4dancers – Page 27

Dance Footwear: Sockage In The Sock Age

January 29, 2015 by 4dancers

Hubbard Street 2 Dancers Andrea Thompson and Jules Joseph in Long Story Short
by 2014 International Commissioning Project choreographer Ihsan Rustem. Photo by Todd Rosenberg.

As a dancer, I spend my entire day in socks. They are my preferred footwear — my dance shoes, my ballet slippers, my performance-wear, my fashion statement, my secret weapon. With only one exception (Alejandro Cerrudo’s Lickety-Split), all of the repertory I have performed onstage with Hubbard Street 2 has either been in calf-height socks that neatly match the rest of the costume, or ankle-height socks that match my skin tone. The latter look has been dubbed by some as “the Hubbard Street sock,” but it’s not just this company that performs in stocking feet. Most contemporary dance shows I’ve been to in the past six years have been performed either barefoot or in socks — a phenomenon I’ve come to understand and love, but which also elicits from the audience questions like, “Why are the dancers wearing socks? Are they in their pajamas? Where are their shoes?” Hopefully by sharing my passion for this form of footwear I can debunk and demystify the all-important Contemporary Dance Sock.

HS2 dancer — Hubbard Street 2 Dancer Andrea Thompson in socks at the Hubbard Street Dance Center. Photo courtesy of Andrea Thompson.

The first time I danced in socks was in 2009 at the San Francisco Conservatory of Dance. We were working with Alessio Silvestrin from The Forsythe Company, and without fail he wore socks over ballet shoes in every rehearsal. Coming from a ballet background, this was a new concept to me. I knew it was trendy to wear socks over ballet shoes in order to warm your feet faster for the first combinations at the barre, but I had no idea that in contemporary dance, people actually wore socks onstage in performance. Being the dutiful student I was, I tried to copy Alessio’s look, but I didn’t yet fully grasp the art of dancing in socks. I tried out all kinds in rehearsals: crew-cut athletic socks, calf-height socks of all synthetic blends, those plush fuzzy socks that are great in the wintertime, warm slipper-socks with rubber grips on the bottoms. When so many sock varieties failed to satisfy me I tried keeping my ballet shoes on and danced barefoot a few times, but soon realized that most contemporary choreography really works best in socks.

My friend Carson Stein (now a dancer with Liss Fain Dance and Sharp & Fine in San Francisco) tipped me off to the most important factor of sockage in dance: high cotton content. Synthetic blends had me slipping all over the place. Thick, fuzzy socks tended to stick more to the floor than to my feet, and my poor toes were swimming inside with all the extra room. Athletic socks worked alright, but I soon found that I was bothered by all the extra padding underneath certain parts of my feet and wanted to be able to feel my own skin nearly on the floor, but with a thin layer in between that hugged my foot and enabled me to slide around a bit. Enter the H&M sock: with 83% cotton content (higher in select styles!), it was a revelation. To this day it is the most affordable, most reliable sock I have found to dance in.

Hubbard Street 2 dancers footwear — Hubbard Street 2 Dancers in socks at the Hubbard Street Dance Center. Photo courtesy of Andrea Thompson.

Of course there are trends. American Apparel’s knee-high athletic socks were all the rage to dance in a few years ago, particularly the ones with stripes. I’ve found many a fun pair of patterned and unusually-colored socks in the men’s section of Uniqlo. They’re a little more slippery than my standard H&M sock, but depending on the floor they can also work. I usually go for a calf-height sock, but if they’re taller, like the men’s socks from Uniqlo, I’ll just fold them over. Hubbard Street is the only place where I’ve worn ankle-height socks, but when they’re dyed just right, they do a great job of continuing the line of the leg. One could argue that ballet shoes and bare feet do similar things for line, but wearing socks enables you to do all the sliding and swooshing around of contemporary choreography while keeping the skin of your feet in one piece.

