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Sep 23, 2020
Complexions Contemporary Ballet's Tatiana Melendez Proves There's No One Way to Have a Ballet Career
This is Pointe's Fall 2020 cover story. Click here to purchase this issue.
Talk to anyone about rising contemporary ballerina Tatiana Melendez, and one word is bound to come up repeatedly: "Fierce." And fair enough, that's a perfectly apt way to describe the 20-year-old's stage presence, her technical prowess and her determination to succeed. But don't make the mistake of assuming that fierceness is Melendez's only (or even her most noteworthy) quality. At the core of her dancing is a beautiful versatility. She's just as much at ease when etching pure classical lines as she is when boldly throwing herself off-balance.
"Selfish choreographer that I am, I want Tatiana to stay with Complexions for all time," says her boss Dwight Rhoden, Complexions Contemporary Ballet's co-artistic director and resident choreographer. "She has a theatricality about her: When the music comes on, she gets swept away." Not too shabby for someone who thought just a few years ago that maybe ballet wasn't for her.
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Training Grounds
<p>Melendez was born and raised in Tampa, Florida, where she danced from age 4 at a small recreational studio. "I did everything from ballet to contemporary, jazz to acro," says Melendez. At 8, she switched to All American Dance Factory and Classical Ballet School, studying and competing in the standard comp-kid fare of jazz, acro, contemporary and hip hop. Yet Melendez found herself drawn to ballet's clear structure. "My first ballet competition was Youth America Grand Prix in 2011," she remembers. "I did it on flat because that was my first year on pointe." Before long, she became a regular in the top five at ADC|IBC, World Ballet Competition, YAGP and New York City Dance Alliance.</p><p>Melendez says there wasn't any one lightbulb moment that made her realize ballet was her dream. But that doesn't mean the ballet world wasn't taking notice of <em>her</em>. In 2015, the Ballet West Academy had already offered 15-year-old Tatiana admission to their year-round program when she was spotted at ADC|IBC by Houston Ballet II's ballet master Claudio Muñoz, who was judging. "My eyes went right to Tatiana, because her jumps and turns had phenomenal energy," Muñoz recalls. That "raw, incredible talent" netted Melendez a full scholarship to the Professional Program at Houston Ballet Academy. After taking time to consider Houston Ballet's rep (contemporary-leaning), her connection with Muñoz (strong and encouraging), and friends' testimonials about the year-round program (glowing), Melendez moved into student housing.</p><img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQzMzMyMy9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyMzgyMDkzM30.4DL8b0tNfg2MHyr2tcYz_ms7NHQ5ZF2KdISoXtHnZTw/img.jpg?width=980" id="e5690" class="rm-shortcode" data-rm-shortcode-id="9515c3a5b9b1219bb559accf6177fbfe" data-rm-shortcode-name="rebelmouse-image" alt="Tatiana Melendez, wearing a shiny gold leotard, stands on her left leg on pointe and kicks her bent right leg head height behnd her." />
Jayme Thornton
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<p>In Houston, Melendez saw no shortage of stage time. She was cast in <em>The Nutcracker</em> and Stanton Welch's <em>Cinderella</em>, on top of all her academy performances. She was also one of a few academy dancers picked by company member Oliver Halkowich for his contemporary piece <em>Full Circle</em>.</p><p>Between shows, she worked hard. "At my competition studio, we never had pas de deux or full pointe classes," Melendez says. "The grueling academy schedule really polished my technique." Muñoz says that in just two years Melendez transformed her own dancing: "Tatiana is the most incredible hard worker I ever saw. She became a beautiful swan, with a classical heart and contemporary soul." </p>
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQzMzM3OS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0NjM1ODAwN30.T2MV2kWbBbZKtSM7GzA_Mt3uT__lCeEAiYjw73fAd0w/img.jpg?width=980" id="c642e" class="rm-shortcode" data-rm-shortcode-id="a91f67afa0a19ff661391c53160a3d10" data-rm-shortcode-name="rebelmouse-image" alt="Tatiana Melendez, in a denim skirt and striped tank top, sits cross-legged on a white box and smiles toward the camera." />
Jayme Thornton
Going Pro, With Cons
<p>After graduation, Melendez headed to Fort Worth, where she'd landed a trainee contract with Texas Ballet Theater. It was a tough transition. "I went from training all day every day, to one morning class followed by standing on the side during hours of rehearsal," she says. Melendez's gifts were far from ignored, though. As a trainee, she danced in the corps of productions like <em>Swan Lake</em> and <em>Beauty and the Beast</em>, was one of six lead women in Ben Stevenson's world premiere <em>Martinu Pieces</em>, and led multiple performances of <em>The Nutcracker</em> as Clara.</p><p>At the end of the season, however, Melendez's worst nightmare came true. Her contract was not renewed because, at 5' 1", she was considered too short for the company. "My height had always been an insecurity," Melendez says. "Once, at a ballet competition, someone told me as I came offstage that I would never make it because I'm 'not built for dance.' " </p><div style="padding: 20px 0 40px;">
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From left: Candy Tong, Melendez and Eriko Sugimura in Dwight Rhoden's Love Rocks
Justin Chao, Courtesy Complexions Contemporary ballet
<p>Disappointed, Melendez threw herself into auditioning for classically based companies—only to be told over and over that, while her technique was great, her size was a nonstarter. "Being told 'no' so many times was really discouraging, because my height is something I can't change," she says. Melendez had even started talking herself into taking a year off from dance when she decided at the last minute to attend Complexions' open call in New York City. "Complexions was always a dream in the back of my head, but I never thought it'd be attainable—it wasn't even on my list of places to audition," she remembers. </p>
