Étoile Léonore Baulac on Feminist Ballet, Hygge and Not Dancing Too "Safe"
"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"
Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.
Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.
"She is an all-arounder," says POB director Aurélie Dupont, who promoted Baulac to étoile on New Year's Eve last season, after her debut as Odette/Odile in Swan Lake. "And her dancing is intelligent. She is mature, she knows what she wants, why she does things."
That maturity, along with a solid sense of humor, has helped Baulac weather the rough waters that have rocked the venerable French company in the past few years. When Benjamin Millepied was appointed director of POB in 2014, he pushed Baulac, then a coryphée, into the spotlight.
"I quickly noticed a very musical and imaginative dancer with great individuality," Millepied remembers. "She has a very French elegance, this fine-champagne sort of quality, yet she can also be fierce."
Baulac visibly blossomed under Millepied, her dancing growing in scale and confidence. Her innate musicality was right at home in the American-style repertoire her director favored. She also tried her hand at classics, including Paquita, as well as creations by Mille-pied, Wayne McGregor and William Forsythe.
Millepied's drive to nurture young talent led to discontent among more senior dancers, however, and when the embattled director abruptly announced his departure in February 2016, his protégés weren't quite sure what the future would hold for them. "I worried the momentum I had would come to a halt," Baulac admits.
It didn't. Along with Germain Louvet and Hugo Marchand, two friends and frequent partners, Baulac was one of three Millepied-era favorites to be promoted to étoile by Dupont in the space of three months last season: "It was wonderful, because I was able to share that huge emotion with people who were going through it too." As several other étoiles near retirement, the trio is now leading the charge for the new generation—and rejuvenating the 154-strong company in the process.
Ironically, Baulac didn't even get through the first round of the POB School's entrance exams—the physical examination—when she was 10. She only became serious about a classical career a year later, after winning a competition where her idol, POB star José Martinez, sat on the jury. "I decided to be a dancer to dance with him," she says with a chuckle.
By then, she was too old to reapply to the POB School, instead training with a private teacher, Monique Servaes. At the age of 13, Baulac was admitted to the Conservatoire de Paris, and credits her interest in contemporary dance to its mixed curriculum. "Before that, all I wanted was a tutu," she says. "I think we underestimate how important it is for ballet dancers to learn contemporary dance in order to move in a less rigid way."
She finally joined the POB School at 15 as a paying student, the only path for older candidates. Baulac relished the atmosphere, and joined the POB corps de ballet three years later, in 2008.
A frustrating spell ensued. For five years, she missed the mark at the internal concours de promotion, and as a young dancer on the lowest rung, rarely set foot onstage. "The concours got harder and harder every time I failed," Baulac says. "I was hungry for the stage, for roles. I'm a very impatient person, and I had to learn patience."
A handful of opportunities—including De Keersmaeker's Rain and Olympia in John Neumeier's Lady of the Camellias—as well as side gigs with 3e étage, a pickup group of POB dancers, kept her going. By the concours for 2014, however, she made the decision to leave the company if she wasn't promoted. "I think it freed me: I realized that if it didn't work out, there were other options."
She earned a coryphée spot (the second rank of five), and the following fall, Millepied replaced Brigitte Lefèvre as director. "There was an energy about him that was very encouraging," she says. He immediately cast Baulac and Louvet in Nureyev's Nutcracker. "I went from corps understudy to a principal role. The rehearsals in front of the whole company were more stressful than the shows. You feel people looking at you, wondering: Why not me?"
Dupont was her coach for the production, and was impressed: "If you give her a correction, she will analyze it, keep thinking about it," says Dupont. "The progress she makes between the first day of rehearsal and the show is always striking."
Baulac, who has a comfortable technique but was never known for competition-style virtuosity, has forced herself to unlearn the cautious approach drilled into POB's dancers. "I was a good turner, but at the POB School, we were always told: Instead of trying four turns and messing up, just do two." She credits Forsythe, who created a role for her in Blake Works I, and Dupont with pushing her to take risks. "When you're stressed, it feels safer to dance small. I tell myself that the audience wants to see someone who gives their all."
Baulac in Forsythe's Blake Works I. Photo by Ann-Ray, courtesy Paris Opera Ballet
Despite her steady rise, with promotions every year since 2014, her appointment as étoile still came as a surprise. Baulac was only an understudy for Odette/Odile, her one performance coming as a result of injuries. "For me," says Dupont, "it was already done. I was just waiting for the right role to promote her."
Baulac is honest about the weight of responsibility as an étoile: "You're supposed to be excellent all the time, but I don't feel excellent that often." A short period of therapy, before and after her promotion, helped her to embrace the pressure without complacency.
A balanced home life is part of the secret: Outside work, Baulac, whose mother hails from Norway, swears by hygge, the Scandinavian concept of coziness and warmth. In Paris, she lives close enough to walk to work. After a high-profile relationship with fellow POB dancer François Alu, her current boyfriend is in the field of biological agriculture. "It's refreshing, because when I go home, I can really leave the ballet world behind."
