With so many productions of the Nutcracker taking place this month, it's no surprise that companies are looking to put their own spin on the holiday classic. At Brooklyn Ballet, that switch-up comes courtesy of fiber optic tutus that literally light up the stage during the "Waltz of the Flowers" scene (and a production that fuses ballet with hip-hop and world dance genres). Partnering up with Brooklyn-based tech company Interwoven, BB's hi-tech tutus can be seen in action in the (soundless) clip below.
Do you ever wish you could teleport to London and casually stroll into The Royal Opera House to see some of the world's best-loved ballets? Well, we have a solution for you: The Royal Ballet's 2018-19 cinema season.
Whether live or recorded, the seven ballet programs listed below, streaming now through next October, will deliver all of the magic that The Royal Ballet has to offer straight to your local movie theater. Can you smell the popcorn already?
Do you have ever feel frustrating during adagio, wishing you could balance for longer in your pointe shoes? Here, master pointe shoe fitter Josephine Lee of the California-based The Pointe Shop shares everything you need to know about finding a pointe shoes for a longer balance.
How to Find Pointe Shoes For a Better Balance www.youtube.com
We already knew that Justin Peck is a crossover superstar. His accolades from this past year alone include a Tony Award for best choreography for Carousel, a performance on The Tonight Show with The National, and plans to choreograph Steven Spielberg's upcoming West Side Story remake. Today, he proves himself all over again with a series of short films for The New York Times titled "Let's Dance," featuring some of 2018's most lauded movie stars. You can see these videos here, including an augmented-reality experience available to those with newer iPhones or iPads.
Oh, Nutcracker... It's the ballet experience that unites us all, from young student to seasoned pro. Whether you made your entrance in a mouse costume or under Mother Ginger's skirt, do you remember the choreography and costume of your very first role?
Today, six professionals share their favorite childhood Nutcracker photos and memories.
Haley Schwan's artistic journey toward becoming a Boston Ballet company artist has been anything but ordinary. From the Vaganova Ballet Academy and Staatsballett Berlin to immersive theater in New York City and choreographing for the MTV Video Music Awards, Schwan has had some unusual detours. But the 26-year-old with a warm demeanor and quick smile seems to be enjoying the ride.
As a child, Schwan studied gymnastics, jazz, tap and contemporary dance in her native Michigan, before turning her focus to ballet. After a summer intensive at the Kirov Academy of Ballet at age 12, Schwan began studying there full-time until age 16, when she was invited to the Vaganova Ballet Academy in St. Petersburg, Russia.
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Christine Shevchenko and Devon Teuscher have spent practically half their lives with each other. Both dancers joined American Ballet Theatre's Studio Company in 2006. The following year, they graduated into the main troupe as apprentices, again together. They've sat next to each other in every dressing room they've ever occupied, and shared hotel rooms on the road. And in September 2017, at the age of 28, they became the company's two youngest female principal dancers—on the same day. If they weren't such good friends, they would probably be sick of each other.
Last winter, we told you all about "Finding Clara," a YouTube series produced by tween clothing brand Justice. It followed four BalletMet Academy students cast in BalletMet's The Nutcracker. This year, it gets even better: The heart-melting show has been turned into a full-length documentary. Finding Clara was released today for rental and purchase on Amazon, Google Play and iTunes.
Finding Clara Trailer youtu.be
Finding Clara is a full-length documentary produced by Justice Studios that follows four young dancers from the BalletMet Academy as they prepare for The Nutcracker's leading role. Read all about it here. We're giving away five copies of the DVD including some extra gifts from tween clothing retailer Justice. Enter now to win!
Elisabeth Beyer may only be 16, but she is already cultivating an international following. A Professional Training Program student at Ellison Ballet in New York City, this year she won first place in the senior women's finals at the Youth America Grand Prix in New York and the junior gold medal at the USA International Ballet Competition. In late October, she had the opportunity to perform Grand Pas Classique at the 26th Havana International Ballet Festival in a gala alongside stars from The Royal Ballet, American Ballet Theatre, La Scala and, of course, Cuban National Ballet. Her partner was Cuban-born international guest artist Daniel Sarabia, and the two only had a short time to prepare. We caught up with her to talk about what the whirlwind experience was like.
