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.
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Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
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When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
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The New Jersey native's reaction: "I really need to move home."
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Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
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The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
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Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
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So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.