Taking Flight
<p>Thus began what Melendez calls the hardest, happiest two days of her life. More than 400 dancers showed up to the Complexions' open call in April 2018, but after technique classes and "the fastest I've had to learn choreography, ever," Melendez made it all the way through the final cut. By the end of the two nonstop days, she felt sure that Rhoden's daring, athletic contemporary movement was her true calling—but still assumed she wouldn't get the job.</p><p>She needn't have worried. As Desmond Richardson, Complexions' co-founder and co-artistic director says, "Tatiana clearly made her presence known from the moment she walked through the door. I remember Dwight and I saying, 'Wow, she's really something.' Her professionalism, her innate sense of musicality and the sheer force of her were quite nostalgic to me." Rhoden adds, "What made Tatiana stand out was her fearlessness. She applied corrections, dynamics and ideas immediately in the audition. She knows how to cross the t's and dot the i's."</p><div style="padding: 20px 0 40px;">
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Simon Plant and Melendez performing Dwight Rhoden's WOKE
Stephen Pisano, Courtesy Complexions Contemporary Ballet
<p>Melendez says that joining Complexions was a complete 180, in the best way possible. Because the company is made up of just 17 dancers, she and other new members were immediately thrown into learning repertoire, performing across the country and internationally, and collaborating with Rhoden in the studio. "Working with Dwight one-on-one is incredible," she says. "Performing choreography actually made on you, using your strengths, is so satisfying. Especially in this work called <em>WOKE</em> that's about issues of social justice, I've really had to dig deep and bring a different dancer out from within myself."</p><p>Though she's occasionally felt homesick for the classics, Melendez believes that dancing with Complexions allows her to dance as the fully mature version of herself. "As much as Clara was a fun role, and as much as I love watching classical ballet, I don't want to always be typecast as a little girl," she explains. </p>
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<p>After a season and a half of whirlwind touring (so far to New Zealand, Europe and throughout the U.S.) and intense creative process, Melendez's newfound routine with Complexions has sadly been put on pause in the age of the coronavirus. At home in Tampa with family, she has used the hiatus to pursue her other creative passions of drawing and photography, and to teach Complexions rep as part of the company's virtual offerings. Melendez is looking forward to getting back to work with Complexions, and to continued guest appearances with classical companies, like Italy's Roma City Ballet. "Growing up, I thought I had to focus on just ballet or just contemporary if I wanted to be good," she says. "Now I see that having kept my feet in both worlds will help me dance as many roles as I can for as many choreographers as I can to the fullest capacity I can—which is all I've ever wanted to do." We'd like to see someone try to stop her. </p>
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Sep 25, 2020
Erik Tomasson, Courtesy SFB
The Anatomy of Arabesque: Why Placement and Turnout Are Key to Achieving This Crucial Position
Audition for any school or company, and they'll likely ask for a photo in arabesque. The position not only reveals a great deal about a dancer's ability, but it is also a fundamental building block for more advanced movements, like penché or arabesque turn. Beyond technique, it can be the epitome of grace and elegance onstage, creating unforgettable images—just try to imagine Swan Lake or Balanchine's Serenade without an arabesque.
Yet many dancers are unsatisfied with their arabesque lines, and students frequently ask how to improve their extensions. (Social media posts of dancers with extreme flexibility don't help!) In an attempt to lift the back leg higher, dancers may sacrifice placement and unknowingly distort their position in the process. How can you improve the height of your back leg while maintaining proper placement and turnout? We talked to a few experts to better understand the science behind this step.
<p><br/></p>
What Muscles Do I Use?
<p>In order to achieve a 90-degree extension, the muscles in the hips and spine must lengthen and stretch. "The hip extensors (glutes and hamstrings) and back extensors (muscles that hold your back into an arch) are the primary muscles to hold the back leg into arabesque, but it is also important to remember the deep hip-turnout muscles to control rotation of your hip," says Julie Daugherty, MPT/CMPT and physical therapist for American Ballet Theatre.</p><p>When in arabesque, the standing ankle and knee should remain still as the working leg lifts—the hip joint initiates the range of motion. "The stability and strength of the standing leg is essential to give a strong base of support," says Daugherty, while properly aligning the standing knee and foot is crucial for maintaining hip placement. </p><p>Why are some dancers able to lift the back leg effortlessly, while others struggle? Daugherty points to a variety of factors, including anatomical limitations in the spine or hip ("both bony and ligamentous," she explains), tight anterior hip ligaments or groin muscles, and muscle imbalances or weaknesses. It's not enough just to stretch—improving your arabesque height requires attention to both strength and flexibility. (For a targeted conditioning routine, <a href="https://www.pointemagazine.com/arabesque-exercises-2647453594.html" target="_blank">click here</a>.)</p><img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQ0MDI2Ni9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyNTE0NDQ0MX0.ITEaccRFibBdrXUiZYOJOBGmClzrv8zTClZCuiBVNRw/img.jpg?width=980" id="1a4bf" class="rm-shortcode" data-rm-shortcode-id="c62ac4aa6a7584645b24a406b0f51033" data-rm-shortcode-name="rebelmouse-image" alt="A female ballet student in a pink leotard and pink tights faces the barre and starts to lift her right leg in arabesque." />
The standing ankle and knee should remain still as the working leg lifts—the hip joint initiates the range of motion.
