The Workout: Andrea Yorita
Cross-training keeps Andrea Yorita prepared for the demanding variety in BalletX's repertoire.
Choreographic chameleon: At BalletX, Andrea Yorita performs a wide range of contemporary ballet by dancemakers like Matthew Neenan, Annabelle Lopez Ochoa and Trey McIntyre. “It's very hard on our feet," she says. “Even within a show, we'll go from socks to bare feet to flat shoes to pointe shoes."
A solid foundation: To keep their pointework crisp, the dancers typically take class on pointe five days a week. Yorita also does Thera-Band work for her ankles each morning, plus doming exercises. “I try to keep all of those little muscles on the bottom of my feet strong, so I can be grounded when I'm dancing in socks."
Snack time: “I like to bring nuts to work, like almonds, because they're quick and easy," she says. Yorita also drinks a lot of coconut water or has a banana—the potassium keeps muscle cramps at bay.
Hitting the gym: Every other day, she spends an hour at the gym. “As a female dancer, I use my lower half more than my upper half," so workouts aim to even out her whole body. After a warm-up on the elliptical, she does arm exercises with lightweight dumbbells, pull-ups, a kettle-bell twist for her obliques, reps on various arm machines and ab work on a mat, before foam-rolling her IT band. The routine may sound exhausting, but Yorita carefully gauges her energy and adjusts her workout if she's feeling fatigued.
Having his back: “I'm a small dancer, so I usually end up getting lifted. I want to strengthen my arms so if I'm in a weird position, I can help my partner." That means paying special attention to her lats, triceps and deltoids at the gym. Her cross-training has another benefit: Building support in her upper back has helped alleviate low-back pain.
Chilling out: Whenever she's doing heavy pointework, Yorita winds down by rolling out the bottoms of her feet with a small ball and soaking her ankles in a 20-minute ice bath. “That's really helped me keep inflammation down and my ankles feeling good."
Karen Kain is internationally renowned as a performer and as the National Ballet of Canada's artistic director. The former NBoC principal always carries herself with the grace and sophistication of a true leader. However, in this 1976 clip from Giselle, the distinguished ballerina is convincingly naïve and bewildered in her interpretation of the mad scene.
Kain conveys Giselle's innocence at the start of the scene with pure, unaffected gestures and facial expressions. Then, after Albrecht betrays her, her eyes stare unfocused into the distance as if she's in a trance. Although this scene is mostly acting, Kain dances dreamily to the musical motif at 5:30 and conceals her technical strength in order to show the character's frailty. It takes a true ballerina to perform this heartbreaking and beautiful role, and with performances like this and her lifelong commitment to the art form, Kain proves that she is an extraordinary one. Happy #ThrowbackThursday!
If you, like many of us here at Pointe, wish you could have seen Royal Ballet star Zenaida Yanowsky's retirement performance on June 7, you're in luck. The Royal will screen a recording of it in select movie theaters across the U.S. starting Sunday, June 25. (In many cities, it will be screened on Tuesday, July 11.) The program includes three works by the company's founding choreographer, Sir Frederick Ashton: The Dream, Symphonic Variations and Marguerite and Armand—the latter of which stars Yanowsky and Roberto Bolle. You can also catch other Royal favorites like Marianela Nuñez, Vadim Muntagirov, Steven McRae, Akane Takada and Yasmin Naghdi. Make sure to bring tissues!
To find dates, times and theaters near you, click here.
Choreographer Diane Coburn Bruning has a different kind of vision for her Chamber Dance Project. Though she relocated the project-based company from New York City to Washington, DC several years ago, her focus remains on creating collaborations between classically-trained ballet dancers and other contemporary artists to share in intimate venues with live music. This summer, the artistic director brings together dancers from Cincinnati, Kansas City, Milwaukee and Washington Ballets for a condensed period of time. The company's 2017 season show titled Ballet Brass & Song opens this weekend, and features works by Jennifer Archibald, Jorge Amarante, and a world premiere by Coburn Bruning herself. We caught up with her last week to hear more about her company's mission.
Some may consider New York's Symphony Space a smaller theater, but big things were happening inside June 6–10. Just under 200 young dancers from all over the world were testing their luck at the Valentina Kozlova International Ballet Competition in hopes of receiving scholarships, medals and company contracts. Their jury? An international panel of company and school directors, chaired by Andris Liepa, that included State Ballet of Georgia's Nina Ananiashvili, Boston Ballet School's Peter Stark, Dance Theatre of Harlem's Virginia Johnson and Cincinnati Ballet' s Victoria Morgan.
Last weekend, the Mariinsky Ballet announced on its website that one of its most revered prima ballerinas, Uliana Lopatkina, has retired from the stage. A principal dancer since 1995, Lopatkina's interpretation of Odette/Odile and "The Dying Swan", among other roles, was legendary. To honor her dance career, we're re-visiting this interview from the February/March 2013 issue.
What's the toughest part of being a dancer?
More than most professions, ballet erodes the private sphere. You don't fulfill yourself in this career: You serve it; you're a slave to it.
What ballet makes you most nervous?
Swan Lake. Even if it's not the most difficult ballet to perform, it's difficult in another way, a mystical way.
Being in the corps can be pretty unforgiving. You dance in nearly every performance, it sometimes feels like you're only onstage to add to the scenery, and you're expected to fit in—while still vying for soloist roles. It's enough to make even the most determined dancer lose steam. Pointe spoke with three corps de ballet dancers about how they use a combination of self-discipline and creativity to keep themselves motivated.
Shine in Class
After a few years, morning class can feel like a chore—especially during heavy rehearsal periods when your body just wants to rest. But rather than viewing it as a drag, try reframing class as a chance to show your best, hardest-working self. For San Francisco Ballet corps member Rebecca Rhodes, class is a time to push harder, not slack off. "It's a great time to be noticed," she says, especially for dancers hoping to be cast in featured roles. "I make sure to do every combination two or three times, and I try not to pick and choose what's comfortable," she says.
This past winter, Isabelle Brouwers used her two-week break from English National Ballet to bring dance to the orphaned children at the Spurgeons Academy in Kibera, a slum on the outskirts of Nairobi, Kenya. Funded by the U.K.-based charity, Global Care, Spurgeons Academy provides an academic and extracurricular education to 400 children in Nairobi, as well as daily essentials like food and water.
After stumbling on a video of the children practicing ballet on Al Jazeera, Brouwers told us that she immediately knew she wanted to help. "It made me realize how fortunate I was to grow up with all the resources to make my dream of becoming a dancer a reality, and I was so passionate about trying to offer a similar opportunity to these children," she said. Brouwers' research led her to the Spurgeons Academy, where she learned the children's dance classes were organized by Anno's Africa.