Ilaria Guerra auditioned for LINES four times before joining the company. Photo by Kyle McKee, Courtesy Mona Baroudi
Ilaria Guerra only joined Alonzo King LINES Ballet in January, but she's already a towering presence in the San Francisco company—and not just because she's 6' tall. Guerra employsher seemingly infinite limbs with luscious fluidity and propulsive power, instinctive musicality and a self-assured presence. And as exquisitely as she embodies King's choreography, she also makes it entirely her own.
Dance Magazine's December 2018 cover girl: Adji Cissoko. Photographed by Jayme Thornton
Adji Cissoko has the alchemical blend of willowy limbs and earthy musicality you expect from a dancer in Alonzo King LINES Ballet. But she also has something more—a joy in dancing that makes every step feel immediate.
"She has this soulful quality of an ancient spirit coming through her body," says LINES chief executive officer Muriel Maffre, a former prima ballerina with San Francisco Ballet. "She's fearless, which is fun to work with," says artistic director Alonzo King. "I don't know how to put it into words— she's herself."
Whether you're a 2018 grad, a current student or you've been in the field for years, commencement speeches offer advice and encouragement for all of us. And when they're given by dance luminaries, even better. Last Friday, Liz Lerman addressed the class of 2018 at Bennington College, and her inspirational message—that's candid and even comical at turns—left us searching for other choreographers and performers who've spoken to students through the years. Here are a few of our favorite speeches.
The way you start your morning can set the tone for the rest of the day. Establishing a productive and mindful morning routine can leave you feeling relaxed, grounded, and ready to take on the day ahead, no matter how busy.
We asked five professional dancers to share what they like to do each morning to prepare themselves for the happiest and healthiest day possible.
Cathy Marston is one of a dozen choreographers premiering a new work for San Francisco Ballet during the festival. Photo by Erik Tomasson, Courtesy SFB
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"
Muriel Maffre. Photo by Steven Gregory, courtesy LINES
Muriel Maffre is no less elegant up close in pedestrian clothing than she was onstage in glittering tutus. Since retiring from San Francisco Ballet, where she danced as a principal from 1990 to 2007, Maffre has been deeply involved in the Bay Area arts community. She has taught and worked at Alonzo King LINES Ballet, Stanford University, Richmond Arts Center and, most recently, the Museum of Performance + Design, where she served as executive director.
Earlier this month, Maffre returned to LINES as its CEO. A week after starting her new position, we caught up with her to talk about life after ballet, her foray into the museum world and her excitement to helm an organization she loves.
Points should be given to the dance world for beginning to address the issue of diversity. But have we ever taken into consideration who critiques dance—and the lack of diversity in that area of our community? Or how critics' subconscious biases create barriers to the elevation of non-white artists?
Forces of Nature Dance Theatre, which performed at DanceAfrica. Photo via Facebook.
Reviews are part of the life blood of artistic sustainability—funders, agents, bookers and audience members use them as guides. Dance critics have a responsibility to the community to do, and be better, or at least have the courage to let the reader know what they don't understand.
To create great work, choreographers need the freedom to tackle difficult subjects and push physical limits. But when your instruments are human beings, is there a limit to how far you should go? Five choreographers open up about where they draw the line.