'Tis the Season for Black Claras
Two questions I'm often asked as an advocate for diversity in ballet are, "Do you think ballet organizations are genuine?" and, "Do you think it's changing?"
Quite honestly, there are times when I am not so certain. Then there are days when I get texts and Facebook messages alerting me to a story that reinforces my belief that ballet might just be shifting.
One such moment was in late November when Andrea Long-Naidu texted me the image of Pacific Northwest Ballet's Clara, Samrawit Saleem. There she was, seated on the floor in her party dress, gazing down lovingly at her Nutcracker with an elegant use of épaulement. Andrea called me, "Theresa, she's gorgeous, she's brown and look at her hair!!" She was referring to Saleem's double strand twists that were styled half-up half-down. My mouth was agape.
Photo by Erika Schultz for Seattle Times
On social media, "skin-folk" had gotten hold of the image and were reposting it, prizing the casting and, of course, her hair. African American hair has been stigmatized since slavery, when women were forced to wear head scarves because it was deemed unsightly. Even today there are court cases against employers who forbid black women to wear their natural hair in corporate settings, deeming it "unprofessional." PNB's casting of a black Clara was courageous, but a black Clara with natural hair was radical.
I needed to get to the bottom of it.
I soon learned that, over the past three years, PNB has had five Claras, who perfectly represent the demographics of Seattle: two are white, one is Korean, one is Japanese/Spanish and the last is Saleem (who is the first African American Clara in PNB's Balanchine version of Nutcracker). Artistic director Peter Boal makes it clear that she was not chosen because she was black. "Samrawit was cast as Clara because of her talent and presence," he says, "and there were no barriers at PNB to block her from this opportunity."
Often in my advocacy, I find myself to be a sounding board for the frustration and mistrust the African American community has when it comes to ballet's push for diversity. It's warranted. Often our issues are treated as fads, and organizations pocket large amounts of money for simulating support and offering "exposure" that yield little-to-no sustainable change. It is natural for folks to be suspect. I've made it my self-imposed job to suss out the authentic players from the face savers. When I saw the PNB picture of Saleem, I was warmed, not only because if her undeniable coco-ness and her twists, but because I knew deep down the work was working.
Samrawit Saleem as Clara. Photo by Angela Sterling, via seattletimes.com
I have seen how Boal and PNB's executive director Ellen Walker have been unafraid to hear hard truths, and have committed to listening, learning, then doing the right thing. PNB has been part of Seattle's Justice and Equity Committee, and together they are dedicated to making changes organization-wide. "Hearing the perspective of others reiterated the importance of being intentional about our casting, and showing audiences, families, board and the community what our values are," Boal says. "It reiterated the importance of putting role models in the front of the room, or at the center of the stage."
When asked about earning the coveted role of Clara, 11-year-old Saleem says, "I was really excited and worked really hard on this." Saleem joined PNB's school three years ago through its DanceChance program in partnership with Seattle's public schools, after training with Edna Daigne of Ewajo Dance Studio, a veteran dance teacher in the African American community.
Saleem's parents are acutely aware of the culture of whiteness in ballet and do not hesitate to speak up. When her mother accompanied her to the DanceChance orientation, there was talk about hair and the traditional bun. Mrs. Saleem approached DanceChance coordinator Lauren Kirchner, and suggested that she include hair alternatives. Kirchner was responsive. PNB is on a learning curve, but seems to be leaning in.
Photo by Erika Schultz for Seattle Times
Samrawit's father Zithri Saleem, is a critical theorist, and keeps this event in perspective. "We celebrate, but we celebrate in the context of whiteness," he says. "It is a reflection—the 'first black' anything is an indictment of where we are, and we can't lose sight of that." As parents, the Saleems are vocal when necessary—something that quite frankly frightens most ballet organizations: having to "deal" with parents. However, PNB has been receptive. "We have never had any issue getting access," says Mr. Saleem, "and we don't let anything slide."
After her casting, Samrawit says that there was a discussion about her hair amongst her classmates. "There were some girls who were saying, 'Well you know you're going to have to change your hair.' "
They were wrong. Boal was clear from the onset: "I felt quite strongly about this and started a conversation about her hair as soon as she was cast. I didn't want Samrawit or her family to think they needed to change her hair to fit a tradition. I also didn't want Samrawit to feel obligated to keep her braids. We communicated with Samrawit and her mom, letting them know that her hairstyle was their call: As long as the crown would stay on her head, my needs were satisfied. She wears that crown beautifully."
