Summer Study Guide 2011: Creative Encounters
Strictly Seattle gives a workout for body and mind.
By the fifth day of Strictly Seattle, choreographer Michele Miller already sees improvement in her advanced students. She walks through the renovated, brick-walled studio at Velocity Dance Center, eyes and hands alert to the tiniest bit of tension in the students’ backs as they hang over from the hips. The 22 students in this modern technique class are working their way through Miller’s seamless warm-up—a floor-barre mash-up of modern, martial arts, gymnastics, Wii Fit, and Pilates. Watching it feels like a massage, but the students are working hard, and they haven’t even gotten to the killer ab series yet. Miller touches a back here, a hip bone there, so they can feel where to release. “Your hips are more square today,” she notes happily.
Velocity staffs this three-week intensive with the movers and shakers of Seattle’s modern dance scene (see “Seattle Takes Off,” p. 70). And the advanced students could be the next generation of movers and shakers themselves. Many are just finishing up college dance degrees and starting to look for work. At Strictly Seattle (which accepts students ages 16 and up), they have the chance to interact with nine different local artists in a challenging yet supportive environment. Working with faculty from a range of contemporary backgrounds, students explore multiple styles and philosophies. The common denominators? All classes emphasize risk-taking and artistic experimentation, while helping dancers tap directly into Seattle’s professional dance network.
A day at Strictly Seattle means almost seven hours in the studio. Last summer, the advanced students kicked off the morning with a technique class—modern one day, foundational ballet the next. “Our ballet has a very modern bent to it,” says executive director Kara O’Toole. Her smile widens as she adds, “Your ballet teacher has a mohawk.” Next, they explored creative process and improvisation with four contemporary choreographers: KT Niehoff, Beth Graczyk and Corrie Befort of Salt Horse, and Bebe Miller. In the afternoons, they split up into smaller groups to work with other choreographers, including the 2009 A.W.A.R.D. Show winner Amelia Reeber, on pieces they would perform at the end of the program. An hour-long lunch break gave them time to relax in the park behind Velocity or explore the hip surrounding neighborhood of Capitol Hill. (The studios are also busy at night, when Strictly Seattle offers evening classes for less advanced adult dancers.)
According to O’Toole, many of the faculty members are former program participants. “A lot of dancers who have built their careers in the community started with Strictly Seattle,” she says. “This was their first touchstone, where they met a bunch of choreographers and dancers.” As students get to know these innovative artists, those same artists are learning about the students, getting a sense of whether they might be a good match for future projects. Not everyone lands a job, but some do. For instance, choreographer Amy O’Neal—a major draw of the program for her high-energy, funk-influenced classes and sharp observations—hired two of her 2010 students for a February 2011 show.
For dancers who bring a healthy attitude, seven hours a day for three weeks can result in exponential growth. Graczyk says that many students she worked with “came in with a focus and readiness that enabled them to make great strides in a short time. They knew the value of their time, and you could see it in their willingness to take risks.” By the end, she says, they emerged “more articulate and powerful as performers.” Befort, who has taught at Strictly Seattle in the past, noted that the “rigor and variety of techniques” pushed dancers to test their own physical and intellectual boundaries.
While some students enroll in the Professional Session, an audition-only level that allows the most accomplished dancers to push themselves even further, the atmosphere at Strictly Seattle is inclusive. A 15-minute break on the first Friday morning of the program finds most of the advanced students resting in the largest of Velocity’s three studios, sunlight slanting in from the skylights and pooling on the wooden floor. The students chat in small groups in a loose circle; nobody’s back is turned on anyone. In the final balance, they are all mature dancers working on their craft, discovering what kind of artistic voice speaks to them—and what they have to share with other artists.
To borrow a phrase that the Salt Horse duo used during one class, the teachers at Strictly Seattle hope “you’ll find your specific curiosity.” This is perhaps the greatest reward of the program: In the process of meeting Seattle’s choreographers, you have an opportunity to meet yourself.
Rosie Gaynor is a freelance writer in Seattle.
Amy O'Neal (in black) teaches modern class at Strictly Seattle. Photo by Jennifer Richard, courtesy Velocity
If you love Michael Jackson, you'll love this news: A pre-Broadway run of the MJ jukebox musical will hit Chicago this fall.
Don't Stop 'Til You Get Enough boasts more than 25 MJ hits and has set its premiere for October 29. As previously reported, Christopher Wheeldon will direct and choreograph the new musical, while Lynn Nottage pens the book.
Gallim will honor Frederic M. Seegal and Limor Tomer at its February 12 Force of Nature gala. Both honorees have a close relationship with the Brooklyn-based contemporary dance troupe, so it's fitting that they'll be recognized at Gallim's first-ever gala.
Seegal, Dance Media's CEO, previously served as Gallim's board chairman. He fondly recalls his first encounter with the company: After Gallim brought down the house at its 2010 Fall For Dance performance, Seegal was immediately convinced that he had to support the company and connected with artistic director Andrea Miller that night.
These days, you don't have to be in the circus to learn how to fly. Aerial dance has grown in popularity in recent years, blending modern dance and circus traditions and enlisting the help of trapeze, silks, hammocks, lyra and cube for shows that push both viewers and performers past their comfort zones.
More dancers are learning aerial than ever before. Besides adding new skills to your resumé, becoming an aerialist opens up a new realm of possibilities.
Alicia Alonso's famed ballet company in Cuba has a new leader: the beloved hometown prima ballerina Viengsay Valdés.
Ballet Nacional of Cuba just named Valdés deputy artistic director, which means she will immediately assume the daily responsibilities of running the company. Alonso, 98, will retain the title of general director, but in practice, Valdés will be the one making all the artistic decisions.
I'm terrified of performing choreography that changes directions. I messed up last year when the stage lights caused me to become disoriented. What can I do to prevent this from happening again? I can perform the combination just fine in the studio with the mirror.
—Scared, San Francisco, CA
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From the angles of your feet to the size of your head, it can sometimes seem like there is no part of a dancer's body that is not under scrutiny. It's easy to get obsessed when you are constantly in front of a mirror, trying to fit a mold.
Yet the traditional ideals seem to be exploding every day. "The days of carbon-copy dancers are over," says BalletX dancer Caili Quan. "Only when you're confident in your own body can you start truly working with what you have."
While the striving may never end, there can be unexpected benefits to what you may think of as your "imperfections."
It's the second week of Miami City Ballet School's Choreographic Intensive, and the students stand in a light-drenched studio watching as choreographer Durante Verzola sets a pas de trois. "Don't be afraid to look at the ceiling—look that high," Verzola shows one student as she holds an arabesque. "That gives so much more dimension to your dancing." Other students try the same movement from the sidelines.
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On a summer afternoon at The Ailey School's studios, a group of students go through a sequence of Horton exercises, radiating concentration and strength as they tilt to one side, arms outstretched and leg parallel to the ground. Later, in a studio down the hall, a theater dance class rehearses a lively medley of Broadway show tunes. With giant smiles and bouncy energy, students run through steps to "The Nicest Kids in Town" from Hairspray.
"You gotta really scream!" teacher Judine Somerville calls out as they mime their excitement. "This is live theater!" They segue into the audition number from A Chorus Line, "I Hope I Get It," their expressions becoming purposeful and slightly nervous. "Center stage is wherever I am," Somerville tells them when the music stops, making them repeat the words back to her. "Take that wherever you go."
Dance artists, as a rule, are a resilient bunch. But working in a studio in New York City without heat or electricity in the middle of winter? That's not just crazy; it's unhealthy, and too much to ask of anyone.
Unfortunately, Brooklyn Studios for Dance hasn't had heat since mid-November, making it impossible for classes or performances to take place in the community-oriented center.
So what's a studio to do? Throw a massive dance party, of course.
As winter sets in, your muscles may feel tighter than they did in warmer weather. You're not imagining it: Cold weather can cause muscles to lose heat and contract, resulting in a more limited range of motion and muscle soreness or stiffness.
But dancers need their muscles to be supple and fresh, no matter the weather outside. Here's how to maintain your mobility during the colder months so your dancing isn't affected:
A newly launched initiative hopes to change the face of ballet, both onstage and behind the scenes. Called "The Equity Project: Increasing the Presence of Blacks in Ballet," the three-year initiative, funded by the Andrew W. Mellon Foundation, is a partnership between Dance Theatre of Harlem, the International Association of Blacks in Dance and Dance/USA.
"We've seen huge amounts of change in the years since 1969, when Dance Theatre of Harlem was founded," says Virginia Johnson, artistic director of DTH. "But change is happening much too slowly, and it will continue to be too slow until we come to a little bit more of an awareness of what the underlying issues are and what needs to be done to address them."
From the outside, it seemed like the worst of New York City Ballet's problems were behind them last winter, when ballet master in chief Peter Martins retired amid accusations of abuse and sexual harassment, and an internal investigation did not substantiate those claims.
But further troubles were revealed in August when a scandal broke that led to dancer Chase Finlay's abrupt resignation and the firing of fellow principals Amar Ramasar and Zachary Catazaro. All three were accused of "inappropriate communications" and violating "norms of conduct."
The artistic director sets the tone for a dance company and leads by example. But regardless of whether Martins, and George Balanchine before him, established a healthy organization, the issues at NYCB bespeak an industry-wide problem, says Jawole Willa Jo Zollar, founding artistic director of Urban Bush Women. "From New York City Ballet to emerging artists, we've just done what's been handed down," she observes. "That has not necessarily led to great practices."
If you've ever wondered what goes on behind the scenes at Dance Magazine, now's your chance to find out. Dance Magazine is seeking an editorial intern who's equally passionate about dance and journalism.
Through March 1, we are accepting applications for a summer intern to assist our staff onsite in New York City from June to August. The internship includes an hourly stipend and requires a minimum two-day-a-week commitment. (We do not provide assistance securing housing.)
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:
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.
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Though former ballet master in chief Peter Martins retired over a year ago after accusations of sexual harassment and abuse (an internal investigation did not corroborate the accusations), the search for a new leader didn't begin until last May.
Nine months later, the new director's name could be released any day now. And we have some theories about who it might be:
Some people take this profession as just a chapter of their life. They feel like dance is a job—a fun job, but a job. Other people live their life through dance. I never considered being a ballerina a profession. It's a lifestyle.
If I don't have a performance, I feel like a tiger trapped in a cage. I have so many emotions, I feel I need to give them to somebody, to exhaust myself—I need to cry or laugh, or else it's suffocating. Other people might scream or throw bottles into the wall. We dancers scream onstage through our movement. For me, it's like sweeping off the dust in my soul.
Back in 2011, Yale University's dean of science was thinking about refreshing the program's offerings for non-majors when he happened upon a Pilobolus performance. A light bulb went off: Dance is full of physics.
That realization led to what has become an eight-year collaboration between particle physicist Sarah Demers and former New York City Ballet dancer Emily Coates, both professors at Yale who were brought together to co-teach a course called The Physics of Dance. Their partnership has involved everything from directing a short film to presenting a TedX Talk and performing a piece that Coates created, commissioned by Danspace Project. This month, they're publishing a book about what they've discovered by dialoging across two seemingly disparate disciplines.
Sebastian Abarbanell remembers being asked as an undergrad at Trinity Laban in London to perform wearing only a dance belt. "I said no," he says, "because I felt uncomfortable." Now a performer with Sidra Bell Dance New York, he's performed partially nude several times, without reservation. The difference? "It comes with more experience and maturing as a dancer," he says. "When you see a dancer living in their skin, you don't need to put anything else on them. When I said no in college, I wasn't in my skin yet."
Getting in your skin—and getting comfortable wearing only your skin onstage—requires a particular alchemy of vulnerability, agency, preparation and practice.
Birmingham Royal Ballet announced today that international star Carlos Acosta will be taking over as director in January of 2020. Current BRB director David Bintley will be stepping down this summer, at the end of the company's 2019 season, after a 24-year tenure. "It is a tremendous honor and privilege to have been appointed to lead Birmingham Royal Ballet," Acosta said in a statement.
Since retiring from The Royal Ballet in 2015, Acosta has focused much of his attention on his native Cuba, where he's proven his directorial abilities at the helm of Acosta Danza, the contemporary company that he founded in 2016. In 2017 Acosta also opened his first Dance Academy through his foundation, which provides free training to students. We don't yet know how Acosta will balance his time between his projects in Cuba and his new role at BRB.