For a while, even after I had gotten used to dancing in socks in rehearsals, I preferred to take ballet with ballet shoes on. Then I gradually started taking barre in socks and putting shoes on only for center. Then, sometimes, I would forget to change footwear during class. After I had an ankle surgery, I stayed in socks the whole time to make sure I could really feel the alignment of all the bones in my feet on the floor. I thought I would eventually put ballet shoes back on for at least part of class, but after trying a few times I realized I preferred to feel as much of my foot as close to the floor as possible. My feet feel more supple, dexterous and intelligent if they aren’t closed up in a shoe, dealing with leather pads under my toes and fabric bunching up inside.

Hubbard Street 2 dancer Andrea Thompson — Hubbard Street 2 Dancer Andrea Thompson in Long Story Short by 2014 International Commissioning Project choreographer Ihsan Rustem. Photo by Todd Rosenberg.

When my feet are free to play the floor in socks, I have a much better sense of where my weight is and I feel like I have access to 100% of my articulation, instead of feeling like I’m dancing in mittens or shoeboxes. And I think similar to the idea of those free-running shoe-gloves, you learn to deal with impact in a totally different way when you don’t have any padding underneath your joints. Jumping in socks was a little scary at first, without having the reassuring leather padding underneath the balls of my feet. But after some practice I found that in order to soften my landings while staying buoyant I was actually informing the entire rest of my body from the information I was getting from my feet. My plié had to adjust and become more sensitive, and my landings and takeoffs have, I believe, benefitted from the new knowledge.

From ballet to floorwork to sliding, slicing and swooshing, socks provide the perfect blend of friction, articulation, and maneuverability and so, no, we contemporary dancers have not forgotten to put on our shoes. We revel in our sockage.

Andrea Thompson and Hubbard Street 2 tour Europe with mixed repertory February 21–March 5, presented by Norddeutsche Konzertdirekton. Performances in Heerlen, the Netherlands; Treviso, Italy; and four cities in Germany will feature recent works by Bryan Arias, Ihsan Rustem, Loni Landon, HS2 Director Terence Marling and Hubbard Street Resident Choreographer Alejandro Cerrudo. For a complete HS2 touring schedule, artist profiles and more, visit hubbardstreetdance.com.

Andrea Thompson photo by Quinn Wharton — Hubbard Street 2’s Andrea Thompson

Contributor Andrea Thompson (Maplewood, NJ) trained at the New Jersey School of Ballet, American Ballet Theatre’s Jacqueline Kennedy Onassis School and the Ailey School in New York City. Thompson has also studied at the Juilliard School, Northwest Professional Dance Project, Springboard Danse Montréal, Nederlands Dans Theater and Batsheva Dance Company, which brought opportunities to perform choreography by Gregory Dolbashian, William Forsythe, Natalia Horecna, Jessica Lang, Marina Mascarell, Idan Sharabi, Robyn Mineko Williams, Paul Lightfoot and Sol León. At the San Francisco Conservatory of Dance, under the direction of Summer Lee Rhatigan, she trained with and performed works by Christian Burns, Alex Ketley, Thomas McManus, Robert Moses, Ohad Naharin, Alessio Silvestrin and Bobbi Jene Smith. Thompson joined Hubbard Street 2 in August 2013, following work in San Francisco and New York with Zhukov Dance Theatre, Chang Yong Sung, LoudHoundMovement, Backwoods Dance Project and the Foundry.

Becoming Juliette

January 28, 2015 by 4dancers

Some insight on being fully immersed in a role, creating a character, not comparing yourself to the past 400 years of Juliets, and kissing your co-workers…

Alessa Rogers as Juliette — Christian Clark and Alessa Rogers in Romeo et Juliette. Photo by Charlie McCullers.

by Alessa Rogers

“Let love drive you.” These are not the words of Shakespeare but of stager Giovanna Lorenzoni as she attempts to mold me into a Juliette Capulet worthy of Jean-Christophe Maillot’s stunning ballet. They are the words that have been driving me since I was first cast as Juliette in October 2013, through the intense rehearsal process that led to the first time Atlanta Ballet performed the ballet last year and now, as I prepare for an encore round of shows February 6-14. As I prepare for my second shot at what has become my favorite ballet, I reflect on the process, on remembering that opening night is just one night, and how the genius is in the details.

