
I found out my contract wasn't going to be renewed that December, right before my last performance of The Nutcracker. I was devastated. It was incredibly hard to go onstage right after being told that—I was crying my makeup off in the wings. I felt lost, scared, alone, and unwanted. Even though it was difficult, I finished out the whole season, which ended this past May.
Some social media posts and an article about my firing went viral, and the public outcry saved me. I even had some big dance names write to me personally. It was the thing that made me believe in humanity and dance again. So many dancers in this country share and understand my frustrations.
Breaking the Mold
During one of my lowest days, American National Ballet sent me the kindest, most supportive message on Instagram. ANB is a new company in Charleston, SC, whose mission is to highlight diversity and to give dancers who may be different a chance to shine.
I visited Charleston a few weeks after talking to them on the phone and fell in love with the city, and with what ANB is doing. It's all long overdue. I was the first principal dancer to sign on, and I'll also serve as the visionary assistant to the artistic director.
I'm so excited to be working with ANB. People want this kind of change in the dance world. At ANB they're after real artists. And they're going to get better dancers that way. To all the tall, hopeful dancers out there: Please carry your height with pride and joy.
This story originally appeared on dancespirit.com.
Where can you watch Giselle, Romeo and Juliet, The Nutcracker, Coppélia and Le Corsaire all in one place? Hint: It also has extra-buttery popcorn.
Yep, it's your local movie theater. Starting this weekend, theaters across the country will be showing Bolshoi Ballet productions of classical and contemporary story ballets.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
When commercial dancer Danielle Peazer took on an ambassadorial role with Reebok in early 2016, she didn't realize the gig would also lead to a career shift. But while traveling with and teaching workshops for the brand, the idea for DDM (Danielle's Dance Method) Collective started to take shape.
Last night, American Ballet Theatre held its annual Fall Gala at the David H. Koch Theater in New York City. To celebrate ABT's artistic director Kevin McKenzie's 25 years of leadership, dancers from ABT's company, apprentices, studio company members and students from the Jaqueline Kennedy Onassis School took to the stage in Jessica Lang's The Gift, Alexei Ratmansky's Songs of Bukovina and Christopher Wheeldon's Thirteen Diversions.
But we also love a good behind-the-scenes glimpse—especially when designer gowns are involved. And the dancers gave us plenty of glam looks to obsess over once the curtains closed. Ahead, see our favorite moments from gala straight from the dancers.
Last week Ballet West breezed into New York City's Joyce Theater from Salt Lake City. The dancers are excellent—especially the women (what else is new). The company brought five pieces including works by Gerald Arpino, Val Caniparoli and resident choreographer Nicolo Fonte.
Arpino's last work, made in 2004, is a duet called RUTH, Ricordi per Due ("remembrance for two"). It's about a man haunted by the memory of the woman he loved. Christopher Ruud is strong and sensitive as the man, and Arolyn Williams is riveting as the ghost of his beloved.
Val Caniparoli energizes his dancers with juicy movement, and always sticks to his theme. (He doesn't ramble, and let's face it, long rambling choreography is a problem these days.) In his premiere for Ballet West, Dances for Lou, he takes on the music of Lou Harrison, a composer known for his Eastern sounds and rhythms.
Photo by Filip VanRoe, courtesy Marquee
Your Saturday nights are about to go from "Netflix and chill" to "Marquee and chill." (Okay, maybe we'll need to coin a new phrase).
But seriously, the new streaming app Marquee Arts TV lets you curl up with Bolshoi Ballet's Swan Lake, Sylvie Guillem dancing Mats Ek's solo Bye, a dance film by Cullberg Ballet called 40 M Under, or a documentary about Alonzo King and LINES Ballet. Marquee unlocks a world of digital arts: dance, theater, opera, music, documentaries and film shorts that you can stream directly to your TV or mobile device.
When Simone Forti moved from California to New York City in 1960, she brought with her the improvisational approach of Anna Halprin. As one of the first five students in Robert Dunn's John Cage–inspired composition course (that led to Judson Dance Theater), she was a magnet for two others in that class: Yvonne Rainer and Steve Paxton. This month the three reunite for Tea for Three, an evening of moving and talking at Danspace Project, Oct. 26–28. It's a chance to see how dance mavericks grow and change and mellow. Forti will also give "Body Mind World" workshops Oct. 19–20. danspaceproject.org.
When you're dancing for what feels like eight days a week, it takes more than just stretching to put your body back in order. You need a good rub down. Unfortunately, most of us don't exactly have the money to afford an on-call personal masseuse.
The solution: Self-massage, with foam rollers, lacrosse balls, elbows and anything else that can help loosen up your muscles. We dug into Dance Magazine's archives to find the best pieces of advice we've published on the topic. Follow these rules to get what you, ahem, knead out of self-massage.