New York City's Cedar Lake Contemporary Ballet is arguably the edgiest, coolest ballet company in the country. But what's more impressive is how they accomplish this without alienating mainstream audiences. In fact, they've been able to reach potential dance fans that most companies only dream of: This spring, they danced alongside Emily Blunt on the big screen in The Adjustment Bureau. And on Thursday, they'll be streamed into your living room as guest artists on So You Think You Can Dance. Jon Bond and Soojin Choi (on Pointe's October/November 2010 cover) as well as Jason Kittleberger, Acacia Schachte and Ebony Williams will perform a piece from artistic director Benoit Swan-Pouffer's Installation series. Tune into FOX to see how they transfer their unique brand of awesome to the SYTYCD stage.
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Aug 12, 2020
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What's Ahead for Ballet Companies in the Age of COVID-19?
Let's be frank: No one knows what's ahead for the performing arts in the U.S. With COVID-19 forcing the cancellation of nearly a year of performances so far, including many Nutcrackers, ballet companies face a daunting path ahead with no roadmap for how to survive. While schools can offer classes online or in small groups, what does the future hold for companies when it's not safe to gather large audiences or corps de ballet?
"We are in for a very hard set of months," says Michael M. Kaiser, chairman of the DeVos Institute of Arts Management at the University of Maryland. "Nothing will change until there's a vaccine."
Pointe set out to find out what the new normal looks like while the virus is with us.
Online Content and Digital Seasons
<p>When COVID-19 hit, it seemed everything moved online that could, from galas to company class. In a recent <a href="https://www.youtube.com/watch?v=iWxHvH5zMxo" target="_blank">online panel</a>, American Ballet Theatre artistic director Kevin McKenzie said the company's May online gala, which did not include much dancing, was well-received but not a financial success. The Washington Ballet's gala centered on livestreamed performances and was financially successful. But afterwards, artistic director Julie Kent, a company dancer and a gala chairwoman became ill with COVID-19, despite social distancing and other safety precautions.</p><p>Can online platforms be a safe, longer-term source of income and artistic outlet for ballet companies?</p><p>Marc Kirschner, a founder of the paid performing arts streaming service <a href="https://www.marquee.tv/" target="_blank">Marquee TV</a>, says this moment is a line in the sand for companies' survival.</p><p>"Whether or not companies can figure out how to incorporate digital into their strategy is going to decide which will fold," says Kirschner. "Linking digital programming to data, marketing and operations is a long-term necessity. COVID has only made this more clear."</p><p>He says that rather than put up old footage with rudimentary filming, companies can use this moment to make high-quality captures of live contemporary works. "No one needs to film another <em>Swan Lake</em>. Dance companies need to focus on what makes them different," he says. "New works are in demand on Marquee TV, and those can be made with smaller casts and filmed in front of a house with 20 percent capacity."</p><p>Kirschner acknowledges that filming can be prohibitively expensive, but stresses that an innovative digital strategy is key for companies to develop and keep audiences now and in the future—and that it's a mistake for companies to give content away for free.</p>
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Louisville Ballet dancers Mark Krieger and Natalia Ashikhmina
Sam English, Courtesy Louisville Ballet
<p>Louisville Ballet is trying a paid approach, with a 2020–21 <a href="https://www.louisvilleballet.org/" target="_blank">digital season subscription</a> starting at $125. Artistic director <a href="https://www.pointemagazine.com/robert-curran-louisville-ballet-2412851155.html" target="_blank">Robert Curran</a> is planning a series of dance-art films, works created specifically for digital, rather than presenting filmed live performances. He's betting that this will expand the company's artistic horizon in a way that can carry it through the pandemic.</p><p>"I've wanted to explore this for some time, but we were never able to with all of our other programming," says Curran. "We hope this will not only engage our subscribers but show the dance world that Louisville is a place where new ideas about ballet are happening."</p><p>Funding this digital season is still something Curran is figuring out, and he's unsure how much work will be produced. He's also planning to keep dancers in small pods in hopes of preventing the spread of the virus, but acknowledges illness could derail his plans, as keeping dancers safe is the main priority.</p>
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City Ballet of San Diego's Chelsey Kuhn in Geoffrey Gonzalez's Dark Room Series
Jaroslav Richter Photography, Courtesy City Ballet of San Diego
