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Collage Dance Collective Returns to Jacob's Pillow

Photo by Christopher Duggan, Courtesy Collage Dance Collective.

When artistic director Kevin Thomas and executive director Marcellus D. Harper founded Collage Dance Collective in 2006 in New York City, they sought to push the boundaries of classical ballet and foster and promote the talents of artists of color. In 2007, the company relocated to Memphis during a period of the city's "artistic renaissance" and as part of a mission to extend classical ballet training to a wider and more diverse audience.

That same year also marked the company's first performances at Jacob's Pillow Dance Festival. This week, Collage Dance Collective returns to the Pillow, performing at the festival's Inside/Out stage on Thursday, August 10. (Thomas will also teach an open ballet class; click here for more info.)


The Pillow has special significance for Thomas; he performed at the festival as a dancer with Dance Theatre of Harlem in 1997 and attended The School at Jacob's Pillow summer intensive in 1985. "It was the best summer of my life," he says. "I met so many people and saw many performances like David Parson's Caught and the Alvin Ailey American Dance Theatre. We lived in cabins planted in the woods. The connection of art and nature was wonderful." He shared his cabin with a young Nikolaj Hübbe, now director of The Royal Danish Ballet.

That summer Thomas also saw his "first black ballerina," Yolonda Jordan, a former San Francisco Ballet and Ballet Austin dancer then performing with Festival Dance Theatre. "She was stunning," Thomas recalls, "and many years later I got a chance to dance with her."



This week Collage will be bringing four works to the Inside/Out stage. Two pieces are by Darrell Grand Moultrie: Lineage ("a perfect opener to introduce our dancers and their dynamic personalities," says Thomas) and Beyond The Veil ("a haunting male solo that showcases a young Black man's emotions/frustrations with being Black in America through the use of strong movement quality and ballet technique"). The program also featuresTestament, a pas de deux by Dwight Rhoden, and Wash, choreographed by recent Princess Grace Award Winner Joshua Manculich. This piece artfully combines ballet, contemporary and even water in one piece.



The biggest challenge in preparing for this outdoor performance has been the lack of lighting, Thomas explains. The lighting design and haze are such an integral player in Wash, but instead the Berkshire trees, valleys and mountains will form the backdrop this week.

When asked what audiences should expect when seeing the company Thomas replied, "They will see classically-trained dancers with beautiful lines who are lyrical, powerful movers and who are all of color."

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Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

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Early in Carrie Imler's 22-year career with Pacific Northwest Ballet, she was excited to be cast in Balanchine's The Four Temperaments. But immediately following dress rehearsal, she was removed from her role in "Melancholic." "My artistic director at the time pulled me aside and said, 'We can't put you out there,' " she remembers. "My weight fluctuated my entire career. Just when I felt like I had figured it out, I would gain it back and have to start all over again." Despite becoming one of PNB's most celebrated principal dancers, Imler never shook the fear of what might happen when a leotard ballet was in the repertoire.

Ballet prides itself on high standards, and the classical ballet physique is not the least of those expectations. Fear of the "fat talk" still lurks in studios, but, as Imler points out, weight is a challenge that many dancers face, while others may struggle with the arches of their feet or turnout. If you are confronted about your weight, know that many talented dancers have been there. Having "the talk" doesn't mean you can't become a professional, but if you take a mindful approach to the conversation, it will show your maturity and ultimately your ability to navigate a career.

Has Something Changed?

If your teacher or director has approached you about your weight, you're likely left feeling emotional, vulnerable and overwhelmed. Once you have a chance to think clearly, ask yourself what factors, like puberty, may be contributing to changes in your body. Nadine Kaslow, resident psychologist at Atlanta Ballet, says, "There is this huge focus on weight and body at a time when even non-dancers are struggling with body issues and everything else that is happening as an adolescent."

External factors often play a role as well. PNB's consulting nutritionist, Peggy Swistak, says that she often sees dancers struggle with weight early in the season as they adjust to living on their own and sharing a kitchen with a roommate. "One may have really bad eating habits and doesn't have to watch her weight at all, and the other is gaining weight. There is a conflict in managing their food together," she says. Ballet Memphis ballet master Brian McSween adds that financial stress can create barriers for eating nutritiously. "The one-dollar piece of pizza costs a lot less than eating organic," he says. "You have to make the best choices possible with what you have." Other changes, like a new schedule, layoffs or even emotional setbacks, will present the need to reevaluate your food habits and exercise routines throughout your career.

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Angela Sterling, Courtesy of Pacific Northwest Ballet

Clear your schedule now for Monday, January 29th, 2:45PM (EST)/ 11:45AM (PST). Pacific Northwest Ballet will be live-streaming rehearsal from Kent Stowell's Swan Lake, straight from their Seattle, WA-based studios. To psych us up for their on stage performances February 2nd - 11th, PNB is letting us in on their Act II rehearsal.

From the corps of swans to Odette and Prince Siegfried's pas de deux, and the infamous four swans, this rehearsal is not to be missed. You can sign up now for a live-stream reminder on their site. In the meantime, we'll be brushing up on our Cygnets with this PNB sneak peek.

Summer Study Advice
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Videos are a great alternative when auditioning in person isn't possible. Here are some general guidelines for making a good impression.

1. Follow directions. Before filming, research what each school you're interested in requires. "It demonstrates your ability to follow instructions, and schools pay attention to that," says Kate Lydon, artistic director of American Ballet Theatre's summer intensives and the ABT Studio Company. "If the guidelines haven't been followed, your video might not be watched the whole way through." You may need to make multiple versions to accommodate different schools.

2. Videos should be no longer than 10 minutes. "Keep it short, simple and direct," advises Philip Neal, dance department chair at The Patel Conservatory and artistic director of Next Generation Ballet. "You have to be sensitive to how much time the director has to sit down and look at it." Barre can be abbreviated, showing only one side per exercise, alternating. Directors will be looking at fundamentals—placement, turnout, leg lines, stability—but don't ignore musicality or movement quality. Make sure music choices match combinations and are correctly synced in the footage.

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I want to be a professional dancer, but my parents won't listen. They either don't think I can do it (contrary to what my teachers have said) or they won't let me take the necessary steps to become a professional. Please help. —Audrey

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Videos

They say that pigeons mate for life—perhaps that's why these birds naturally symbolize the young lovers in Sir Frederick Ashton's The Two Pigeons. In these two clips from a 1987 performance in Pisa, Alessandra Ferri and Robert LaFosse—then stars with American Ballet Theatre and New York City Ballet, respectively—dance a rapturous pas de deux at the end of Act II. With tiny pricks of her feet and bird-like flaps of her elbows in Part 1, Ferri marks her anguish, thinking she's been abandoned for another woman. Later, both she and LaFosse grow more and more entangled as they reconcile, Ferri dancing with the passionate abandon she's famous for. I love how in Part 2 (0:20), they can't seem to get enough of each other as their necks arch and intertwine. At the end of the ballet, two pigeons fly in to perch symbolically on the chair—er, there's supposed to be two. It looks like one missed its cue at this performance! No matter—Ferri and LaFosse's dancing make it clear that these young lovers are meant to be together for life. Happy #TBT!

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