DIFFERENCES

For me, being cast as Juliette was a dream come true. But as is the case with most dreams, reality was a little different than I imagined. First of all, this version, which was choreographed in 1996 for Les Ballets de Monte Carlo, is a departure from the classical versions I grew up with. This is a stripped down, more contemporary version. Third Act I am barefoot. There are no lavish sets, cumbersome period piece costumes, and nary a sword or a vial of potion to behold. Instead, the story is told through the movement and the musicality only. As such, every step is vitally important. Nothing is thrown away or meaningless. There is text in every gesture, tension is every moment of stillness.

Juliette herself is different too. She is older than she is normally portrayed, closer to woman than girl. She is fierce and fearless and knows a thing or two about the world. She knows herself and what she wants. She takes the lead in the budding romance with Romeo, demarcating their boundaries or lack thereof. The streak of mischief in this Juliette is part of the reason why I got this role in the first place. Early in the process one of the stagers from Monte-Carlo came upon me in the hallway, shoving a piece of cake into the mouth of one of the other dancers. That, she said, is exactly what Juliette would do. [Read more…]

Looking At Art & Inspiration With Herbert Migdoll

January 23, 2015 by 4dancers

It’s always interesting when one artist inspires another–especially when they operate in two different mediums.

Brock Clawson is a choreographer who has had work performed by both the Milwaukee Ballet and The Joffrey Ballet. Herbert Migdoll, artist, Director of Special Projects for Joffrey, and long-time company photographer, recently created a series of art pieces based on Clawson’s piece, “Crossing Ashland”.

We wanted to learn more about how the inspiration for this work came about, so we reached out to Mr. Migdoll to learn more about his process. (Please feel free to click on the photos below to bring up a larger view.)

What was it about Brock’s piece (Crossing Ashland) that you were drawn to specifically?

Initially, in the Joffrey dance studio, the work reminded me of the ballets performed at Judson in the Village in the olden days. That period included such artists as Carolee Schneeman, Laura Dean, Meredith Monk, Twyla Tharp, Cathrine Litz and many others. It always had a rawness and simplicity in the aesthetic, which allowed one to realize that all movement is a part of dance. The core came from rough ideas, and the motion of the dancers presenting those elements were indulged by an audience and relished by visual artists–like Rauchenberg who jumped into dance and even performed in a work with Steve Paxton there. A photo from that performance is on my list of paintings, TO DO.

The bodies of the dancers (in Brock’s piece) rolling to the left and then to the right is totally unique to how bodies are normally focused upon.

As a kid I loved to roll down low ravines or in the shallow waters of an ocean tide foaming onto the beach as the twilight of evening was approaching. All of this creates a visual plethora of ones past experience with rolling around. I knew fairly quickly that Brock had touched a nerve in my collective consciousness and that I would have to run with it. That electrical moment does not occur that often and when it does you are not able to not jump into the creative process.

God does good stuff too–like grass and human bodies seemed inevitable elements of collaboration. The grasses in Lurie Garden are often nifty, and also in Ping Tom Memorial Park.

Do you have a particular piece you gravitate toward?

The first grey panel I produced with colored bodies on top and flesh bodies below would be my first choice if I could afford to buy one. But I can’t.

Also the 5 bodies lost in the Lurie Garden autumn grasses is uniquely magical.

Bob Joffrey once remarked that wonderful art will always have a quality of being magical. It’s the magic that allows you to enter that other dimension.

What was your creative process like with this project?

It started by watching a rehearsal–and from that to know that I had to shoot a lot of rolling around stuff. And I did.