<p>Geoffrey Gonzalez, a dancer and resident choreographer with City Ballet of San Diego, found a way to create new digital work without much risk of spreading the virus with his <a href="https://vimeo.com/430940339" target="_blank">Dark Room Series</a>. He <a href="https://vimeo.com/430957092" target="_blank">transformed</a> the company's studio into a black box and filmed solos that he edited into a 15-minute work, where the dancers sometimes appear to be dancing together. The purpose was to have a touchpoint with the audience but also to nurture artistry.</p><p>"Quarantine was like my feet were caked in cement," Gonzalez says. "I had to find a way to work, and so did the dancers. It was about fulfilling physical and spiritual needs as artists."</p><p>He offered the film for free. He says it's succeeded in keeping the audience interested, and has since managed to receive $10,000 in support from donors to make these socially distant pieces. "People can see we're still working, we're not going away," says Gonzalez. "If we ask for financial help, we need to show there's new things to support, in whatever form."</p><p>Kaiser believes online content is a good tool for audience development, but cautions against companies investing in it too heavily right now at the expense of longer-term planning. "What's critical is not putting another performance online, but getting audiences excited about what the company will be doing when they come back," says Kaiser. "There's a ceiling for how excited people will get about online content."</p><div style="padding: 20px 0 40px;">
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Reimagining Live Performances
<p>Small venues might be the best, and only, option for in-person shows. Gonzalez says the company is scaling back plans in an attempt to keep operating, with a 2020–21 budget of half a million dollars, down from $1.2 million. They are hoping to perform in smaller spaces with fewer dancers on contract, and focus on producing a new <em>Nutcracker</em> they have planned for 2021.</p><p>This strategy worked for some European companies, as Europe is ahead of the U.S. in containing the virus. Norwegian National Ballet split its dancers into small groups and performed in locations across Norway, mostly schools and elder homes. This kept the dancers working and expanded the company's audience.</p><p>"Many of those we met said this was their first encounter with ballet," says Maria Børja, a spokesperson for the company.<strong></strong></p><p>Jean Grand-Maître, artistic director of Alberta Ballet, is planning a similar season for the remainder of 2020. He plans to break the company into groups of eight and have them all rehearse the same program of solos and duets. To keep the dancers safe, casting them in duets or small group work will only happen if they can dance with someone they live with, such as a spouse or roommate.</p><p>"It's an artistic challenge, to strip our work of production values and big groups of dancers," says Grand-Maître. "But performing on a raised stage in a hospital parking lot is a way of bringing hope to people and a way for us to stay relevant."</p>
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</div></blockquote></div><p><span style="background-color: initial;">Grand-Maître says the board is committed to keeping the dancers employed through this period, even though the company will be without performance income for the remainder of 2020 (including a </span><em>Nutcracker </em><span style="background-color: initial;">season that usually earns over $2 million). T</span>he crucial support of the Canadian government's wage-subsidy program helps make this possible.</p><p>"We are better off staying open than shutting down and starting from scratch," he says.</p><p>Kaiser says spending on reduced programming that creates or worsens a deficit can work for larger companies with board support, or foreign companies with strong state support. But he cautions that surviving the pandemic is most important, even if it means laying off dancers and staff.</p><p>"What companies need to do right now is hoard cash," he says. "Spending just to be seen isn't as important as being ready for reopening, when the competition of everything coming back at once will be intense."</p>
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A New Daily Life
<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="f9e72860853301b696babcb425d9ee3b"><iframe lazy-loadable="true" src="https://www.youtube.com/embed/TMlreh-p40c?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>Hong Kong Ballet spent much of the spring rehearsing in small groups, wearing masks and conducting temperature checks. Company member Amber Lewis says it was challenging to come back to the studio under these conditions. "In the first few weeks, everyone was kind of afraid to touch each other," she says. "We'd be sanitizing our hands constantly, struggling to breathe in the mask." But as Hong Kong's infection numbers dropped, she says the fear went away.</p><p>However, in mid-July, there was a new wave of infections and theaters had to close once again. Dancers resumed classes on Zoom, followed by a gradual return to the studio starting August 10.</p><p>Hong Kong Ballet's artistic director <a href="https://www.pointemagazine.com/hong-kong-ballet-septime-webre-2638918632.html" target="_blank">Septime Webre</a> says he encourages dancers and directors to find creative opportunities in challenging circumstances. Webre used the time rehearsing in small groups to workshop material for his new version of <em>Romeo & Juliet</em>, which he was able to finish choreographing before the mid-July shutdown. He also moved the company's outdoor pop-up performance series online.</p><p>"The lessons of this time are that we need to keep thinking about new ways to reach our audience and provide them with art. That's not going away," he says. "But it's also that every plan A needs a B and C behind it."</p>
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Jul 10, 2020
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7 Tips for Improving Your Piqué Turns, Plus Advice for Practicing at Home
A string of piqué turns en dedans, says Erica Fischbach, director of Colorado Ballet Academy, should appear powerful yet effortless. "The effect you want to create is that you're flying." Here are her tips to achieve this as you whirl through the ends of your variations. Plus, don't miss the video below for Fischbach's advice on how to practice piqué turns while training at home.
