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." In this video tutorial, Fischbach offers her insights for practicing piqué turns while training at home—although her advice easily applies to turning onstage and in the studio, too!
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Feb 26, 2021
Maria Kochetkova. Darian Volkova, Courtesy Kochetkova
Maria Kochetkova on How COVID-19 Affected Her Freelance Career, and Her New Home at Finnish National Ballet
When international star Maria Kochetkova embarked on a freelance career three years ago, she never envisioned how a global pandemic would affect it. In 2018, the Russian-born ballerina left the security of San Francisco Ballet, a company she called home for more than a decade, for the globe-trotting life of a guest star. Before the pandemic, Kochetkova managed her own performing schedule and was busier than ever, enjoying artistic freedom and expanding her creative horizons. This all changed in March 2020, when she saw her booming career—and her jet-setting lifestyle—change almost overnight.
After months of uncertainty, Kochetkova landed at Finnish National Ballet, where she is a principal dancer for the 2020–21 season. Pointe spoke with her about her time during the quarantine and what helped her to get through it, her new life in Helsinki, and what keeps her busy and motivated these days.
<p><strong>What was it like when COVID-19 put an abrupt stop to your freelance career?</strong></p><p>When the pandemic hit, all my scheduled performances were canceled: Every week I would get a new email with a cancellation. It was heartbreaking. I knew that there were certain risks of being a freelance artist and I was prepared for those risks, but I could not have imagined that something like this could happen in the world.</p><p>The hardest part was not knowing when I would be able to get back onstage and not having any income. I had never been in a situation like this before and I didn't know what to expect. I felt helpless. Had I known back in March that I would have the job with the Finnish National Ballet I think I would have been more relaxed.</p><p><strong>Where did you stay during the quarantine and how did you spend your time?</strong></p><p>I stayed in Copenhagen. Sebastien [Kloborg] and I changed our living room into a studio space and bought a special floor and a ballet barre. I am a very disciplined dancer and, as hard as it was, I just kept working. I took Zoom ballet classes taught by Natalia Ledovskaya, who was one of my teachers in Moscow. I kept in touch with my close friends, mentors and teachers. I knew that I was not the only one who was struggling.</p>
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<p><strong>You and Sebastian starred in a dance film, where you reimagined <em>Closer</em>, a duet choreographed by Benjamin Millepied in 2006. Tell us about this project.</strong></p><p>When quarantine happened, I still wanted to work and be creative. Benjamin's <em>Closer</em> was the first piece that came to mind, because even before the pandemic we wanted to make a film out of it. The video was filmed by Tom McKenzie in April in a freezing Copenhagen. We planned which location to shoot to achieve the right lighting effect and followed all the pandemic regulations as set by the Danish government. This project brought into my life very talented and inspiring people outside of dance, from whom I learned a lot.</p><p><strong>How did the offer to join Finnish National Ballet come about?</strong></p><p>I realized that I cannot continue as a freelance artist any longer. So, when Madeleine Onne's offer came through a mutual contact, I gladly accepted it.</p><p><strong>What does it feel to join a new company and be back in the studio?</strong></p><p>I was very lucky to get a job during the pandemic and to have access to the theater and the ballet studio. Before that, I was really locked in the apartment for five months. It's so nice to have job security and to be able to interact with people and be part of a team. Everyone here has been so welcoming and friendly; I felt very excited to be able to dance again.</p>