Then I edited down to nine iconic images and placed them mostly sequential order as they appeared on stage–but not strictly. Next I looked at them in Photoshop to eliminate the photographic aesthetic and coax the slickness out of the photo into an evolved
sort of drawing–and then to finally take shape into an acrylic reproduction–producing a digitally painted series of nine images in a row.

The monochromatic “drawing-like” figures were so on the mark, I stopped and simply continued to create an almost square of bodies which became a matrix for the possibility of endless modular combinations. And these compositions of modules will now continue on as long as I have funding to produce new canvasses.

The grey backgrounds on some of the works led to the beauty of colors against grey, and intermingled with the lush flesh colored bodies. All of which have nothing and everything to do with Brock’s ballet. Rothko, one of my heroes, inspired me to pursue the soft edge of one or two colors firmly blended and totally separate. It’s all kind of a “stream of consciousness” response–and finally a leaving of the source of inspiration. It is an acceptance that the inspiration is the golden source–not because it recreates the final images–but because it evolves art totally unique from the source.

Painting is not illustration. It’s something else!

Are You Ready For Pointe?

January 22, 2015 by 4dancers

Photo courtesy of Mararie on Flickr, Creative Commons 2.0

I’m so pleased to introduce this month’s guest contributor, Selina Shah, MD, a dance and sports medicine physician based in San Francisco, where she is Director of Dance Medicine at the Center for Sports Medicine. A dancer herself, Dr. Shah is the company physician for the San Francisco Ballet School, Liss Fain Dance Company, and Diablo Ballet, among others. Her article discusses the different factors that determine when a student dancer should begin pointe work.

We are grateful to her for sharing her expertise on this topic —pass it on!

– Jan Dunn MS, Editor, Dance Wellness

by Selina Shah, MD, FACP

If you are anything like me, you are captivated by ballet. You love its grace and its gravity-defying, gentle power. You dream of performing as a prima ballerina. In the years of work it will require to get there, perhaps the single most important milestone you will face is when to go en pointe.

Dancing en pointe is an advanced stage of ballet that requires unique skills. The challenge is to place almost all of your weight on the extreme tips of your toes, yet appear as light as a feather. In fact, no matter how long all of your toes are, research has shown that most of your body weight is carried on the tip of your big toe. It may sound very hard, but in truth, it’s even harder!

How Will I Know When I Can Get Pointe Shoes?

Most likely, your teacher will decide when you are ready to go en pointe. Many factors are involved in this decision. One common myth is that there is a mandatory age requirement of 11 or 12. In actuality, having adequate training rather than age is what matters. Usually, this means at least several years of consistent, high-quality training. Often girls are around age 11 or 12 before this happens, but some girls may be ready sooner, some later, and some not at all. Keep in mind the quality of work is more important than quantity.

You need enough flexibility in your foot to rise fully to pointe. One way to test this is to point your foot while sitting down with your legs extended in front of you. Next, place a pencil on top of the ankle and it should be able to lay flat from the tibia to the foot across the ankle joint.

You need physical and technical skills, such as strength, balance, alignment and control. For example, you should be able to hold passé on each leg with arms in high fifth for at least a few seconds. You should also be able to perform a clean pirouette with a smooth landing.

You also need to be able to continuously accept and apply teacher feedback.

Last but not least, you must consistently maintain your discipline and focus to keep your skills sharp and reduce the likelihood of injury.

Barre is where you form the crucial foundational skills on which pointe, and all other ballet movements are built. Listen to your teachers when they give you corrections and apply them until they become second nature. For instance, “working the floor with your feet” in tendus helps build your foot strength, which is essential for pointe. Working diligently on your turnout (and not cheating!) results in proper alignment. Use your core strength (ask your teacher how to do this correctly) to help you with balance and control. Apply these skills in the center and across the floor.

Various Foot Types

261936797_761833106a_z — Photo courtesy of mmarchin on Flickr, Creative Commons 2.0

Knowing your foot type is important when you look for pointe shoes. Most people fall into one of three categories.