Israel Zavaleta Escobedo, Courtesy Orlando Ballet
What Makes a Good Arabesque?
<p>"I prefer to see a beautiful and tasteful line to a distorted one," says San Francisco Ballet School instructor Anne-Sophie Rodriguez. "It all begins and ends with the supporting leg and hip. When the turnout is held, which results in the standing hip being squared off, we can build up to a high arabesque that is elegant as well as healthy and helpful for our technique."</p><p>When dancers apply to the<a href="https://www.adcibc.com/" target="_blank"> ADC|IBC</a>, they must submit an arabesque photo for a panel of judges to review. Audrianna Broad, ADC|IBC's founder and president, says the photos are used as "a supplement to help determine suitability for programs, largely because the position is very telling of the dancer's current level and training background." She adds: "First arabesque is introduced relatively early on to students, and yet it is one of the most difficult positions to execute properly." </p><p>As for what Rodriguez looks for, she says, "the awareness needs to be on keeping the pelvis/hip complex lifted so the pelvis doesn't tilt more than necessary for each dancer's specific anatomy." She continues, "Squaring the ribs to the front and anchoring the supporting shoulder down and back are the next steps I would suggest working on." </p><p>Then there is the energy Rodriguez says should be radiating through the body: "Down into the floor, forward through the eyes and fingers of the front hand, back through the foot and back, and back/side through the side arm."</p><div style="padding: 20px 0 40px;">
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<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQ0MDI0MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyNDQzMTI5M30.ta9mbfiwVGmLNxZuUSlbsqQTVuac1FpLfmHOaULokeg/img.jpg?width=980" id="4dd1a" class="rm-shortcode" data-rm-shortcode-id="10c1a190de761b493d612228f7f18a77" data-rm-shortcode-name="rebelmouse-image" alt="A ballerina in a white, gold and blue embellished tutu poses in first arabesque on pointe." />
San Francisco Ballet principal Sasha de Sola, as Aurora in The Sleeping Beauty, takes an arabesque looking out towards the audience.
Erik Tomasson, Courtesy SFB
Common Mistakes
<p>Many dancers place too great a value on the height of the leg and end up distorting their line by allowing the hip to lift and open. "Students and professionals alike are forgetting that any position begins with the placement of the standing leg," notes Rodriguez.</p><p>When viewing competitor photos, Broad has similar feedback: "The vertical alignment of the standing hip is the first place my eye gravitates. If tilting occurs, I proceed to see how other regions of the body are affected." Tilting your pelvis forward limits turnout—which can result in pronation (rolling in) on the standing ankle—and causes the shoulders and torso to twist out of alignment.</p><p>Another common mistake occurs when the back leg opens out diagonally; dancers should practice first finding their placement in tendu derrière and then lift the leg (without allowing it to drift sideways). </p><p>In the search for extension, dancers also tend to "whack" the leg up without maintaining control. "It's important not to force the movement beyond where you can support your low back," says Daugherty. "Crunching into the low back in order to raise the back leg higher is the biggest problem I see." Doing so can eventually lead to serious injuries, like a stress fracture in the spine (spondylolysis), or back strains, pulled muscles and disc herniations.</p><p>The control, balance and focus needed to master arabesque are the same tools needed to succeed in all of ballet. By working with awareness and intention, dancers can work towards a higher leg while maintaining the alignment and purity of movement. <span></span></p>
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Sep 24, 2020
#TBT: Gelsey Kirkland and Mikhail Baryshnikov in "Coppélia" (1976)
Gelsey Kirkland and Mikhail Baryshnikov share the unique experience of having danced at both American Ballet Theatre and New York City Ballet during their careers. The two overlapped at ABT in the mid-'70s, where they developed one of the best-known partnerships in ballet. They were both celebrated for their dynamism onstage; however, in this 1976 clip of the pas de deux from Coppélia, Kirkland and Baryshnikov prove they are also masters of control.
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<p>The pair dance with a restrained elegance in the adagio; Baryshnikov's pirouettes gently land in tendu derrière, and Kirkland graciously unfurls her limbs with each step. In every balance, she calmly adjusts her placement to find her center without rolling off pointe. In their variations, their vivacious personalities begin to shine through, though their technique remains pristine. The debonair Baryshnikov bounds from wing to wing, while Kirkland adds coquettish flair to the staccato steps. In the coda, they revel in their precision as they breeze through each bravura pirouette and manège. Happy #ThrowbackThursday!</p>
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