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<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY5MzcyMS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0MzAxMzY0M30.mLdWuKg5Sj9Uvfm5-F1D7Z2cnLat7y7KPJGhqCx5yEw/img.jpg?width=980" id="ceced" class="rm-shortcode" data-rm-shortcode-id="5bd734aacd56382379d5f0242d07d386" data-rm-shortcode-name="rebelmouse-image" alt="Wearing an ornate blue tutu and midriff-baring top, Maria Kochetkova balances in attitude derriere crois\u00e9 on her right leg whicle her parnter, who wears a pirate costume, stands in tendu and holds onto her waist. To their right, a shirtless dancer in blue sparkly pants kneels on the ground, bowing subserviently with his hands drawn to his chest." data-width="3543" data-height="2780" />
Kochetkova, Michal Krčmář and Alfio Drago in "Le Corsaire" at Finnish National Ballet
Roosa Oksaharju, Courtesy Finnish National Ballet
<p><strong>Your first performance with FNB was in September, in <em>Le Corsaire</em>. Was it hard to get back onstage after such a long hiatus?</strong></p><p>I was grateful that it was a classical work which I danced many times before. I think the best way to get back in shape is to rehearse a classical ballet. During the quarantine I worked hard, doing challenging ballet classes, and managed to stay in good enough form.</p><p>The theater had limited occupancy because of the restrictions, but it didn't feel half empty. The audience was very appreciative, and it helped. It was very special to be onstage again after such a long break, but I also appreciated it in a new kind of way. I wasn't taking it for granted.</p><p><strong>What are your favorite things to do in Helsinki? What do you like best about this city?</strong></p><p>I love Helsinki. It's a fascinating and interesting city. It reminds me a little bit of Russia, a little bit of Germany, a little bit of Scandinavia—Helsinki has a fun mix of all these countries. The city has great food and a lot of interesting museums, exhibitions and architecture. The city is perfect for walking and I love to walk. And I really like the trams. We used to have them back in Moscow, and they really bring back my childhood memories. So far, it's been the longest winter I can remember, and I'm looking forward to a bit of sunshine.</p>
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<p><strong>Finnish National Ballet is preparing a new production of <em>Swan Lake</em></strong><strong>, by David McAllister, which has now been rescheduled for next season. Tell us about the rehearsals.</strong></p><p>For me, the highlight is to be able to rehearse here with my coach Tatiana Rastorgueva, who used to dance with the Bolshoi Theatre. I have performed <em>Swan Lake</em> many times and in many different versions, working with Irina Kolpakova and Natalia Makarova, among others. With Tatiana, we are trying to find some new colors and new accents in the Odette/Odile role. In my previous performances, there was always something that I was not happy with. And now, for the first time in my life, I have the luxury of having enough time to prepare for the role. Even if it's a very familiar part for me, we need the time to be able to dig deep into it and to make changes. I enjoy the flavor of the Bolshoi coaching, since Tatiana is a former student of Marina Semyonova. It was the school where I was trained, and we speak the same language in terms of movement. I may not get to perform in this ballet because I will not be staying with the company next season. But the amount of knowledge and inspiration I get from my coach every day makes up for it.</p>
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Feb 25, 2021
DTH's Alexandra Hutchinson and Derek Brockington work out with trainer Lily Overmyer at Studio IX. Photo by Joel Prouty, Courtesy Hutchinson.
Working Out With DTH’s Alexandra Hutchinson
Despite major pandemic shutdowns in New York City, Alexandra Hutchinson has been HIIT-ing her stride. Between company class with Dance Theater of Harlem and projects like the viral video "Dancing Through Harlem"—which she co-directed with roommate and fellow DTH dancer Derek Brockington—Hutchinson has still found time to cross-train. She shares her motivation behind her killer high-intensity interval training at Studio IX on Manhattan's Upper West Side.
