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Despite Body-Type Controversy, National Ballet of Canada Brings Ballet to Union Station
National Ballet of Canada dancers took barre in a very unusual location earlier this week: Toronto's Union Station.
Principal Heather Ogden led a group of company members through typical combinations to the delight of several surprised commuters. The event celebrated the Toronto Transit Commission's We Move You ad campaign, which features photos and videos of NBoC members dancing in various trains, buses and stations around the city.
The campaign ran into a surprising controversy last month. The group Body Confidence Canada criticized the ads for not representing ordinary commuters. An online statement complained that the images "perpetuate unrealistic and highly regimented bodies as some sort of an ideal of 'beauty' " and that "the body type of most ballet dancers do not adequately represent those of most Canadians and dare we say most TTC users."
TTC spokesman Stuart Green pointed out to The Toronto Star that no one's ever had a problem when the organization has used athletes from major sports teams in its ads. Those body types don't exactly represent most Canadians, either. Neither do the unrealistic images of actors and models that surround us every day in all sorts of advertising and media.
Principal Naoya Ebe
But it seems the stereotype of skinny dancers makes them a target. Of course, ballet has a history of not exactly being open to diverse bodies. Still, it seems odd to object to celebrating what highly-trained dancers can do simply because their bodies don't reflect the general population. Obviously, depicting what's ordinary or everyday was not the aim of this campaign. (I, for one, would be much more excited about taking the subway if this was regularly happening on my way to work.)
Although the underground barre event had already been planned before the controversy erupted, hopefully it opened a few commuters' minds. Seeing some of what goes into creating a dancer's physique by watching an up-close-and-personal barre can be an eye-opening experience for non-dancers. Maybe, rather than being offended by the dancers' shapes, Torontonians were inspired by their abilities.
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While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?
In the world of ballet, Arcadian Broad is a one-stop shop: He'll come up with a story, compose its music, choreograph the movement and dance it himself. But then Broad has always been a master of versatility. As a teenager he juggled school, dance and—after the departure of his father—financial responsibility. It was Broad's income from dancing that kept his family afloat. Fast-forward six years and things are far more stable. Broad now lives on his own in an apartment, but you can usually find him in the studio.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.