Kee-Juan Han’s students grace stages across the country and abroad. Among them is American Ballet Theatre’s stately David Hallberg, who studied with Han at the School of Arizona Ballet. Han assimilated the Vaganova method from mentor Lin Yee Goh while dancing with the Goh Ballet in Canada. A former principal with the Indianapolis Ballet and a soloist with Boston Ballet, Han has danced most of the principal roles in the classical repertory, as well as works by Balanchine, Limón, Mark Morris, Susan Marshall, and Bebe Miller. Last year he became school director of The Washington Ballet, where he oversees a faculty of 10 teachers, and supervises the training of more than 450 students ages 5 to 23. Lisa Traiger recently spoke with Han about what he emphasizes in the classroom: determination, épaulement, and musicality.
What do you look for in young students that indicates the possibility of a future in ballet? You can see physique by the time they’re 11 or 12. That’s when bodies start to morph, so to speak. And you can see if a student has beautiful legs and feet. But that doesn’t make a dancer. It’s the determination, the drive, that makes a true dancer. There are a lot of kids who are trained well, and at 12 or 13 say they want to become a professional dancer. But by 17, dating comes and they’d rather go to university because they find out just how difficult it is to become a dancer.
And there’s nothing wrong with that. I tell students who graduate from training, “Give yourself two years. If you don’t get a job, go back to school.” A lot of them keep thriving, but it’s a very tough business. And those who decide to go back to school? That’s fine too. They will become good advocates for dance and will be our future audiences and board members.
Your students—both young and senior—carry themselves with a sense of elegance and expectation. How do you work on épaulement? I tell my students, “Even if you face en face, you still must have a sense of épaulement.” Every position has a different feeling. That’s why they have different names. Your back has to be very activated. I let students feel my own shoulders and back to understand how actively you must work.
Is that why in class you said, “I want your backs working even during your first plié”? Right. The back always has to be active. Even when you turn, the back has to be strong and expressive. Whether they’re facing front or croisé or effacé, the back says a lot. I tell students, “I need your back to make you feel like you’re aristocratic, because classical ballet comes from the French court, so you’re all royalty.” When you look right and left, you’re acknowledging people—courtiers.
You also asked your preprofessional dancers to think specifically about where they’re looking. Why? Focus is important onstage. Say you’re a principal dancer; when you enter the room—or the stage—it’s like a pageant. You must make everyone look at you: “I’m the prince; I’m here.” You can’t walk into a room without making a statement. And that knowledge of where to focus your eyes comes from practicing it in class.
There’s a great deal of emphasis on musicality in your classes. I like the steps to be a little bit crisper, clearer, with syncopation, so it doesn’t become too flat. Some people might not like that choice and think, “Oh, it’s too rough.” I like the sharpness and cleanness. And the dancers feel better too; they feel like they’re actually dancing.
At what level do you start to teach musicality? I start teaching musicality when students are very young. I begin by making them identify music: simple things like whether the time signature is 3/4 or 4/4. And they learn to hear from that. When the pianist plays, I make them feel the music by putting their hands on the piano. I ask, “Can you feel the vibration between the notes?” That way they’ll understand that it’s not a sharp one-two. If you have a 3/4, there are three beats behind it: one-two-three. I also tell my students that they should not arrive in a place and wait; they need to take all three beats. They can’t do that if you don’t teach music in class. I always tell my students, “Don’t hear the music with your ears because by the time you transfer it to your legs, you’re late. You have to express and feel the music with your body right there and then.”
Photo by Stephen Baranovics, Courtesy TWB
Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.
This is huge news, so we'll get straight to it:
We now (finally!) know who'll be appearing onscreen alongside Ariana DeBose and the other previously announced leads in Steven Spielberg's remake of West Side Story, choreographed by Justin Peck. Unsurprisingly, the Sharks/Jets cast list includes some of the best dancers in the industry.
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
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.
At six feet tall, Jesse Obremski dances as though he's investigating each movement for the first time. His quiet transitional moments are as astounding as his long lines, bounding jumps and seamless floorwork. Add in his versatility and work ethic, and it's clear why he's an invaluable asset to New York City choreographers. Currently a freelance artist with multiple contemporary groups, including Gibney Dance Company and Limón Dance Company, Obremski also choreographs for his recently formed troupe, Obremski/Works.
Last night at Parsons Dance's 2019 gala, the company celebrated one of our own: DanceMedia owner Frederic M. Seegal.
In a speech, artistic director David Parsons said that he wanted to honor Seegal for the way he devotes his energy to supporting premier art organizations, "making sure that the arts are part of who we are," he said.
It's a bit of an understatement to say that Bob Fosse was challenging to work with. He was irritable, inappropriate and often clashed with his collaborators in front of all his dancers. Fosse/Verdon, which premieres on FX tonight, doesn't sugarcoat any of this.
But for Sasha Hutchings, who danced in the first episode's rendition of "Big Spender," the mood on set was quite opposite from the one that Fosse created. Hutchings had already worked with choreographer Andy Blankenbuehler, who she calls "a dancer's dream," director Tommy Kail and music director Alex Lacamoire as a original cast member in Hamilton, and she says the collaborators' calm energy made the experience a pleasant one for the dancers.
"Television can be really stressful," she says. "There's so many moving parts and everyone has to work in sync. With Tommy, Andy and Lac I never felt the stress of that as a performer."