<img lazy-loadable="true" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNTY4Mzc4MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxNjM5NzI0NH0.CBCjd1fWsUSLdFV4llCFNoIBdW2ENGDaYU3M7why5XI/img.jpg?width=980" id="c78f7" class="rm-shortcode" data-rm-shortcode-id="d315054d2f0c13e1928ec53090800045" data-rm-shortcode-name="rebelmouse-image" alt="Alexandra Hutchinson does an arabesque on pointe in front of a NYC building's art-deco style entrance. She is wearing a maroon, mesh and velvet leotard, a black tutu, bare legs and flesh-colored pointe shoes." data-width="828" data-height="958" />
Alexandra Hutchinson
Viktoria Maley, Courtesy DTH
<p><strong></strong><span style="background-color: initial;"><strong>Dancing with DTH:</strong> </span>Following daily company class, Hutchinson has rehearsals, pointe or a conditioning class. DTH is currently working in its studios, following COVID-19 safety protocols, with occasional work from home.</p><p><strong>Exercising at Studio IX:</strong> In November, Hutchinson started working out with personal trainer Lily Overmyer, a friend and classmate from Indiana University's ballet program, at the newly opened Studio IX. The gym is run by Joel Prouty, a former dancer who trains stars like Sara Mearns and James Whiteside, so Hutchinson knew the workouts would be intense and effective, with a focus on ballet-applicable exercises.</p><p>"Before, I would go to the gym and find myself lost with all the machines and not really knowing what to do," she says. Prouty and Overmyer incorporate conditioning for rotation and balance, dynamic strengthening for things like grand allégro (think squats and lunges), and cardio intervals that mimic the varying intensities of dancing a full-length ballet.</p>
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</div></blockquote></div><p><strong></strong><strong>Staying motivated: </strong>When Hutchinson began training with Overmyer, she was preparing to dance a pas de deux. "I remember one specific workout when she had me doing reps and said 'Okay, think about this as your pas,' with squats and arabesque work. Then I would get onto a bike and do something really fast like I was doing the variation, and then I would do these lunges like it was the coda," Hutchinson explains. "Having that in my mind kept me going." She also works out to music from artists like Doja Cat, Megan Thee Stallion and Drake to keep her energy up.</p><p><strong>Post-workout snack: </strong>Hutchinson fuels her recovery with avocado toast topped with red-pepper flakes and an egg.</p>
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<p><strong>Respecting her body:</strong> "When I was dancing at The Washington School of Ballet, Ashley Murphy-Wilson and Nardia Boodoo hadn't joined the company yet, so I was really one of the only African-American women there," Hutchinson says. "Nobody was telling me 'You're too big,' but I just assumed I was supposed to look a different way." After joining DTH, she realized, "It's not about how my body looks in the mirror. It's more about what I do with my body and how I push myself to be the best dancer that I can be." Hutchinson has been vocal on Instagram about embracing her muscles and finding gratitude for her strength.</p><p><strong>Favorite strengthening exercise:</strong> Squat, straighten to stand, développé arabesque, lower her leg and repeat. Hutchinson favors squats for their glute strengthening, which helps power her jumps.</p><p><strong>At home: </strong>"I have more time now to roll out," she says, mentioning that she massages her muscles with a ball while watching Netflix. She finds that yoga and Pilates are easier ways to keep active at home, since they require little equipment and encourage calm during this stressful time.</p>
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Feb 22, 2021
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As Ballet Looks Toward Its Future, Let's Talk About Its Troubling Emotional Demands
As a ballet student, I distinctively remember being told that to survive ballet as a profession, one must be exceptionally thick-skinned and resilient. I always assumed it was because of the physically demanding nature of ballet: long rehearsal hours, challenging and stressful performances, and physical pain.
It wasn't until I joined a ballet company that I learned the true meaning behind those words: that the reason one needs thick skin is not because of the physical demands, but because of the unfair and unnecessary emotional demands.
Undoubtedly, emotional and physical strength go hand in hand to some extent. But the kind of emotional demand I am talking about here is different; it is not the strength one finds in oneself in moments of fatigue or unwillingness. It is the strength one must have when being bullied, humiliated, screamed at, manipulated or harassed.
