When you dance, do you do the movement, explore it or listen to how your body wants to perform it?
This weekend I took a workshop with Nathan Trice, a former Complexions, MOMIX and Donald Byrd dancer who now runs his own troupe. His movement style is kind of a modern dance-based version of contemporary ballet; it's slinky and line-driven, but much of the choreography is actively turned in. My body loved the it's amazing flow and kookiness. Yet the process by how Trice wanted us to move was incredibly challenging for me.
We'd been working on a piece of his choreography for about half an hour when he stopped everything to ask the room a question: "Are you doing the movement, exploring the movement or allowing your body to tell you what the movement is?"
When I dance, I know I always try to "do." Coming from a classical ballet background, I've been trained to mimic what something looks like, to get it "right." Relinquishing control to my body's natural inclinations is not my greatest strength. However I know that my favorite dancers aren't the ones who muscle their way into movement, but seem to move the way do because they have to, because their body is telling them that's where they need to go in that particular moment.
For the next hour I tried to do everything I could to let my body tell me where it wanted, where it needed to go. Although I'm sure a lot of what I did looked pretty ugly, and I fell off my balance more than once, I started to find an deeper, more internal place to move from. I ignored the mirror and my own expectations of how I thought it was supposed to look. It was definitely a struggle. But there were moments where I felt that place of abandon, a freedom that was well worth the work—or lack thereof.
I had grown up watching Kyra Nichols and Wendy Whelan dancing "Diamonds," and it was my absolute dream to dance it, too. I immediately connected to "Diamonds." It's big, dramatic movement, nothing small, and I don't think there's anything small about my dancing. I have to reach deep down in my soul to do this ballet, to rise to the level of the choreography, the costumes..."Diamonds" is just on another level from anything else I've done. It takes everything out of you, if you're willing to put that much into it.
Monday morning class after a three-day weekend? Stiff. After eight weeks off? Agonizing.
For most professional dancers on their summer layoff, a break from the daily grind is simultaneously exciting and unnerving. These months are often reserved for recovery and rest—a necessary opportunity to let the body repair and recharge. How dancers spend their summer break is mixed: some teach at summer intensives; some take the extended time to travel, visiting family or exploring internationally; some choose not to pause, performing at galas or festivals; and some just want to stay home, feet up, movies on. Depending on where you dance, the break might span a couple weeks or a couple months. Regardless of length, it involves a physical wind down, as well as a build back up. While it's never going to feel entirely easy, here are a few pro tips to help smooth the transition between 1 and 100 percent.
The soloist in "Rubies" has been one of my favorite roles since the first time I danced it. I was in the corps then and it was one of my first big parts. It's so powerful and freeing. My favorite moment is when I come straight down center towards the audience, doing these sort of strutting walks on pointe. You're not playing to anyone else onstage. You're playing straight to the house. And the section with the four boys is really unusual; it's not often that a woman is onstage with four men, but she's still the one in charge. When I'm doing the penchés going offstage at the end of the first movement, I try to be calm and hope that the audience can't tell I'm trembling inside, or that my supporting leg is wobbling.
Maura Bell was determined to have a ballet career. But as a high school senior, she didn't feel ready to audition for companies yet. “I knew I had more maturing to do, both technically and as a young woman," she remembers. Bell started researching collegiate options and discovered that Indiana University's ballet department hosted a two-week summer intensive for pre-college students. “The reputation of IU spoke for itself, so I decided to do the summer intensive to get a feel for what it would be like to go there."
The deciding moment came at the end of her second week, when department chair Michael Vernon led her and fellow students on a tour of IU's Musical Arts Center. “I remember standing on that stage—it's the size of the Met— and it just clicked: This was where I wanted to be, my dream school," she recalls. Bell auditioned for the ballet department that fall. Four years later, she credits the training and connections she made at IU with her ultimate post-graduation success: a contract with Saint Louis Ballet.
College summer programs offer students a chance to experience what life would be like as a dance major, and introduce them to a wide range of possibilities for their training and future career. Even those on the fence about going to school could benefit from spending a few weeks on campus—along with the strong focus on individual development, collegiate summer intensives allow students to meet year-round faculty and current dance majors, scope out the dorms and dance facilities, and do some major networking.
I think "Emeralds" is more of an acquired taste than "Rubies" or "Diamonds." There aren't really any difficult steps, but it's extremely hard to pull off because of its simplicity. You can't just "sell it." But the musicality and simplicity come together so perfectly to make it dramatic and sweeping, and just so much fun to dance.
Former New York City Ballet principal Suzanne Farrell is famous as George Balanchine's muse, yet Balanchine wasn't the only choreographer whom she inspired. In 1984 her then-husband, Paul Mejia, also a former NYCB dancer, created a piece for her called Eight by Adler, a jazzy ballet set to the music of Richard Adler. Beginning at 0:45 after a short intro, Farrell performs the first movement in this clip from the ballet's premiere with the Chicago City Ballet.The slender, long-limbed Farrell saunters across the stage, at moments giving the audience playful smiles and sideways glances. The choreography feels improvisational, befitting Farrell's proclivity for off-balance, suspended movement. With a full jazz band onstage, the music is equally the star in this solo. Even though the slow and sultry piece is a far cry from Balanchine's fast footwork, Farrell's mesmerizing performance in Eight by Adler is a stunning example of Mr. B's famous slogan: "See the music, hear the dance." Happy #ThrowbackThursday!