Dancers Trending

Diana Vishneva on Why Americans Are Wrong About Russia & Contemporary Dance

Part of the reason we chose international ballet star Diana Vishneva as one of our Dance Magazine Awardees this year is because she's always been an innovator. Before it was normal for ballet dancers to travel the world guesting for numerous companies, Vishneva, who began at the Mariinsky Ballet and later became a principal at American Ballet Theatre, was doing it. Today, she's opened a new chapter of her career by departing ABT and devoting more time to her CONTEXT Festival in Russia. But she's still innovating, commissioning her first original work for the festival this year and creating programming aimed at developing contemporary choreographers in Russia. We caught up with her to hear how the 2017 festival is shaping up:


Why did you choose Goyo Montero to create CONTEXT's first original commission?

I was always impressed by his choreographic style—a synthesis of classical and contemporary dance. It is so interesting to see him taking the classic plot of Cinderella or Romeo and Juliet and transforming it to fit the modern paradigm, discovering other meanings and telling these iconic stories in a completely new way. I think his style perfectly fits the artists of the Perm Opera and Ballet Theater who are going to perform his Asunder at the festival.

Is anything else new with the festival this year?

For its fifth year, we created a new logo and a filmed mini-performance already available on our website:

This year we also celebrate the 85th anniversary of the renowned Dutch choreographer Hans van Manen. We will treat the audience to one of his iconic works, Sarcasm, performed by the Dutch National Ballet. The international program features the Russian premiere of Nijinsky by Marco Goecke performed by Gauthier Dance Company, one of the favorites of the festival audience. Nijinsky's name is very meaningful to Russia, so it's interesting how this work will be perceived here.

The educational program has also evolved. Together with the British Council and Studio Wayne McGregor we've prepared a two-day workshop in Moscow for choreographers from all over Russia. They will get a chance to win a grant to develop and stage their own production in their hometown and an opportunity to complete an internship at Studio Wayne McGregor in London. As always, we will run a competition for young choreographers, which will be showcased for the first time in St. Petersburg. If in the first years of the festival we received 20-30 applications, mostly from Moscow and St. Petersburg, this year more than 100 of them came from all over the world. We are planning to bring the competition to America and other countries in the future. The competition is our pride, the unique educational and creative product of the festival.

What's your vision for the festival for the next few years?

We are going to show The Room by Olga Vasilieva, the winner of the 2016 choreography competition, as well as Asunder by Goyo Montero at the Holland Dance Festival in January 2018. We are planning to expand our educational program. Currently the festival has two directions, one includes workshops for dancers and choreographers, and the second focuses on future dance critics and ballet photographers. Next year, we'll launch a series of lectures for stage designers and a special workshop for dancers about injury prevention and how to quickly get in shape after recovery. I am pleased to see that our young critics and photographers that went through our workshops are already published not only in blogs and social networks, but they take pictures and write for leading theaters, newspapers and magazines.

How are you liking being in the director position?

I don't think that I can like or not like the position. I mostly feel huge responsibility for everything that happens in the life of the festival. When I dance, I'm in charge only of myself, and being a festival's director is a completely different story. I take part in every aspect of its organization: I participate in the selection of participants of our international program, in the finalists of the competition of young choreographers and in the development of the film program.

How has your experience as a dancer informed your role as a director?

The fact that I'm often on tour allows me to see many premieres and get acquainted with new names. In the west, there is an opinion that in Russia we are far behind in the sphere of awareness of contemporary dance. Believe me, this is far from the truth. In recent years, also thanks to our CONTEXT Festival, almost all leading companies of modern dance have visited Russia.

How do you balance your role as director with performing?

The CONTEXT Festival came to me very gradually. It's impossible to wake up one morning and suddenly decide to run your own festival. For example, the first 10 years of my life at the Mariinsky Theater were devoted to mastering the classical repertoire. But I always knew that I wanted to explore more. And when I reached a certain level, I went further. That is how I started my solo modern dance projects. These gave me a completely different understanding of dance. I remember when I once was at the festival of Pina Bausch in Wuppertal and I thought that such a festival, where both professionals and amateurs create together, would be so wanted in Russia! And a few years later I managed to transform that idea into reality. I have done a lot in my artistic life and I am now ready to share my experience. Together with my colleagues we create the history of contemporary dance in Russia.