<p>The conditioning to endure intimidation and humiliation starts early for ballet dancers. Ballet<strong> </strong>training leaves very little space for the unique characteristics and personalities of young pupils. Instead, each student must fit into a mold that looks the same and acts the same. They learn that it is unacceptable to speak their mind or to challenge authority—all you must do is smile, nod and do as you're told. Ballet students become completely dependent on their teachers, and what comes to shape their sense of self is the words, opinions and attitudes of their instructors.</p><p>In many schools, there is little understanding of pedagogy and psychology; pedagogical training is based upon teachers' own experiences. Still, too often, ballet training fails to recognize children's vulnerability. Not every child learns and develops the same, and they have different needs and body types. Rather than fostering care, empathy and creativity, ballet training encourages a "survival of the fittest" mentality. This can easily lead dancers to believe that ballet is only for strong-minded people. On the way, we lose a staggering number of beautiful artists who are just as able, only too vulnerable. </p><p>From my own years in ballet school, I remember my teacher comparing me to other students, calling me a "cloud head" and a "lethargic snail," and continuously mocking me for my weight. There were some wonderful moments as well, moments when I felt ecstatic onstage or after a well-executed rehearsal, or when I felt I was cared for by a teacher who believed in me and my individualistic abilities. But even then, fear and insecurity shadowed every accomplishment.</p>
<p>This hostile environment continues from ballet schools to company life. In most cases, directors, ballet masters and choreographers are authority figures that, more often than not, hold all the ropes in their hands, making decisions that affect the lives of young, impressionable artists. Unfortunately, dancers too easily become marionette dolls who move, act and do what they are told with no personal agency, and with fear of being replaced or pushed aside at any moment.</p><p>Ballet as an art form is not emotionally hostile, tough or cruel. It is the atmosphere created around it. It is those certain choreographers who are bullies, those directors who play mind games, and those répétiteurs who humiliate and scream.<strong> </strong>For some odd reason, all of this is thought to just be "how it is." It is acceptable and normal. Many still believe that to create good art, one must be broken; that to produce something good onstage, the process has to involve screaming and shouting; that to get the best out of an artist, one must be tough, not kind.</p><p>During my nine-year professional career, I had the pleasure of working with extraordinary choreographers and répétiteurs who created an exciting and safe atmosphere in the studios. On the other hand, I lived in a constant state of fear. I felt that I had no control over my artistry or expression; every gesture, every movement, every choice was in somebody else's hands and one wrong move could destroy everything. No matter how unfair or cruel certain decisions were, they were always referred to as "artistic choices." During my career, I was told that I needed to have sex with men, be more feminine, be thinner but not too thin, be stronger, be more confident, have more personality but always stay in line…the list goes on. I was told to rehearse a variation on my own for months for an upcoming ballet only to see the cast list didn't even include my name. I was told to change how I dress, walked and talked. At the age of 18, my director told me that I must have a boyfriend and lots of crazy adventures outside of ballet to be interesting onstage. At the same time, a répétiteur told me that a good, dedicated ballet dancer must be committed only to dance and spend a minimum of eight hours at the theater daily. I always felt conflicted and unsure, unable to trust my own knowledge of my body or my own opinions. Whatever I did, somebody thought it was wrong or not enough. </p>
<p>Diverse body types and ethnicities are traditionally not celebrated in ballet, and neither are unique personalities and emotions. But every dancer's history, cultural context and lifeworld is colorful and personal. Some artists are strong and undefeatable, others are vulnerable. While screaming and yelling might push one dancer to her very best, it might break someone else. Ballet schools and companies need to recognize each student as an individual. No workplace, artist or performance has ever been ruined by fostering an empathetic and kind atmosphere.</p><p>Ballet demands discipline, resilience and patience, but there is no reason why these assets cannot be developed through care and support. Thick skin is not built by belittling. One's will is not strengthened with manipulation. When it comes to ballet, it is often thought that the end justifies the means. For some, art gives legitimacy to bad pedagogy. For generations, we have bowed in front of creative geniuses, putting them on a pedestal despite their ways. But no art is good art if it leaves broken artists behind.</p>
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<p>The circle keeps going: Broken dancers become broken teachers who produce broken pupils. It is time to create an art form that is inclusive and accepts mistakes and vulnerability. After all, the best art happens when one allows oneself to be vulnerable. Ballet, too, is at its best when what happens on the inside shows just as much as beautiful lines and clean movement.</p><p>There has been much concern in recent years about ballet's place in the modern world. Will it become one of those ancient art forms that's left in history, or will it continue to resonate with the viewers and artists of today? Perhaps the only way ballet can survive and keep its place is if it leaves its oppressive traditions behind and evolves along with the world into a kinder, more empathetic and accepting environment.</p>
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