Dancers aren't the only ones who defy gravity onstage. Tutus have their own magical way of looking otherworldly. Ever wondered how you could create your own from scratch? Prescott & Mackay, an independent fashion design school with locations in London and San Francisco, offers two-day tutu-making courses using The Royal Ballet standard. Over the course of 14 hours, students create a 10-layer, 16 inch tutu skirt, guided by costumer Amanda Hall. An addition 14-hour tutu bodice course will complete the costume. It's a sure way to put a very personal stamp on your next variation.
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.
Kochetkova, Michal Krčmář and Alfio Drago in "Le Corsaire" at Finnish National Ballet
Roosa Oksaharju, Courtesy Finnish National Ballet
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.
Viktoria Maley, Courtesy DTH
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.