As a major ballet company, PNB is emerging as a leader in the diversity movement. "It's no longer good enough for PNB to be a welcoming place for people of color," Walker says. "We need to do that intentional work of finding people of color to join our school, our company, our staff and board."
Photo by Erika Schultz for Seattle Times
Zithri Saleem has seen a conscious shift. "Over these three years, I've seen an awakening," he says. "It has been a great experience for Samry. I feel that she is valued here."
PNB might be the largest ballet company to feature a brown Clara this season, but it is certainly not the only one. Is this a trend or is the media just picking it up more?
At Ballet Memphis, Felicia Baker is not the company's first non-white Clara, but she is its first African American Clara. Diverse casting has been the norm at Ballet Memphis for a long time now, says artistic director Dorothy Gunther Pugh. "We have had interracial lead couples in our Nutcracker, as we have in all our work we present. I think it is enormously important for all audiences to see non-white boys and girls and women and men on the stage."
Salomé Tregre is Cincinnati Ballet's first black Clara in 50 years. (There have only been two non-white Claras in the role previously). The 13-year- old has been at the academy for 10 years. "Salomé is student that we have watched for quite some time," says second company director Suzette Boyer Webb. "Her drive, hard work, attention to detail and coachable manner earned her this role."
You have to wonder if audiences were taken aback after almost a half a century of traditionally white Claras. But Webb says Tregre was welcomed by the audience and everyone involved in the production "with open arms."
Salomé Tegre in rehearsal. Photo via thevoiceofblackcincinnati.com
I see these Claras as evidence that the work for equity is beginning to make a difference, not solely because of casting but the thinking that motivates it. However, I would be remiss if I did not mention that some of the productions that feature African Americans at Christmastime are nontraditional, like Debbie Allen Dance Academy's Hot Chocolate Nutcracker and Brooklyn Ballet's Brooklyn Nutcracker.
For 25 years, Atlanta-based Ballethinc has been presenting its Urban Nutcracker rewritten by co-founder and director Waverly Lucas. "I was motivated by the fact that I had performed in many Nutcrackers as a guest artist and only one had a black Clara," he says. "I began by changing the perspective of the story with characters that reflect African American or African diasporic culture." Taking a page out of Karel Shook and Arthur Mitchell's Creole Giselle book (both Lucas and co-founder/director Nina Gilteath are DTH alums), he flipped the script and culturally redesigned the characters making Clara into Sarah, Sugar Plum Fairy became Brown Sugar, and the Cavalier (I love this one) became The Chocolatier.
The thing that makes this rendition so brilliant is that it eradicates the offensive stereotypes that we all try to look beyond in the second act. Lucas also added culturally-specific characters like Big Mama, Mother Spice, Sassy Sadie and the Sailor, and The Reggae Ragdolls. He even reimagined the actual Nutcracker. "Ours is in the image of Marcus Garvey and his Garveyite Soldiers," he says.
Demographically, it's genius. Atlanta is a majority African American city. If Atlanta Ballet—which only has one African American dancer—is interested in drawing African Americans into the theater, a collaboration with Ballethnic on something like a reimagined Nutcracker might do the trick!
Perhaps Ballethnic has it right in reimagining the traditional ballet, because when we talk about creating equity in ballet, essentially we are talking about reimagining the ballet tradition—Eurocentric whiteness. It won't happen overnight, and it may take a while until the work is visible. In the meantime, Peter Boal is right when he says, "We are thrilled that more children in both the audience and at PNB School can see themselves onstage as future Claras and ballerinas."
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.
When Arantxa Ochoa took over as MCB School's director of faculty and curriculum two years ago, she decided to add a second part to the summer intensive: five weeks focused on technique would be followed by a new two-week choreography session. The technique intensive is not a requirement, but students audition for both at the same time and many attend the two back-to-back.
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.
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."
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:
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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.)
For the past few months, the dance world has been holding its collective breath, waiting for New York City Ballet to announce who will take over the helm as artistic director.
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.
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:
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.
