Patricia Barker Responds to All Those Royal New Zealand Ballet Rumors
The past few months have brought on a media storm surrounding accusations about the culture and employment practices at the Royal New Zealand Ballet. But it turns out, much of the reported information doesn't tell the whole story.
Caught up in the rumors has been newly hired artistic director Patricia Barker. The former Pacific Northwest Ballet star and concurrent director of Grand Rapids Ballet took over RNZB last June, and although the most troubling aspects of what has been reported, such as accusations of abusive behavior and other workplace grievances, pre-date her appointment, some complaints have been directed at her.
Class at RNZB. Photo by Evan Li, via rnzb.org.nz
The board of RNZB said in a press release last month: "Recent speculation about the culture and employment practices of the RNZB are troubling and unfair." To further address such allegations, the board has arranged for an independent review of RNZB's employment processes.
One of the issues widely reported in the New Zealand media is that half of RNZB's thirty-six dancers have left the company or didn't have their contracts renewed. Barker says in her tenure as director that number is actually ten; three retired, four were not reengaged and three, Tonia Looker, Kohei Iwamoto and Isabella Swietlicki took positions at Australia's Queensland Ballet. Barker also points out Looker (who is Australian) and Iwamoto had auditioned for Queensland Ballet a year ago and were awaiting positions before she even worked with them, and that Swietlicki left to follow boyfriend Iwamoto.
Barker in class with Royal New Zealand Ballet. Photo by Stephen A'Court, Courtesy RNZB
While dancer hirings and departures are a normal part of any professional ballet company, it is perhaps the lack of long-term stability in RNZB's artistic leadership—three directors in the past six years—that has made the number of recent dancer departures into an issue. "As far as dancers coming and going, it's the evolution of any company," says Barker. "All of the attention towards that gives me a sense the community really cares about the organization and I hope that we continue to get this much media coverage as we move into the next season and the wonderful ballets are done."
Another debate directed at Barker centers around a sense that the country's only ballet company should contain a certain percentage of New Zealand-born and trained dancers and be staffed by New Zealanders. But according to RNZB board member Isaac Hikaka, 42% of the company's dancers are New Zealanders or New Zealand-trained (in line with their historical average) and the company is working to improve those numbers.
For Barker's part, she has reached out to New Zealanders dancing abroad to gauge their interest in returning home to dance with RNZB. And contrary to early reports that the company for the first time did not look to RNZB's affiliated New Zealand School of Dance to hire new dancers, Barker did offer two graduate students contracts with the company but they chose to dance elsewhere.
A big stumbling block Barker says she is addressing is the non-industry standard December-to-January contracts which makes it difficult to hire dancers when many become available halfway through that term. Barker says to work around that she is having ongoing auditions throughout the year and keeping a few contracts in reserve to use on new talent.
Another challenge is that unlike many large ballet companies, RNZB has no studio company, second company or apprentice program in place, which limits RNZB's ability to hire qualified young dancers."We're missing that important step for young dancers, and this might also be why some of the talented dancers from New Zealand have gone elsewhere," says Barker. Barker is working on an apprentice program with the support of New Zealand's Ministry of Culture, and has worked with Youth America Grand Prix to create an internship program. "Being as we don't have a summer program this is a great added benefit for young students to get to know the company and for us to attract young talent," says Barker.
Barker has also taken some heat for her artistic staff hires not all being from New Zealand. She says one change she knew she wanted to make was hiring permanent ballet masters instead of short-term ones, as the company had done previously. The first of those she hired was New Zealander Clytie Campbell, who had worked with the company in that position on a yearly contract, and most recently former Grand Rapids Ballet stars, husband and wife Nicholas and Laura McQueen Schultz.
Despite the rumors about the company's troubles, there's plenty to celebrate about Barker's new role. Though the 2018 season had been already programmed by former artistic director Francesco Ventriglia, Barker was able to add a Strength & Grace program of internationally acclaimed women dancemakers in honor of the 125th anniversary of women's suffrage in New Zealand and RNZB's 65th birthday.
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
We caught up with Alsop for our "Spotlight" series:
I want to make an apology because, in my opening speech at the Dance Magazine Awards on Monday, I inadvertently left out one awardee. I said, "Tonight we are honoring four outstanding dance artists who have contributed to the dance field over time." But then I named only three. How could I have forgotten Lourdes Lopez?!?!
We had all been hearing about Lourdes's taking the helm at Miami City Ballet with grace, intelligence, compassion and new ideas. I was planning to say, "Lourdes Lopez, who has brought new life to Miami City Ballet" because I thought that would cover a lot of ground. (My only quibble with myself was whether to say "brought new life" or "gave new life.")
Each year, The New York Times Magazine shines a spotlight on who they deem to be the best actors of the year in its Great Performers series. But, what we're wondering is, can they dance? Thankfully, the NYT Mag recruited none other than Justin Peck to put them to the test.
Peck choreographed and directed a series of 10 short dance films, placing megastars in everyday situations: riding the subway, getting out of bed in the morning, waiting at a doctor's office.
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:
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On busy performance days, international guest artist Joy Womack always makes time for one activity after class and rehearsals: a nap. "I like to feel well-rested when I need to be in the spotlight at night, not dragging at the end of the day," she says. "It helps me recover and refocus."
With her earbuds tuned to a guided meditation app, she can squeeze in a nap wherever she needs to. "One time I even took a nap on the floor of the tour bus in Siberia," she says. "Dancers can sleep anywhere."