Onstage, one of Baulac's dreams came true this fall when she performed Pina Bausch's Rite of Spring. The next item on her wish list—working with the recently retired Mats Ek—may have to wait, but she hopes for more female choreographers in Paris, including the return of Crystal Pite. "I love the way she makes women move. They have the same strength and power as the men."
She still enjoys the traditional tutu-and-tiara roles, but deems it "crucial that creations depict women in new ways, for the classics of the future." In Paris, expect Baulac to be center stage for them.
Adji Cissoko has the alchemical blend of willowy limbs and earthy musicality you expect from a dancer in Alonzo King LINES Ballet. But she also has something more—a joy in dancing that makes every step feel immediate.
"She has this soulful quality of an ancient spirit coming through her body," says LINES chief executive officer Muriel Maffre, a former prima ballerina with San Francisco Ballet. "She's fearless, which is fun to work with," says artistic director Alonzo King. "I don't know how to put it into words— she's herself."
So you're on layoff—or, let's be real, you just don't feel like going to the studio—and you decide you're going to take class from home. Easy enough, right? All you need is an empty room and some music tracks on your iPhone, right?
Wrong. Anyone who has attempted this feat can tell you that taking class at home—or even just giving yourself class in general—is easier said than done. But with the right tools, it's totally doable—and can be totally rewarding.
When Jan Fabre's troupe Troubleyn presents his Mount Olympus: To glorify the cult of tragedy (a 24 hour performance) at NYU Skirball tomorrow it does so under a heavy cloud of controversy.
Fabre is a celebrated Belgian multidisciplinary artist who has been honored as Grand Officer in the Order of the Crown, one of the country's highest honors. His visual art has been displayed at the Louvre and at the Hermitage in St. Petersburg. According to The New York Times, his dance company, Troubleyn, receives about $1 million a year from the Belgian government.
But in an open letter posted to Belgian magazine Rekto Verso just a few months ago, 20 of his company's current and former dancers outline a horrific culture of sexual harassment, bullying and coercion. This comes on the heels of similar accusations at New York City Ballet and Paris Opèra Ballet.
It's contest time! You could win your choice of Apolla Shocks (up to 100 pairs) for your whole studio! Apolla Performance believes dancers are artists AND athletes—wearing Apolla Shocks helps you be both! Apolla Shocks are footwear for dancers infused with sports science technology while maintaining a dancer's traditions and lines. They provide support, protection and traction that doesn't exist anywhere else for dancers, helping them dance longer and stronger. Apolla wants to get your ENTIRE studio protected and supported in Apolla Shocks! How? Follow these steps:
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
Earlier this week, New York City Ballet principal Tiler Peck gave us some major onstage makeup inspiration while attending an offstage event. While walking the red carpet at the CFDA/Vogue Fashion Fund gala, Peck's beauty look was still perfectly suited for the ballet with her top knot hairstyle and stage-worthy red lip. Peck's makeup artist for the night, Daniel Duran, shared his exact breakdown on the look, working exclusively with beauty brand Chantecaille. So, whether you're in need of a waterproof brow pencil, volumizing mascara or long-lasting red lip this Nutcracker season, we've got you covered.
There's a new tool that lets amputee ballet dancers perform on pointe. As reported in Dezeen, an architecture and design magazine, industrial designer Jae-Hyun An has created a prosthesis he calls the "Marie . T" (after Marie Taglioni, of course) that allows dancers with below-the-knee amputations to do pointe work.
A carbon fiber calf absorbs shock while a stainless steel toe and rubber platform allow a dancer to both turn and grip the floor to maintain balance. What it doesn't allow the dancer to do? Roll down to demi-pointe or flat.
Former chair of New York University's Tisch School of the Arts dance department Linda Tarnay died on Tuesday, November 6. Her wish was to have her ashes interred in the columbarium at St. Mark's Church-in-the-Bowery—the site of Danspace Project and just a few blocks away from the Tisch dance building.
Before her 35 years of teaching at NYU, Tarnay was a founding member of Dance Theater Workshop. She performed with choreographers like Anna Sokolow, Phyllis Lamhut and Jamie Cunningham. She also started her own company, Linda Tarnay and Dancers, and was an artist-in-residence at The Yard.
Margaret Selby never dreamed that her passion for dance would lead her everywhere from working on live TV specials like the Macy's Thanksgiving Day Parade to producing hip-hop musical Jam on the Groove, from Columbia Artists Management, Inc., to public TV's "Great Performances: Dance in America."
Now, through her company Selby/Artists MGMT, she helps clients like Dorrance Dance, MOMIX and Pacific Northwest Ballet navigate the behind-the-scenes elements that get their work onstage, like booking tours, marketing and planning upcoming seasons.
According to the new documentary DANSEUR, 85% of males who study dance in the United States are bullied or harassed. A quote in the film from Dr. Doug Risner, faculty member at Wayne State University, states, "If this scope of bullying occurred in any activity other than dance, it would be considered a public health crisis by the CDC."
