Doctors Doubted She'd Be Able to Run Again. Now She's Dancing Principal Roles at Atlanta Ballet
In just two seasons with Atlanta Ballet, Emily Carrico has emerged as a lead dancer with depth and dimension beyond her years. Her Sugar Plum Fairy sparkled. Her Black Swan was cunning and treacherous. In a recent rehearsal, her Sylph appeared effortless as she darted along the floor, evoking a fairy here, a dragonfly there. Watching her excel, you'd never know that Carrico has had a partially fused spine since childhood.
In costume for Bournonville's La Sylphide
Rachel Neville, Courtesy Atlanta Ballet
Companies: Kentucky Ballet Theatre, Columbia City Ballet, Atlanta Ballet
Hometown: Lexington, Kentucky
Training: Kentucky Ballet Theatre Academy, The Harid Conservatory, Magaly Suarez's The Art of Classical Ballet School
Defying diagnosis: At age 3, Carrico was diagnosed with spondylolisthesis, or slippage of the vertebrae. Doctors surgically fused her two lowest lumbar vertebrae with her sacrum, and she was immobilized in a full-body cast for three months. After more than a year of rehabilitation, Carrico began studying ballet. "I've been back to the surgeons and they said, 'We did not anticipate you'd be able to run again, let alone do what you're doing.' "
Finding what works: Because her fused lower vertebrae were shaped to simulate a natural lumbar curve, Carrico has to work extra-hard to keep her pelvis properly placed. For arching movements, she thinks of lengthening the spaces in between her vertebrae, and she works with an open hip line in arabesque.
What Gennadi Nedvigin is saying: "Courage, determination and an almost fanatic drive are some of the significant qualities needed to become the kind of dancer that Emily is," says Atlanta Ballet's artistic director, who chose Carrico as one of his first new hires. "Her ecstatic joy for ballet radiates as she performs, which gives her a special ability to connect with an audience."
In Don Quixote
Kim Kenney, Courtesy Atlanta Ballet
Mind over matter: Carrico has learned to discipline her mind, so thoughts about pain or fatigue don't overwhelm her during a full-length ballet. Silent words of encouragement, like "Yes, you can. Keep going," help push her to her max. "The mind is very powerful," she says, "especially onstage."
Most people may know Derek Dunn for his impeccable turns and alluring onstage charisma. But the Boston Ballet principal dancer is just as charming offstage, whether he's playing with his 3-year-old miniature labradoodle or working in the studio. Dance Magazine recently spent the day with Dunn as he prepared for his debut as Albrecht in the company's upcoming run of Giselle.
You know compelling musicality when you see it. But how do you cultivate it? It's not as elusive as it might seem. Musicality, like any facet of dance, can be developed and honed over time—with dedicated, detailed practice. At its most fundamental, it's "respect for the music, that this is your partner," says Kate Linsley, academy principal of the School of Nashville Ballet.
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
Notable dancer and beloved teacher, Ross Parkes, 79, passed away on August 5, 2019 in New York City. He was a founding faculty member at Taipei National University of the Arts in Taiwan, where he taught from 1984 to 2006. Lin Hwai-min, artistic director of Cloud Gate Dance Theater, said: "He nurtured two generations of dancers in Taiwan, and his legacy will continue."
About his dancing, Tonia Shimin, professor emerita at UC Santa Barbara and producer of Mary Anthony: A Life in Modern Dance, said this: "He was an exquisite, eloquent dancer who inhabited his roles completely."