Turn Out to Take Off
<p>Focus on turning out your standing leg as you prepare in tendu devant for your piqué turns. "Don't do the 'pump'—that push on the toe to get a little momentum," says Erica Fischbach. "The most important thing, as you plié, is to feel that spiral rotation that never lets go or drops out. As you push off into the piqué, feel that your thigh and knee are opening and your back foot is scooping off the floor."</p><img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzU1OTUxMC9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU5OTkwNjUyMH0.DWUlGWSEnoKb5UgeWSCN5JeDjRdFF5YDjwFOecz4ODc/img.jpg?width=980" id="f9d23" class="rm-shortcode" data-rm-shortcode-id="9f1afc72c967b6f62a6620e89da09040" data-rm-shortcode-name="rebelmouse-image" alt="A young female dancer is shown in tendu crois\u00e9 devant from the knee down, wearing pink tights and pointe shoes." />
Courtesy Colorado Ballet
Know Where You're Going
<p>Begin with a rond de jambe, moving the tendu leg to second while opening the front arm to allongé. "Your hand, eye and foot are all in the same direction," says Fischbach. "Spot where you're going, unless the choreography asks for spotting front."</p>How to Fly
<p>"There's a movement quality in a piqué turn manège that is almost unexplainable," Fischbach says. "To get that, you have to come down on balance so you can spring out again. You only do about half a turn on pointe. Slightly suspend that, and then come down with a fast whip to finish the turn. There's power on the down, but it's very quick, so we mostly see the <em>up</em>."</p><div style="padding: 20px 0 40px;">
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Colorado Ballet apprentice Ever Larson demonstrates how she aims for fifth as she lowers her retiré leg during piqué turns.
Courtesy Colorado Ballet
Aim for Fifth
<p>The toe of the retiré foot should be at the back of the knee, Fischbach says, not kicking up towards your glutes or overcrossing into a figure 4. Aim for fifth as you come down, even though the front leg shoots out before you get there. This will help you keep your weight placed correctly over the back leg in between turns.</p>A Common Misstep
<p>The goal is to step out beyond your extended foot, but Fischbach sees many dancers fall short of this. "They pull the toe back, step on a bent knee and kick the other foot up too high." As a result, dancers travel on the step down as well as the spring up. "Then your weight is in between your legs, and you have to do the old heave-ho—it's not neat and clear, and there's no quality or effect."</p><div style="padding: 20px 0 40px;">
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About Those Arms...
<p>The port de bras for piqué turns should be simple and clear, from second position allongé in the plié to a solid first position in the turn. "Maintain the connection of the shoulder blades into your back, and have the chest open so those trapezius muscles aren't up near your ears and stopping you from spotting," says Fischbach. Neither arm should ever be behind you. "If you're swimming with your arms, it's not coordinated."</p>Double It
<p>For a double piqué turn, the step out can be a little bit smaller to help you stop the forward momentum and stay on one point. "Think of a corkscrew going down into the floor," Fischbach says, "and keep an energetic lift through the spine. Make sure you feel the opposition, if you're turning to the right, of your left knee and right hip opening."</p><div style="padding: 20px 0 40px;">
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Aug 14, 2020
BalletMet costume shop manager Erin Rollins in a costume fitting with Leiland Charles. Jennifer Zmuda, Courtesy BalletMet
A Costume Shop Manager's Expert Advice for Making Your Dancewear Last Longer
What's the best way to extend the life of your favorite leotard or piece of workout wear? Aside from fabric quality, it largely comes down to what you do on laundry day.
