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#MotivationMonday: 9 Years Ago, Polina Semionova Gave Us This Advice

For this #MotivationMonday, we mined the “Reverence” section of Pointe’s back issues. Read on for inspiration from some of your favorite dancers. This years-old advice is timeless!

Photo by Jack Devant via JackDevant.com.

“Being a professional is not an easy life. Students need to ask themselves if they really want to do that, because it takes up your whole life. But for me, it still is the best profession!”

-Polina Semionova, Staatsballett Berlin (February/March 2007)

Photo via the Carlos Acosta International Dance Foundation.

“Persevere and work harder every day; do extra hours if need be.”

-Carlos Acosta, Royal Ballet (June/July 2008)

Kotchetkova with Tiit Helimets in Yuri Possokhov's Swimmer. Photo by Erik Tomasson via Bachtrack.

“A walk in the mountains, a good movie, a great conversation. You can find inspiration all around you.”

-Maria Kochetkova, San Francisco Ballet (June/July 2009)

Kistler with Jared Angle. Photo by Paul Kolnik via Los Angeles Times.

“If you’re passionate and you love it, continue. If you’re halfway, there are so many other wonderful things out there to do. I go back to what Mr. Balanchine said: You have to be willing to die for it. It cannot be a maybe.”

-Darci Kistler, New York City Ballet (June/July 2010)

With Guillaume Côté. Photo by David Cooper via Times Union.

“It’s more than just dancing at a higher level. You have to remember it’s not only about you, even if you’re in the spotlight. You must share yourself with the whole company. You gather that energy so they’re involved with you, so there’s a dialogue. Then it becomes more real and exciting for the audience.”

-Xiao Nan Yu, National Ballet of Canada (June/July 2011)

Photo by Valeria Komissarova via Pinterest.

“Physically speaking, I don’t think I was talented. It was more about work every day. Work, more work and yet more work. There’s no upper limit—you can always go further.”

-Ekaterina Kondaurova, Mariinsky Ballet (December 2013/January 2014)

For more news on all things ballet, don’t miss a single issue.

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Peter Martins. Photo by Adam Shankbone, Courtesy Wikimedia Commons.

The New York Times reports that a two-month long internal investigation into sexual harassment and physical abuse allegations against Peter Martins, New York City Ballet's former ballet master in chief, has found that the accusations could not be corroborated. In December, an anonymous letter sent to NYCB and its affiliated School of American Ballet accused Martins of sexual harassment, although the claims were non-specific. Afterwards, several former dancers and one current company member came forward to the press accusing him of physical assault and verbal abuse. Martins, who directed the company for 35 years and has denied the accusations, retired on New Year's Day after taking a leave of absence. An interim team led by ballet master Jonathan Stafford has been overseeing the company in the meantime.

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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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Viral Videos
Anna Isaeva as Karina in "Bolshoi." Photo Courtesy TriCoast.

If you are in need of a feel-good ballet movie night, check this out: Bolshoi, a 2017 Russian coming-of-age drama starring real dancers and filmed on location at the Bolshoi Theater, is now available on multiple VOD platforms. The film follows Yulia Olshanskaya, a scrappy working class kid, as she navigates life at the Bolshoi Ballet Academy and eventually, the company. Like most dance movies á la Center Stage, it's full of the usual ballet clichés. But, like Center Stage, it's also fun, beautifully shot and full of gorgeous dancing (including a mean fouétte turn contest). Polish National Ballet coryphée Margarita Simonova stars as as Yulia, while Anna Isaeva, a former Kremlin Ballet dancer, plays Karina, Yulia's wealthy best friend and biggest competition. Ekaterinberg Ballet principal Andrei Sorokin and former Paris Opéra Ballet étoile Nicholas Le Riche also star.

The film centers on the friendship and rivalry of Yulia and Karina. Discovered by a washed-up Bolshoi star in her industrial town, the rebellious Yulia struggles to fit in once she enters the prestigious Moscow school. But a strict and influential teacher (played by Alisa Freyndlikh) takes her under her wing, and defends her when other school officials want her out. Soon Yulia and Karina are up for the role of Aurora for the school's graduation performance—and the result affects their futures once they enter the company. Flashbacks to Yulia's childhood flesh out her defiant nature, and help make her ultimate sacrifice towards the end especially touching.


Photo Courtesy TriCoast.

One scene that may raise American eyebrows is during the audition, in which young Yulia must wear her underwear. This is typical of Russian ballet academy auditions in order for teachers to evaluate the dancers' lines and proportions (although Yulia's actual audition is pretty far-fetched).The two-hour Bolshoi, in Russian with English subtitles, is now available on iTunes, Fandango, Vudu, FlixFling, Hoopla, In Demand, GooglePlay, Dish, Sony Playstation, Direct TV and Microsoft Xbox.

Ballet Training
Berdo with Charlotte Ballet apprentice Elisabeth Baehman. Photo Courtesy Charlotte Ballet.

Many dancers struggle with brisé, says Laszlo Berdo, associate director of the Charlotte Ballet Academy. "But once you've mastered it, it's not that difficult." Here's how he helps his students beat the brisé blues.

Hold your turnout: Laszlo Berdo says a common mistake is stepping forward on a turned-in leg in anticipation of the brisé. "You lose the support of that standing leg. Then you have no power to jump," he says. "That plié is your saving grace and control."

Create a line: Berdo notices that some dancers dégagé à la seconde instead of effacé. "It's really difficult to chase that leg into second when you're trying to move forward." He teaches brisé with an open shoulder blade. "The back arm's extension is a reference to the front leg's dégagé. Keep that energy stretching out."

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Every ballerina grows up aspiring to nail the fouetté turns in the coda of Swan Lake's Black Swan Pas de Deux. From classic primas like Natalia Makarova to current pros like Gillian Murphy, the 32-fouetté sequence has become so iconic that even our non-dancer friends know about the tricky turns. But yesterday, American Ballet Theatre principal Christine Shevchenko introduced us to a totally new take on the fouettés that we've been watching on a loop, in awe.


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Photo by Kyle Froman for Pointe.

Much of what Ballet West soloist Katlyn Addison carries around in her (two) dance bags has been repurposed. She wraps her toes in black hockey tape which her brother, a National Hockey League player in their home country of Canada, ships to her, and she keeps her bobby pins in an old glass salsa jar. "I like to reuse things," says Addison. She totes everything around in shopping bags (one for pointe shoes and sewing tools, one for everything else) from the clothing store Free People.



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Alicia Graf Mack in Robert Garlan'ds "Return." Photo by Robert Garland, Courtesy Wikimedia Commons.

Alicia Graf Mack has consistently defied just about every limitation and expectation throughout her dance career. She was a leading performer with three incredible companies: Alvin Ailey American Dance Theater, from which she retired in 2016, Dance Theatre of Harlem and Complexions Contemporary Ballet. She also earned two college degrees in the midst of her performing career (from Columbia University and Washington University in St. Louis, no less) and has even written for Pointe, including our June/July 2014 cover story on Misty Copeland, Ebony Williams and Ashley Murphy. This week we're throwing it back to this wonder woman's 2004 performance of Robert Garland's Return with Dance Theatre of Harlem.

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