What advice would you give to dancers interested in moving into a leadership role?

Set a clear goal and understand what do you need to develop in yourself to achieve it. Starting any business is only possible with a loyal team and self-confidence. Don't be afraid of difficulties or uncertainty whether you will succeed or not, or whether your initiative finds support or not. In our profession, we are accustomed to difficulties and by overcoming them you understand that you have no boundaries, and you are truly free in what you do.

The Conversation
Dance Training
Joshua Dean. Photo by Craig Geller, courtesy Dean

These days, you don't have to be in the circus to learn how to fly. Aerial dance has grown in popularity in recent years, blending modern dance and circus traditions and enlisting the help of trapeze, silks, hammocks, lyra and cube for shows that push both viewers and performers past their comfort zones.

More dancers are learning aerial than ever before. Besides adding new skills to your resumé, becoming an aerialist opens up a new realm of possibilities.

Keep reading... Show less
News
Valdes and Alonso. Photo by Nancy Reyes, courtesy BNC

Alicia Alonso's famed ballet company in Cuba has a new leader: the beloved hometown prima ballerina Viengsay Valdés.

Ballet Nacional of Cuba just named Valdés deputy artistic director, which means she will immediately assume the daily responsibilities of running the company. Alonso, 98, will retain the title of general director, but in practice, Valdés will be the one making all the artistic decisions.

Keep reading... Show less
Advice for Dancers
Photo by Ahmad Odeh/Unsplash

I'm terrified of performing choreography that changes directions. I messed up last year when the stage lights caused me to become disoriented. What can I do to prevent this from happening again? I can perform the combination just fine in the studio with the mirror.

—Scared, San Francisco, CA

Keep reading... Show less
Health & Body
It's not about what you have, but how you use. Photo by Brooke Cagle/Unsplash

From the angles of your feet to the size of your head, it can sometimes seem like there is no part of a dancer's body that is not under scrutiny. It's easy to get obsessed when you are constantly in front of a mirror, trying to fit a mold.

Yet the traditional ideals seem to be exploding every day. "The days of carbon-copy dancers are over," says BalletX dancer Caili Quan. "Only when you're confident in your own body can you start truly working with what you have."

While the striving may never end, there can be unexpected benefits to what you may think of as your "imperfections."

Keep reading... Show less
Dance Training
Alexander Iziliaev, courtesy MCB

It's the second week of Miami City Ballet School's Choreographic Intensive, and the students stand in a light-drenched studio watching as choreographer Durante Verzola sets a pas de trois. "Don't be afraid to look at the ceiling—look that high," Verzola shows one student as she holds an arabesque. "That gives so much more dimension to your dancing." Other students try the same movement from the sidelines.

When Arantxa Ochoa took over as MCB School's director of faculty and curriculum two years ago, she decided to add a second part to the summer intensive: five weeks focused on technique would be followed by a new two-week choreography session. The technique intensive is not a requirement, but students audition for both at the same time and many attend the two back-to-back.

Keep reading... Show less
Dance Training
Instructor Judine Somerville leads a musical theater class. Photo by Rachel Papo

On a summer afternoon at The Ailey School's studios, a group of students go through a sequence of Horton exercises, radiating concentration and strength as they tilt to one side, arms outstretched and leg parallel to the ground. Later, in a studio down the hall, a theater dance class rehearses a lively medley of Broadway show tunes. With giant smiles and bouncy energy, students run through steps to "The Nicest Kids in Town" from Hairspray.

"You gotta really scream!" teacher Judine Somerville calls out as they mime their excitement. "This is live theater!" They segue into the audition number from A Chorus Line, "I Hope I Get It," their expressions becoming purposeful and slightly nervous. "Center stage is wherever I am," Somerville tells them when the music stops, making them repeat the words back to her. "Take that wherever you go."

Keep reading... Show less
News
Brooklyn Studios for Dance founder Pepper Fajans illustrates the cold temperatures inside the studio. Screenshot via Vimeo.

Dance artists, as a rule, are a resilient bunch. But working in a studio in New York City without heat or electricity in the middle of winter? That's not just crazy; it's unhealthy, and too much to ask of anyone.