Just before retiring in 2015, Sylvie Guillem appeared on "HARDtalk with Zeinab Badawi," the BBC's hard-hitting interview program. Badawi told Guillem,
"Clement Crisp of the Financial Times, 14 years ago, described your dancing as vulgar."
"Yeah, well, he said that. But at the same time, when they asked Margot Fonteyn what she thought about lifting the leg like this she said, 'Well, if I could have done it, I would have done it.' "
They were discussing Guillem's signature stroke—her 180-degree leg extension à la seconde. Ballet legs had often flashed about in the higher zones between 135 and 160 degrees before. But it wasn't until the virtuoso French ballerina regularly
extended her leg beside her ear with immaculate poise in the 1980s that leg extensions for ballet dancers in classical roles reached their zenith. Traditionalists like Clement Crisp were not taken with it.
My personal life has taken a nosedive since I broke up with my boyfriend. He's in the same show and is now dating one of my colleagues. It's heartbreaking to see them together, and I'm determined never to date a fellow dancer again. But it's challenging to find someone outside, as I practically live in the theater. Do you have any advice?
—Loveless, New York, NY
The inimitable Carol Channing, best known for her role as the titular Hello, Dolly!, passed away today at 97.
Though she became a three-time Tony winner, Channing was born in Seattle, far from the Great White Way, in 1921. After growing up in San Francisco, she attended the famed Bennington College, studying dance and drama. She later told the university, "What Bennington allows you to do is develop the thing you're going to do anyway, over everybody's dead body." For Channing, that meant decades of fiery, comical performances, bursting with energy.
Something's coming, I don't know when
But it's soon...maybe tonight?
Those iconic lyrics have basically been our #mood ever since we first heard a remake of the West Side Story film, directed by Steven Spielberg and choreographed by Justin Peck, was in the works. THE CASTING. THE CASTING WAS COMING.
Well, last night—after an extensive search process that focused on finding the best actors within the Puerto Rican/Latinx community—the WSS team finally revealed who'll be playing Maria, Anita, Bernardo, and Chino (joining Ansel Elgort, who was cast as Tony last fall). And you guys: It is a truly epic group.
Rehearsal is in full swing, and Leta Biasucci, Pacific Northwest Ballet's newest principal dancer, finds herself in unfamiliar territory. Biasucci is always game for a challenge, but choreographer Kyle Davis wants her to lift fellow dancer Clara Ruf Maldonado. Repeatedly. While she's known for her technical prowess, lifting another dancer off the floor is a bit daunting for Biasucci, who stands all of 5' 3". She eyes Maldonado skeptically, then breaks into a grin.
"It's absolutely given me a new appreciation for the partner standing behind me!" Biasucci says with a laugh.
Looking at Biasucci, 29, with her wide smile and eager curiosity, you think you see the quintessential extrovert. In reality, she's anything but. "I was an introverted kid," Biasucci says. "That's part of the reason I fell in love with dance—I didn't have to be talkative."
It's only one of the seeming contradictions in Biasucci's life: She's a short, muscular ballerina in a company known for its fleet of tall, long-legged women; she's also most comfortable with classical ballet, while taking on a growing repertoire of contemporary work.
Sergei Polunin, whose recent homophobic and sexist Instagram posts have sparked international outrage, will not be appearing with the Paris Opéra Ballet as previously announced.
POB artistic director Aurélie Dupont sent an internal email to company staff and dancers on Sunday, explaining that she did not share Polunin's values and that the Russian-based dancer would not be guesting with the company during the upcoming run of Rudolf Nureyev's Swan Lake in February.
Before spending a summer at Los Angeles Ballet School, Lillian Glasscock had never learned a Balanchine variation. "The stylistic differences, like preparing for a pirouette with a straight back leg, were at first very challenging," says Glasscock, 17. "But it soon got easier."
Los Angeles Ballet company members were in class daily, motivating and inspiring her. Trying out a new style and expanding her repertoire gave Glasscock more strength, and a better understanding of the varied demands of ballet companies today. Months later, the Balanchine variations she learned are now personal favorites.
While the early years of training are typically spent diligently working through the syllabus of a single ballet technique, when you start to prepare for a professional career, versatility is key. There isn't just one correct version of each step. And as ballet companies continue to diversify their repertoires, directors need dancers who can move fluidly between an array of styles.