The “Giselle” or peasant foot shape is one where the first three toes are of equal length, making this ideal for pointe because the big toe gets assistance from the other two toes in carrying the weight.
The “Morton’s” or “Grecian” foot, in which the second toe is the longest, is more prone to developing callouses, pain, and stiffness in the big toe. Most of the body weight is still carried by the big toe in the Morton’s foot.
A narrow “Egyptian” foot, in which the toes taper in length from the big toe which is the longest, usually requires a cap on the second toe so that it can assist the big toe with weight bearing.

Finding The Right Pointe Shoe

Pointe shoe fitting is complicated because of the variability in shape, size, strength, and flexibility of each dancer’s feet. Most dance stores will have specialized pointe shoe fitters on staff. Your first visit to the store will take some time as you try on a number of shoes until you find the one that feels good and fits properly. As you gain experience in pointe, you will likely change shoes.

With hard work and dedication, one day you may be fortunate enough to hear the words “You are ready for pointe!”

Selina Shah, MD, FACP

Selina Shah, MD, FACP is a board certified sports medicine and internal medicine physician and the Director of Dance Medicine at the Center for Sports Medicine in San Francisco, CA and Walnut Creek, CA. She has lectured nationally and internationally on various dance medicine topics and has published papers in medical journals and books including her original research on dance injuries in contemporary professional dancers. She is the dance company physician for the San Francisco Ballet School, Liss Fain Dance Company and Diablo Ballet. She is a physician for Berkeley Repertory Theater, Mill’s College, St. Mary’s College, and Northgate High School. She takes care of the performers for Cirque du Soleil and various Broadway productions when they come to the San Francisco Bay Area. She has taken care of several Broadway performers (i.e. American Idiot, South Pacific, Lion King, Book of Mormon, MoTown, and Billy Elliot). She is a team physician for USA Synchronized Swimming, USA Weightlifting, USA Figure Skating and travels with the athletes internationally and nationally. She is also a member of the USA Gymnastics Referral Network. As a former professional Bollywood and salsa dancer, Dr. Shah is passionate about caring for dancers. She continues taking ballet classes weekly and also enjoys running, yoga, Pilates, weightlifting, and plyometric exercise.

Wendy Whelan At The Harris Theater: Restless Creature

January 21, 2015 by 4dancers

Wendy Whelan in Restless Creature. Photo by Christopher Duggan.

by Catherine L. Tully

Wendy Whelan is here in Chicago. And after waiting nearly a year for her to heal from a hip injury and re-schedule her tour, Restless Creature is on the schedule at the Harris Theater tonight.

The dance community is buzzing…

Whelan retired from New York City Ballet near the end of last year, and she is transitioning to the next phase of her career. Restless Creature is a unique dance offering that takes four young choreographers and challenges each to create a duet for one of the greatest ballerinas of our time.

But there’s a twist–they also dance these pieces with her.

Here’s a quick peek at each of the pairings that will be on stage this evening:

Cerrudo

In Chicago Alejandro Cerrudo needs no introduction. This Spanish-born dancer became Hubbard Street‘s resident choreographer in 2009. His duet with Whelan, Ego et Tu is the first of the four to be performed.

Joshua Beamish and Wendy Whelan, photo by Christopher Duggan

Beamish

Also on the program is Joshua Beamish with Conditional Sentences*. Beamish is the force behind MOVE: the company, which he founded in 2005.

Abraham

Choreographer Kyle Abraham has his own company, Abraham.In.Motion, and his duet, The Serpent and the Smoke is the next offering on the program.

Brooks

The final pairing for Restless Creature was created by Brian Brooks, and is titled First Fall. He is the choreographer at Brian Brooks Moving Company.

The program runs approximately 55 minutes and is only here for one night. It should be a thrilling one.

For more information about upcoming tour dates, visit Wendy Whelan’s website.

*4dancers originally had the name of this piece incorrect and it has been updated.