Joy Womack prioritizes napping before a show. Photo by Quinn Wharton for Pointe magazine.
As research has revealed the benefits of short daytime naps, power-napping advice has proliferated, and more dancers are choosing to include a nap in their pre-performance routines. Approaching napping strategically will help you get the most out of an afternoon snooze.
On Monday night, a memorial was held at Riverside Church to honor the life and achievements of Dance Theatre of Harlem co-founder Arthur Mitchell. With nearly three months to process and grieve (Mitchell passed away on September 19) the atmosphere was not that of mourning as much as reflection, reverence and admiration for who he was, what he built and what remains. (Watch the full livestream here.)
The church filled with family, artistic friends, fans and admirers. What was most gratifying was the volume of DTH alumni from the school, company and organization who traveled across the globe to pay their respects, from founding members to present dancers and students. The house of worship was filled with the sentiment of a family reunion. As Mitchell was sent home, it was a homecoming for many who have not shared air together in decades. What was palpable was the authentic bonds that Dance Theatre of Harlem and Mitchell fostered in all.
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.
Gennadi Nedvigin is not the only early tenure director breaking out a new production of The Nutcracker this season.
We love The Nutcracker as much as the next person, but that perennial holiday classic isn't the only thing making its way onstage this month. Here are five alternatives that piqued our editors' curiosity.
The Nutcracker is synonymous with American ballet. So when Gennadi Nedvigin took the helm at Atlanta Ballet in 2016, a new version of the holiday classic was one of his top priorities. This month, evidence of two years' worth of changes will appear when the company unwraps its latest version at Atlanta's Fox Theatre Dec. 8–24. Choreographed by Yuri Possokhov and produced on a larger-than-ever scale for Atlanta, the new ballet represents Nedvigin's big ambitions.
Ballet Hispánico returns to the famed Apollo Theater in Harlem with its full-length ballet, CARMEN.maquia. Spanish choreographer Gustavo Ramirez Sansano has reenvisioned the story of Carmen to emphasize Don José, the man who falls in love with Carmen, suffers because of her infidelity, then murders her in a "fit of passion." Their duets are filled with all the sensuality, jealousy and violence you could wish for—in a totally contemporary dance language.
Sansano's previous piece for Ballet Hispánico, El Beso, bloomed with a thousand playful and witty ways of expressing desire. He has a knack for splicing humor into romance.
Not being able to attend the in-person audition at your top college can feel like the end of the world. But while it's true that going to the live audition is ideal, you can still make the best out of sending a video. Here are some of the perks:
It's become a colloquialism—or, we admit, a cliche—to say that dance can heal.
But with a new initiative launched by British Health Secretary Matt Hancock, doctors in the U.K. will soon be able to prescribe dance classes—along with art, music, sports, gardening and more—for patients suffering from conditions as various as dementia, lung problems and mental health issues.
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.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
What does it mean to be human? Well, many things. But if you were at the Dance Magazine Awards last night, you could argue that to be human is to dance. Speeches about the powerful humanity of our art form were backed up with performances by incredible dancers hailing from everywhere from Hubbard Street Dance Chicago to Miami City Ballet.
Misty Copeland started off the celebration. A self-professed "Dance Magazine connoisseur from the age of 13," she not only spoke about how excited she was to be in a room full of dancers, but also—having just come from Dance Theatre of Harlem's memorial for Arthur Mitchell—what she saw as their duty: "We all in this room hold a responsibility to use this art for good," she said. "Dance unifies, so let's get to work."
That sentiment was repeated throughout the night.
Choreographer Val Caniparoli started his ballet career by performing in Lew Christensen's The Nutcracker with San Francisco Ballet in 1971. Today, he still performs with SFB as Drosselmeir, in the company's current version by Helgi Tomasson.
It takes Caniparoli a lot of concentration to stick to the choreography.
"I have the four versions that I choreographed of the role in my head, plus the original I danced for years by Lew," he says. "That's a lot of versions to keep straight."
A list of Clara alumnae from Radio City's Christmas Spectacular reads like a star-studded, international gala program: Tiler Peck and Brittany Pollack of New York City Ballet (and Broadway), Meaghan Grace Hinkis of The Royal Ballet, Whitney Jensen of Norwegian National Ballet and more. Madison Square Garden's casting requirements for the role are simple: The dancer should be 4' 10" and under, appear to be 14 years old or younger and have strong ballet technique and pointework.
The unspoken requisite? They need abundant tenacity at a very young age.
When I read last month that Jessica Lang Dance had announced its farewell, I'm sure I wasn't the only dancer surprised. In the same way that many of us, when reading an obituary, instinctively look for the cause of death, I searched for a reason for the company's unexpected folding. It was buried in the fifth paragraph of The New York Times article:
Her manager, Margaret Selby, said in an interview that Jessica Lang Dance's closing showed how difficult it is to keep a small dance company running these days. "You have to raise so much money, the smaller companies don't have enough staff, and Jessica was running the company for the last seven years without a day off," she said. "She wants to focus on creative work."
Whereas the announcement itself may have come as a shock, the root cause certainly doesn't. All of us in the field are familiar with the conditions to which Selby refers. But that these problems can topple the success of a company like Lang's, which boasts seven years of national and international touring that include commissions from Jacob's Pillow and The Joyce, among others, is sobering.