Bouder is fighting for gender equality in ballet. Photo by Miguel Anaya
I am a ballerina. I am a feminist. This might seem to be an oxymoron. Ballerinas do what they are told by choreographers and directors—positions that we have become painfully aware of as traditionally male roles. Feminism is the theory of the political, economic and social equality of the sexes. By that description, the two terms seem contradictory.
Alexei Ratmansky—now famously—expressed on Facebook last fall: "sorry, there is no such thing as equality in ballet: women dance on point, men lift and support women. women receive flowers, men escort women offstage. not the other way around (I know there are couple of exceptions). and I am very comfortable with that."
Ballet stars are diving into creative projects on the side.
Ashley Bouder and Amar Ramasar before an Ashley Bouder Project performance. Photo by Dan Freeman, Courtesty Freeman.
Although he was hard at work this spring creating a new piece for Boston Ballet and performing with the company, principal dancer Jeffrey Cirio somehow made time for even more dance. This summer, his new choreographic side project, Cirio Collective, will premiere in Massachusetts. With help from his sister and fellow principal Lia Cirio, he has been working on videos for the new website, talking to costume designers and searching for music.
Cirio is among a pack of entrepreneurial ballet dancers looking to branch out at the peak of their careers. Troy Schumacher’s BalletCollective, Daniil Simkin’s INTENSIO, Daniel Ulbricht’s Stars of American Ballet and Ashley Bouder’s Ashley Bouder Project are other budding examples. And though dancers forming pickup companies isn’t exactly a new notion, past iterations have mostly been summer layoff projects that combined well-known repertoire and big international stages. These talents represent a new breed of do-it-all artists who prize small-scale projects and artistic collaboration. And the DIY culture of the digital age makes it easier than ever for star dancers to give voice to their artistic visions and connect with curious fans.
Bouder, who doesn’t choreograph but directs Ashley Boulder Project, felt an urgency to experiment before it was too late. “I am over 30 and I don’t know when my technical ability will drop out,” she says. “There are a lot of things I want to do before that happens.” A large part of her vision is connecting with audiences in areas where dance is underserved, like the rural Midwest, with discussions and workshops. Currently, she’s fundraising for a dance film, and is focused on showcasing female choreographers, most recently Andrea Schermoly and Adriana Pierce.
For Cirio, forming his own troupe has allowed him to experiment with his choreography in a small, intimate setting. Though he’s thankful for his opportunities to make dances for Boston Ballet, he had a desire to create without the pressures of the big stage. “It’s not about trying to please a director or the artistic staff,” says Cirio, who hopes to expand the troupe’s vision to include other choreographers and non-dance artists. “It is just about us getting in the studio and sharing our ideas.”