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Become a Better Partner: Tips for Women
From their first moments in the studio, female ballet dancers are taught to hold themselves upright and control each movement of their body with intense precision. Yet in partnering, these rules of independent practice are challenged. Sasha Janes, Indiana University's Jacobs School of Music faculty member and partnering coach, offers some tips for how female dancers can navigate this change in approach.
(For tips for male ballet dancers, click here.)
Boston Ballet's Lia Cirio and Lasha Khozashvili, photo by Rosalie O'Connor
There are times when you must turn all your body weight over to your partner and allow their performance to determine your performance. Just as in solo work, there are steps that cannot be executed without complete tenacious commitment. Be prepared to fall into or away from your partner with full energy. Trust is built through rehearsal and an achievable shared goal. If a step in partnering is done with half confidence, your partner will not be able to feel your intention and there is little hope for success.
Houston Ballet's Connor Walsh and Karina Gonzalez, photo by Kate Longley
You have trained for years how to successfully move your body through space, so you understand the mechanics of the ballet body. Know where your partner's weight needs to be for a given step or transition, and be prepared to allow him to move into that space—a good partnership should make life easier, not harder.
American Ballet Theatre's Hee Seo and Marcelo Gomes, photo by Kyle Froman
Speak to each other often. Oftentimes women fear that if we speak up or admit to being uncomfortable, we will be perceived as a "bad partner." The exact opposite is true. If a step isn't working, never be afraid to talk about it. If you let an issue go, it festers and can affect the chemistry and confidence of the partnership onstage.
San Francisco Ballet's Maria Kochetkova and Joan Boada, photo by Erik Tomasson
Upper body and back strength is imperative. The time of the waifish ballerina is over. Women must have the ability to lift and be a counterweight. The stronger you are, the more versatile your movement and the pictures you can create with your partner become.
Match His Energy
Jock Soto teaching at SAB. Photo by Rosalie O'Connor
For every push, there should be an equal and opposite push. Perhaps your inclination when you feel a hand pushing you is to allow your body to follow that partner's direction. However, there are very clear times when a step in partnering requires the female dancer to give equal resistance to her male counterpart. Hands touching are a unique mechanism sending for messages about balance between bodies. Whether you are executing a classical ballet penché with one arm or an off-balance arabesque in a pas by Jiri Kylian, you must feel and match your partner's energy to find stability.
You can't make the next step happen alone; it has to be a joint effort. Partnering is a conversation; always wait to see what your partner "says" to you, then respond with your natural movement. No matter how much you want to control things, wait for your partner. If the woman's body weight transfers before the man has begun his motion to partner, the fluidity is disturbed and the natural rhythm of the step is lost. There is also inevitably a visually jarring bobble that takes the audience out of the piece. No one wants that.
Be Honest About Body Placement
The Joffrey's Jeraldine Mendoza and Dylan Gutierrez, photo by Cheryl Mann
Sometimes, in rehearsal, you have to fall—give yourself over to the failure. Nothing is gained by faking a success in the early stages of a pas rehearsal period. This is especially true for women. If you are not on your leg, don't hold yourself. Your partner will learn faster if you are honest in your execution. In a pirouette, go for it and turn in an honest, dependable position—an accidental knee hit will only happen once, so apologize and move forward.
School of Richmond Ballet
No matter what, you must address each other with the utmost respect. Whether you just met your partner, live with him or have been friends with him for years, never let your relationship outside the studio affect the way your work together professionally. You will never achieve success if you are just finding fault in each other, and choreographers will not want to work with you if outside baggage is junking up the studio space. Both of you are performing onstage—not one or the other. Be there for each other.
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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.