For Katherine Barkman, Falling Onstage Led to Her Latest Job Offer
Katherine Barkman's career reads like a storybook: At 18, she left Pennsylvania and moved to the Philippines to become a principal at Ballet Manila. She danced Juliet, Giselle, Odette/Odile and Kitri, but three years in, it was time for new challenges. Late last year, Barkman joined The Washington Ballet, bringing her scintillating, pure Vaganova technique and her warm stage persona to U.S. audiences.
Company: The Washington Ballet
Hometown: Bucks County, Pennsylvania
Accolades: USA International Ballet Competition (silver), Varna IBC (silver), Asian Grand Prix (grand prix), Valentina Kozlova IBC (gold)
Competing at Varna
Photo by Ani Collier, Courtesy The Washington Ballet
Vaganova training: When Barkman was ready to get serious about ballet at 14, her mother found Vaganova expert Nadia Pavlenko. "When I went for a trial class, they told me I danced like a monkey," says Barkman. Undeterred, she signed on for private lessons and completed high school online.
Unconventional route: American Ballet Theatre invited her to join its Studio Company when she was 17, but Barkman turned it down. "Physically I needed one more year of training." After that, she sent out more than 50 resumés and Ballet Manila offered her a principal position. "I knew I had to go because I was going to get to dance roles that I wouldn't touch for another 10 years if I joined a bigger company."
Life in Manila: Leaving the comfort of her suburban home was hard. "I didn't have enough money to get my own place, so I was living in a dorm with five girls and doing laundry in a tub with a hose."
Finding meaning: Ballet Manila artistic director Lisa Macuja-Elizalde frequently sent Barkman to international competitions and guest performances. Just as often, the company would perform for children in the country's poorest neighborhoods. "I would dance the Rose Adagio in a basketball court. I had never imagined that ballet would make kids so happy."
Barkman in Balanchine's Tarantella
Mena Brunette of XMB Photography, Courtesy The Washington Ballet
Coming home: When competing at the Jackson IBC in 2018, Barkman received a silver medal, despite falling onstage. "I made the choice to not let that cripple me," she says. That's when she met The Washington Ballet's artistic director, Julie Kent, who invited her to guest at TWB's season opener—and then join the company. "I was impressed with Katherine immediately," says Kent. "She's just got such a real ballerina quality."
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."