We spoke with Erin Rollins, costume shop manager at BalletMet, for her top tips on keeping your beloved dancewear in rotation for years to come. (Spoiler alert: No, washing and drying everything on the same setting isn't advised.)
Keep it cool
<p>"Cold water is always the best option with stretch fabrics," says Rollins. "Warm is okay, but hot water should be avoided." Why? It can damage the fabric's elasticity over time. Plus, if your clothing has bright or deep colors, opt for cold—heat can have adverse affects on color fastness. </p>Regular versus delicate cycles
<p>The majority of leotards, sports bras and activewear can be laundered on a regular cycle, says Rollins. Tights, leotards and anything that's delicate (like lace or lightweight mesh) should be set aside for a delicate cycle or hand-washing. </p><p>Be mindful of anything with hooks, which can damage other items. Rollins recommends washing your tights in a lingerie bag to avoid snags.<span></span></p>The drying debate
<p>When it comes to using a dryer, "there's a lot of debate about this in wardrobe land," says Rollins. "Many wardrobe managers will avoid drying garments because it elongates the life." But she points out that company costumes have a very high value and often need to last at least 10 to 20 years. "Most dancers don't need their rehearsal wear to last like that, so drying really isn't that big of a deal."</p><p>In fact, if your leotard is looking saggy, the dryer's heat can help the elastic in stretch wear "spring back." And if it's a synthetic fabric, shrinking usually isn't an issue. </p><p>One exception to using a dryer: If the tag lists more than 5 to 7 percent cotton. With cotton, colors fade and the surface of the fabric can develop a fuzzy white layer. Using a dryer speeds up that process. </p><div style="padding: 20px 0 40px;">
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Caring for your favorite pieces
<p>A washing machine is never foolproof, warns Rollins. "There is always the potential for 'laundry disasters': snags, tangles, shrinkage, dye stains from other clothing, etc." That said, clothing made from heavier fabrics, like sports bras, activewear and some leotards, will generally hold up fine. </p><p>"But if the item is made from a super-lightweight fabric, or has lace, or if I <em>really</em> love it and want it to last forever, I might hand-wash it, so I'm certain it stays intact," she says. </p>How to hand-wash
<p>Fill a sink or tub with cold water, add a very small amount of clothes detergent and swish it so suds start to form. Soak your item for 30 minutes, then rinse it in clean, cold water. Roll the clothing in a towel to remove excess moisture, and let it air dry on a plastic hanger or rack. (Avoid wire hangers, which can rust, says Rollins.)</p>About those stinky, sweaty clothes...
<p>"Odor in clothing is usually due to bacteria, and bacteria will only grow if you give it time to get started," says Rollins. Post-class, don't throw your damp clothes in your hamper, or let them sit in your dance bag or a locker for more than a few hours. "That's a great recipe for gross." </p><p>Salt from sweat can also wear down stretch materials, notes Rollins, so wash promptly if you can. </p><p>If you're not doing a load right away, let your clothes dry before you add them to the basket. And if you're worried about the lingering stench, soak it in cold water for 30 minutes before washing it with warm water and putting it in the dryer. </p><div style="padding: 20px 0 40px;">
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What she wishes dancers would stop doing
<p>"Don't <em>ever</em> wash your tights with anything that has color," says Rollins, recalling a dancer whose tights had turned grayish pink because she'd washed them with her leotards. "The majority of dance tights are made with nylon—a magnet for dye. If there's anything else in the washer that has color, and even a tiny bit of that color escapes, the tights will grab that color and never let it go." </p>When buying new dancewear, consider fabric, weight and weave
<p>Aside from how you wash your dance clothes, Rollins says these three factors can shorten their lifespan:<br></p><ol><li>Fabric: "Natural fibers like silk, cotton and bamboo break down more quickly and show holes."</li><li>Weight: "If a fabric is super-light, sheer or thin, it will wear down more quickly."</li><li>Weave: "If the weave has large holes that you can see—like mesh or lace—it will be more likely to snag."</li></ol><div>If you're looking for dancewear that can go the extra mile, opt for opaque, synthetic material that feels thick when held between your fingers.</div>
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