When Gennadi Nedvigin took over as artistic director of Atlanta Ballet in 2016, one of his first goals was to produce a new Nutcracker; it's been over 20 years since the company's last revamp by former director John McFall. Nedvigin immediately turned to choreographer Yuri Possokhov. "You need to be a really mature choreographer to visualize the whole story," says Nedvigin. Now, two years later, Atlanta Ballet's new Nutcracker will come to life December 8–24.
Yuri Possokhov's "The Nutcracker" www.youtube.com
If you've had an opportunity to see the Cuban National Ballet Company perform, or taken class with a Cuban-trained teacher, or observed a Cuban-trained dancer in classical, contemporary or character roles, you've probably wondered what it might be like to study or dance professionally in the island nation. The U.S. trade and travel embargo can seem like an obstacle, but under its provisions, travel to Cuba is permissible for pursuing an education or professional interests. Shortly after the 26th Havana International Ballet Festival, I spoke with two dancers—a student and a professional—whose experience studying and dancing in Cuba sheds some light on what it's like.
A good personal trainer can coach you through a challenging, safe workout. A great one understands the unique demands dance places on your body and helps you correct specific weaknesses to make you an even stronger performer. Enter Joel Prouty.
Before his passion for fitness took over, he was a member of the Royal Winnipeg Ballet, Houston Ballet and Boston Ballet, toured with Twyla Tharp and performed in Broadway's Come Fly Away. When he retired from the stage in 2010, he dove into exercise physiology courses at New York University, captivated by the idea of dancers as athletes. "My main focus and obsession was how to train like an athlete—strong, powerful, quick and resilient—while still maintaining the long, lean aesthetic required to be a dancer, and perhaps more specifically a classical ballet dancer."
"Keep the rhythm going," calls Robert Garland, Dance Theatre of Harlem's resident choreographer, from the front of the studio. Five company women pulse through a series of syncopated pony steps, upright arabesque sissonnes and funky, Motown-inspired dance moves. It's an open rehearsal in early September, and the company is giving curious audience members a sneak peek at Garland's upcoming world premiere—one of several new works this season as DTH celebrates its 50th anniversary.
Founded in 1969 by former New York City Ballet principal Arthur Mitchell and Karel Shook, DTH was groundbreaking in its makeup of mostly African-American dancers, and its insistence that they could excel in ballet. "We were a bunch of dancers who had been told no, we couldn't do this, and Mr. Mitchell was giving us a chance to show that we could," says artistic director Virginia Johnson, a founding company member and former principal. "He was a very demanding taskmaster—he knew there was something very important to prove and that it was on us to prove it."
As conversations in the ballet world about race and representation have opened up in the past few years, its most beloved holiday tradition, The Nutcracker, has come under scrutiny as well. Last year New York City Ballet made changes to its second act Chinese Tea variation, removing elements of racial caricature from both the costume and makeup and the choreography.
NYCB soloist Georgina Pazcoguin, who is part Filipino, was one of the voices fighting for that change. This year, as companies and schools worldwide are gearing up for Nutcracker season, Pazcoguin, along with former dancer and arts administrator Phil Chan, is back with a new campaign. Final Bow For Yellowface is an online platform dedicated to educating companies and schools on how to veer away from offensive Asian stereotypes (yellowface) and providing resources on how to make those changes. The site also lets readers join dance world luminaries including Virginia Johnson, Julie Kent, Adam Sklute, Troy Schumacher and Christopher Wheeldon in signing a pledge to end the practice of yellowface onstage. We touched base with Pazcoguin to hear about how this initiative came to be, and what she and Chan have in the works for the future.
The Bolshoi is back in U.S. movie theaters on December 2, and judging from this clip, you don't want to miss it. As part of its 5th annual Bolshoi Ballet in Cinema Series with Fathom Events, Pathé Live and BY Experience, the world-famous company's performance of Don Quixote will be streamed in theaters across the U.S.
Staged by Alexei Fadeyechev, Sunday's performance of Don Quixote will star principal dancers Ekaterina Krysanova as Kitri and Semyon Chudin as Basilio. You can visit Fathom Events here to find your nearest theater. But in the meantime, watch this exclusive clip of principal dancer Olga Smirnova as The Queen of the Dryads before you see her on the big screen.
