Where in the world is Miko Fogarty? Just three years ago, she seemed unstoppable. After being featured in the 2011 ballet documentary First Position, she became a teenage social-media star, winning top prizes at competitions in Moscow and Varna and at Youth American Grand Prix, and dancing in galas around the world. Last most of us heard, it was 2015 and she had just joined the corps of Birmingham Royal Ballet. A year later, she dropped off the ballet radar.
Turns out Fogarty, now 21, was taking time off to reevaluate her life, including the role she wanted ballet to play in it. She is now starting her junior year as a biology major at University of California—Berkeley and is considering going to medical school. (Her brother and fellow First Position subject, 19-year-old Jules, is a junior in the Berkeley economics department.) On the side she teaches private ballet lessons and gives master classes, and is the part-time conservatory director at San Jose Dance International, a new school in the San Francisco Bay Area led by artistic director Yu Xin. We caught up with her by phone.
Last we heard, you were at Birmingham Royal Ballet. Where have you been over the last couple of years?
I've been kind of quiet on social media about what I'm up to. I hope in the future to be more open with my followers on my daily life. I'm kind of in the process. Right now I'm a premed student at Cal and I'm researching science, which is completely different from what I was doing a couple of years ago. I'm also teaching a lot. I love teaching ballet; it's definitely one of my passions.
Why your dance floor is slippery and how to fix it.The biggest problem dancers have with floors is that they are too slippery. Slippery is unstable and dangerous, a formula for disaster. But did your floor start out slippery or did it get that way over time? Just one of many questions that need to be answered before we can fix the problem
With their idea of pairing professional ballerinas and super-sweet pups, we didn't think it was possible for Dancers & Dogs to get any better. But boy were we wrong. For their latest collaboration, husband-and-wife photography team Kelly Pratt Kreidich and Ian Kreidich brought out the big biscuits (literally) by shooting Biscuit Ballerina with greyhounds Willow and Ziva—because it takes two greyhounds to try to match BB's grace, obviously.
Biscuit Ballerina strikes a pose with retired race dog and rescue, Ziva.
Houston Ballet has been taking Jacob's Pillow Dance Festival by storm this week, and soloist Harper Watters has been filling us in on how it's going. In yesterday's vlog he took us around the historic festival's scenic grounds and barn-like theater. Today, he and principal dancer Chun Wai Chan give us the inside scoop on HB's dress rehearsal (and take us into the wings to watch some beautiful dancing). Stay tuned for more from Watters later this week!
These three current professionals opened up about opting for a degree first, how it impacted their careers and their favorite college memories.
Dara Oda, Texas Ballet Theater Dancer
Photo by Max Caro, Courtesy of Texas Ballet Theater
Belhaven University, BFA in dance (ballet emphasis), 2014
Growing up, Dara Oda knew she wanted to dance professionally, but she didn't feel ready to audition at the end of high school. "It was really easy to think of college as a fallback," she says. But her perception soon changed. "When I went to Belhaven and saw the level of training I would be getting, that encouraged me to pursue my dream but also be proactive and get my degree at the same time."
Houston Ballet is at Jacob's Pillow Dance Festival this week—and company soloist Harper Watters is taking us behind the scenes as the company settles in at this historic landmark. Catch HB in action on their first day of class and rehearsal, and stay tuned for more vlogs from Watters throughout the week!
Your director Stanton Welch claims that you can hover in midair.
Really? I am not sure that I can do that. I do know that I repeat things over and over because I need to find my own way with each step, and maybe the floating quality happens in there somewhere. I just do it.
If you had to pick one signature role which would it be?
Just one? I can't. I have two. One is Giselle, because she's a human and not a creature, and people can relate to love and heartbreak. Stanton's Madame Butterfly is also important to me, because I met him when I was 17 and had heard that he thought I would be great in the role. I finally danced it in 2016 and it's a spectacular part.
Kajiya as Giselle in Stanton Welch's "Giselle." Photo by Amitava Sarkar, courtesy of Houston Ballet.
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"Who here is terrified of choreographing?"
It was a question posed by Pacific Northwest Ballet School teacher Eva Stone five weeks ago, sitting on the floor among her class of female summer intensive students. "Almost all of them raised their hand, but I said, 'Don't worry, I got you,'" says Stone. "'I'm going to give you tools and skills and you're going to build on them.' It's amazing how their perspective changed in five weeks."
Stone's choreography class, introduced into the summer program last year, served as a pilot for a new initiative at PNB School beginning this September. New Voices: Choreography and Process for Young Women in Dance is a year-round class dedicated to educating and encouraging 14 to 16-year-old female students in the art of dancemaking. Made possible through funding from the Virginia B. Toulmin Foundation, the 38-week course was created to help address the lack of women choreographers working in major classical ballet companies.
PNB School is one of several academies offering choreographic opportunities to its students. Houston Ballet Academy and the Chautauqua Institution, for example, hold workshops during their summer intensives, while Central Pennsylvania Youth Ballet and Ballet Academy East recently joined forces to create a choreographic exchange program. And School of American Ballet offers numerous choreographic projects for its dancers, including one for women. What makes PNB's initiative unique is its year-long scope and structured focus on composition.
Ever since Peter Martins retired from New York City Ballet this January amid an investigation into sexual harassment and abuse allegations, we've been speculating about who might take his place—and how the role of ballet master in chief might be transformed.
Until now, we've only known a bit about what the search for a new leader looks like. But yesterday, The New York Times reported that the company has released a job description for the position. Though the full posting isn't available to the public, here's what we're able to discern about the new leader and what this means for the future of NYCB:
Even though it's still summer, audition season will be here before you know it. The goal is to look, dance and feel your best when auditions roll around. You're likely focused on improving as a dancer technically and artistically, but aesthetics are (unfortunately) something companies will consider as well. To look your best, healthfully and mindfully crafted body goals will make a world of difference.
A few years ago, Boston Ballet principal Lia Cirio was tasked with performing a contemporary program one week and dancing in The Sleeping Beauty the next. "We were doing Jiˇrí Kylián's Tar and Feathers, which had me sliding around in socks," says Cirio. "The day after the premiere, I had to run my Aurora variation. I needed my technique to be stable, for both my brain and body."
Being in a ballet company doesn't mean you will always be dancing entire evenings, let alone rehearsal days, in pointe shoes. With today's preference for more eclectic mixed bills, a dancer might need to shift from pointe shoes to socks, slippers or even heels. Yet moving between footwear can be tricky—you can easily get injured if you are not prepared for the differences in sensation and shifts in balance. But when you're frequently asked to switch footwear, what's your body, much less your feet, to do?