Unfortunately, Brooklyn Studios for Dance hasn't had heat since mid-November, making it impossible for classes or performances to take place in the community-oriented center.

So what's a studio to do? Throw a massive dance party, of course.

Keep reading... Show less
Health & Body
Anika Huizinga via Unsplash

As winter sets in, your muscles may feel tighter than they did in warmer weather. You're not imagining it: Cold weather can cause muscles to lose heat and contract, resulting in a more limited range of motion and muscle soreness or stiffness.

But dancers need their muscles to be supple and fresh, no matter the weather outside. Here's how to maintain your mobility during the colder months so your dancing isn't affected:

Keep reading... Show less
News
The International Association of Blacks in Dance's annual audition for ballet dancers of color. Photo by E. Mesiyah McGinnis, Courtesy IABD

A newly launched initiative hopes to change the face of ballet, both onstage and behind the scenes. Called "The Equity Project: Increasing the Presence of Blacks in Ballet," the three-year initiative, funded by the Andrew W. Mellon Foundation, is a partnership between Dance Theatre of Harlem, the International Association of Blacks in Dance and Dance/USA.

"We've seen huge amounts of change in the years since 1969, when Dance Theatre of Harlem was founded," says Virginia Johnson, artistic director of DTH. "But change is happening much too slowly, and it will continue to be too slow until we come to a little bit more of an awareness of what the underlying issues are and what needs to be done to address them."

Keep reading... Show less
The Creative Process
Nashiville Ballet artistic director Paul Vasterling went through executive coaching to be come a better leader. Photo by Anthony Matula, Courtesy Nashville Ballet

From the outside, it seemed like the worst of New York City Ballet's problems were behind them last winter, when ballet master in chief Peter Martins retired amid accusations of abuse and sexual harassment, and an internal investigation did not substantiate those claims.

But further troubles were revealed in August when a scandal broke that led to dancer Chase Finlay's abrupt resignation and the firing of fellow principals Amar Ramasar and Zachary Catazaro. All three were accused of "inappropriate communications" and violating "norms of conduct."

The artistic director sets the tone for a dance company and leads by example. But regardless of whether Martins, and George Balanchine before him, established a healthy organization, the issues at NYCB bespeak an industry-wide problem, says Jawole Willa Jo Zollar, founding artistic director of Urban Bush Women. "From New York City Ballet to emerging artists, we've just done what's been handed down," she observes. "That has not necessarily led to great practices."

Keep reading... Show less
Popular

If you've ever wondered what goes on behind the scenes at Dance Magazine, now's your chance to find out. Dance Magazine is seeking an editorial intern who's equally passionate about dance and journalism.

Through March 1, we are accepting applications for a summer intern to assist our staff onsite in New York City from June to August. The internship includes an hourly stipend and requires a minimum two-day-a-week commitment. (We do not provide assistance securing housing.)

Keep reading... Show less
News
Credits with photos below.

For the past few months, the dance world has been holding its collective breath, waiting for New York City Ballet to announce who will take over the helm as artistic director.

Though former ballet master in chief Peter Martins retired over a year ago after accusations of sexual harassment and abuse (an internal investigation did not corroborate the accusations), the search for a new leader didn't begin until last May.

Nine months later, the new director's name could be released any day now. And we have some theories about who it might be:

Keep reading... Show less
Irina Dvorovenko with Tony Yazbeck in The Beast in the Jungle. Photo by Carol Rosegg, Courtesy Sam Rudy Media Relations.

Some people take this profession as just a chapter of their life. They feel like dance is a job—a fun job, but a job. Other people live their life through dance. I never considered being a ballerina a profession. It's a lifestyle.

If I don't have a performance, I feel like a tiger trapped in a cage. I have so many emotions, I feel I need to give them to somebody, to exhaust myself—I need to cry or laugh, or else it's suffocating. Other people might scream or throw bottles into the wall. We dancers scream onstage through our movement. For me, it's like sweeping off the dust in my soul.

Keep reading... Show less
25 to Watch
Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt

What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.

Here they are: the 25 up-and-coming artists we believe represent the future of our field.

Keep reading... Show less
Dancers Trending
Photos via Polunin's Instagram

If you follow Sergei Polunin on Instagram, you've probably noticed that lately something has been...off.

Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:

Keep reading... Show less
The Creative Process
Forsythe's in the middle, somewhat elevated uses the battement like an attack. Photo by Alexander Iziliaev, courtesy Pennsylvania Ballet

Just before retiring in 2015, Sylvie Guillem appeared on "HARDtalk with Zeinab Badawi," the BBC's hard-hitting interview program. Badawi told Guillem,

"Clement Crisp of the Financial Times, 14 years ago, described your dancing as vulgar."

Guillem responded,

"Yeah, well, he said that. But at the same time, when they asked Margot Fonteyn what she thought about lifting the leg like this she said, 'Well, if I could have done it, I would have done it.' "

They were discussing Guillem's signature stroke—her 180-degree leg extension à la seconde. Ballet legs had often flashed about in the higher zones between 135 and 160 degrees before. But it wasn't until the virtuoso French ballerina regularly
extended her leg beside her ear with immaculate poise in the 1980s that leg extensions for ballet dancers in classical roles reached their zenith. Traditionalists like Clement Crisp were not taken with it.

Keep reading... Show less
Dance & Science
Amar Odeh/Unsplash

Back in 2011, Yale University's dean of science was thinking about refreshing the program's offerings for non-majors when he happened upon a Pilobolus performance. A light bulb went off: Dance is full of physics.

That realization led to what has become an eight-year collaboration between particle physicist Sarah Demers and former New York City Ballet dancer Emily Coates, both professors at Yale who were brought together to co-teach a course called The Physics of Dance. Their partnership has involved everything from directing a short film to presenting a TedX Talk and performing a piece that Coates created, commissioned by Danspace Project. This month, they're publishing a book about what they've discovered by dialoging across two seemingly disparate disciplines.

Keep reading... Show less
Career Advice
Umi Akiyoshi Photography, Courtesy Sidra Bell Dance New York

Sebastian Abarbanell remembers being asked as an undergrad at Trinity Laban in London to perform wearing only a dance belt. "I said no," he says, "because I felt uncomfortable." Now a performer with Sidra Bell Dance New York, he's performed partially nude several times, without reservation. The difference? "It comes with more experience and maturing as a dancer," he says. "When you see a dancer living in their skin, you don't need to put anything else on them. When I said no in college, I wasn't in my skin yet."

Getting in your skin—and getting comfortable wearing only your skin onstage—requires a particular alchemy of vulnerability, agency, preparation and practice.

Keep reading... Show less
Dancers Trending
Courtesy Birmingham Royal Ballet

Birmingham Royal Ballet announced today that international star Carlos Acosta will be taking over as director in January of 2020. Current BRB director David Bintley will be stepping down this summer, at the end of the company's 2019 season, after a 24-year tenure. "It is a tremendous honor and privilege to have been appointed to lead Birmingham Royal Ballet," Acosta said in a statement.

Since retiring from The Royal Ballet in 2015, Acosta has focused much of his attention on his native Cuba, where he's proven his directorial abilities at the helm of Acosta Danza, the contemporary company that he founded in 2016. In 2017 Acosta also opened his first Dance Academy through his foundation, which provides free training to students. We don't yet know how Acosta will balance his time between his projects in Cuba and his new role at BRB.

Keep reading... Show less
Advice for Dancers
When you spend most of your day at the theater, it's challenging to find time to date. Photo by rawpixel/Unsplash.

My personal life has taken a nosedive since I broke up with my boyfriend. He's in the same show and is now dating one of my colleagues. It's heartbreaking to see them together, and I'm determined never to date a fellow dancer again. But it's challenging to find someone outside, as I practically live in the theater. Do you have any advice?

—Loveless, New York, NY

Keep reading... Show less
News
Carol Channing in the original 1964 production of Hello, Dolly! Photo by Eileen Darby, Courtesy DM Archives.

The inimitable Carol Channing, best known for her role as the titular Hello, Dolly!, passed away today at 97.

Though she became a three-time Tony winner, Channing was born in Seattle, far from the Great White Way, in 1921. After growing up in San Francisco, she attended the famed Bennington College, studying dance and drama. She later told the university, "What Bennington allows you to do is develop the thing you're going to do anyway, over everybody's dead body." For Channing, that meant decades of fiery, comical performances, bursting with energy.

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox