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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
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."
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!' "
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.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.