So why is it allowed to persist in ballet? And why aren't we talking about it more? These are the questions that DANSEUR seeks to answer. But primarily consisting of dance footage and interviews with male dancers like ABT's James Whiteside, Houston Ballet's Harper Watters and Boston Ballet's Derek Dunn, the film only addresses these issues superficially, with anecdotes about individual experiences and generalizations about what it's like to be a male dancer.
When you're unable to dance, it's easy to feel like you're falling behind and losing out on opportunities. But this can be a time to reset your body and come back even stronger, says Ilana Goldman, BFA program director at Florida State University's School of Dance. "Some of the greatest leaps I made in my technique happened because of injuries," she says. "Learning how to deal with them is part of being a professional dancer."
Dancers are human, which means they're bound to make mistakes from time to time, both on and off the stage. But what happens when those mistakes burn bridges? In an industry so small, is it possible for choreographers and performers to recover?In a moment of vulnerability, three-time Emmy Award winning choreographer Mia Michaels opened up to Dance Magazine about some of the bridges she herself has burned, the lengths she's gone to in order to rebuild and the peace she's made with the new direction her career has taken because of them. —Haley Hilton
Are auditions rigged? Sometimes I see mediocre dancers make it into a company, and I just don't get it. The audition process is unnerving for me without feedback or any understanding of the rules.
—Madison, Santa Monica, CA
Raise your hand if you've received bad advice from well-meaning friends or family (or strangers, tbh) who don't know anything about what it really takes to be a dancer.
*everyone raises hands*
Sometimes it's even dance insiders whose advice can send you down the wrong path. We've been asking pros about the worst advice they've ever received in our "Spotlight" Q&A series, and rounded up some of the best answers:
Where in the world is Miko Fogarty? Just three years ago, she seemed unstoppable. After being featured in the 2011 ballet documentary First Position, she became a teenage social-media star, winning top prizes at competitions in Moscow and Varna and at Youth American Grand Prix, and dancing in galas around the world. Last most of us heard, it was 2015 and she had just joined the corps of Birmingham Royal Ballet. A year later, she dropped off the ballet radar.
Turns out Fogarty, now 21, was taking time off to reevaluate her life, including the role she wanted ballet to play in it. She is now starting her junior year as a biology major at University of California—Berkeley and is considering going to medical school. (Her brother and fellow First Position subject, 19-year-old Jules, is a junior in the Berkeley economics department.) On the side she teaches private ballet lessons and gives master classes, and is the part-time conservatory director at San Jose Dance International, a new school in the San Francisco Bay Area led by artistic director Yu Xin. We caught up with her by phone.
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
In dance, pushing through pain is often glorified. Dancers can be reluctant to take time off when sick or injured for fear of missing out on opportunities. It can feel even harder to justify when the pain isn't physical. Though it's becoming more commonly acknowledged that mental health is just as important as physical health, a dance career doesn't leave much time to address mental or emotional issues.
But dancers need to take care of their mental well-being to be able to perform at their best, says Catherine Drury, a licensed clinical social worker for The Dancers' Resource at The Actors Fund. So what can you do if you need a mental health day?
The fall performance season continues at breakneck speed with everything from an international ballet company making its U.S. debut to a retrospective on one of New York City's most iconic dancemakers—not to mention more than a few intriguing new works. Here's what we've got pencilled in.
Yabin Wang converts movement into liquid that spills across the stage. A celebrity in her home country of China, this choreographer, dancer and actress has helped to pioneer modern dance there by blending Chinese classical and contemporary dance. Wang's international career was kick-started in 2010 at American Dance Festival, where she returned this summer to perform on a shared program with Michelle Dorrance, Aparna Ramaswamy, Rhapsody James and Camille A. Brown. She has also worked with Sidi Larbi Cherkaoui on Genesis and was commissioned by English National Ballet to create a piece for its Olivier Award–winning She Said program. This month, she is back stateside for the U.S. premiere of her Moon Opera, Nov. 3 in Pittsburgh.
It's the casting news we didn't know we needed until we heard it. Ever since it was announced that Wayne McGregor would be choreographing the new film adaptation of CATS, we've been anxiously waiting to hear whether any recognizable names from the dance world would be joining the A-list cast (which, in case you missed it, already includes Jennifer Hudson, Sir Ian McKellan, Taylor Swift and James Corden). But never in our wildest dreams did we think that a Royal Ballet principal would be the first dancer to sign on.
The wait for Disney's reimagining of The Nutcracker is over. Although The Nutcracker and The Four Realms is not a full-length ballet, woven into the plot is a five-minute performance by megastars Misty Copeland and Sergei Polunin alongside 18 supporting dancers, with a CGI Mouse King moved by jookin sensation Lil Buck (aka Charles Riley). Royal Ballet artist in residence Liam Scarlett led the film's choreography in his first major motion picture experience. "It was a call I didn't expect to get," says Scarlett. "I really am the biggest Disney fan, so I couldn't believe it!"