This winter, the renowned Russian dancer Diana Vishneva will appear in her most high-profile project since she retired from American Ballet Theatre in 2017. The 42-year-old prima ballerina, who gave birth to her first child, Rudolf Victor, last May, is set to star in the ambitious, technologically innovative multimedia production Sleeping Beauty Dreams, choreographed by Edward Clug. The production will also star Marcelo Gomes as Prince Peter. Inspired by the provocative question "What did Princess Aurora dream during her 100-year sleep?", Sleeping Beauty Dreams premieres December 7–8 at Miami's Adrienne Arsht Center for the Performing Arts and continues to New York City's Beacon Theatre December 14–15, before moving on to what promotors say will be a two-part international tour.
Sleeping Beauty Dreams New Trailer youtu.be
Master pointe shoe fitter Josephine Lee of the California-based The Pointe Shop touches base with San Francisco Ballet principal Sasha De Sola on all of her pointe shoe hacks, from darning to stirrup tights to customizations. Plus, we think De Sola might win the award for how quickly she kills her pointe shoes. (Hint: It's under an hour).
SFB Principal Sasha De Sola's Pointe Shoe Hacks www.youtube.com
As all bunheads know, there's so much more to dancing on pointe than sewing and bourées. In this new video, The Australian Ballet lays it all out for us, from A-Z. Or rather from "Arch" to "Zzzzzz's." Using a super fast-paced style, this four-and-a-half minute long video skips back and forth between ultra-sleek minimalism and sepia-toned nostalgia. Both educational and insider-y (see "cashews" at 0:54), this video includes some gorgeous shots (Apollo-inspired arabesques at 2:00) interspersed with quirky humor (note adorable pointe shoe bed at 3:53).
So here you go, "A to Z En Pointe." Did they miss any?
A TO Z EN POINTE www.youtube.com
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The Dance Magazine Awards are almost here. As we look forward to the celebration on Monday night, we're sharing an excerpt from the program—a letter written by our CEO Frederic Seegal:
The 61st year of the Dance Magazine Awards represents a major step forward. It extends the reach of the awards and now marks the second year of our collaboration with the Harkness Foundation for Dance, thus uniting two iconic organizations.
Firstly, this will be the inaugural presentation of the Harkness Promise Awards, which recognizes new talent at the upswing of their careers. Nurturing emerging artists, especially choreographers, is critical to ensuring dance's role in today's cultural landscape.
Moscow Ballet's Great Russian Nutcracker is not your average Nut. In 1994, the production debuted in six cities across the U.S. This winter, three simultaneously traveling companies of Russian dancers will bring the ballet to 137 cities, incorporating up to 120 local children in each location. For Mary Talmi, co-founder and producer of Talmi Entertainment, which produces the show, this is no small feat. "The role of arts education in this country is needed more than ever, and the more expansive our tour is, the more I realize that the benefits to the children are way beyond dance," she says.
Do you call the pirouette position passé or retiré, or do you use both? What about the term élevé? Do you use it? Have you ever considered what these French words actually mean?
"Ballet terminology is somewhat subjective," says Raymond Lukens of ABT's JKO School. "Often there is no definitive way to say something. What's really important is to create a picture in the minds of your students so that they will do the step you're asking the best way possible. You can split hairs forever over this stuff!"
Another thing to keep in mind is this, says Lukens: "For the French, ballet terms are seen as verbs or action words, and to non-French speakers they're seen as labels for the movements."
Do dancers' brains react differently to music than other people's, including those of serious musicians?
In a recent study at the University of Helsinki, researchers observed the brain functions of 20 professional dancers, 20 professional musicians and 20 laymen watching a recording of a dance performance. Compared to the other groups, dancers' brains responded more quickly to sudden changes in music, even before the dancers themselves were conscious of the shifts. While watching the video performance, their brains also demonstrated functions associated with memory and emotional processes, implying that dancers might experience music in a more personal way than others. Although you already know musicality is an important part of your creative expression, this research suggests an even deeper connection between the two art forms.