Ashley David

Ballet Class with Dmitri Roudnev: Beginner/Intermediate level

August 22, 2013 by Ashley David

In this 54-minute DVD, Bolshoi-trained Roudnev leads his 12-year-old student Maggie through barre, center, and pointe work. As a set of exercises, the class is quite well constructed, but is offset by the DVD’s home-video production quality. Each exercise is demonstrated and explained by Roudnev, then demonstrated by Maggie with music from volume 11 of Roudnev’s Ballet Class music CD series.

Roudnev’s student demonstrates strengths consistent with classical Bolshoi-style training: a solid back and strong, straight legs: extremely deep demi-plie, and well-coordinated jump. Troublingly, however, he encourages the placement of the feet in 180-degree turnout whether or not the hips allow it. Similarly, the position of the leg a la seconde points directly side of the body, whether or not the hips permit the leg to open so far. For a body that possesses full rotation, such a stance is logical. In today’s democratic training landscape, however, where not every student’s body is “ideal”, the practice of developing turnout from the feet up seems questionable at best.

Roudnev’s method of developing pointe work features the practice of jumping off pointe without rolling through the feet for beginners. Here again we see in Maggie strong, straight legs and ankles (Roudnev reveals it’s only her fourth pointe lesson), but a lack of refinement in the use of the feet.

Roudnev’s class construction for the beginner lesson is sensible and thorough. His teaching manner is both nurturing and demanding. As a study tool for teachers, this disc is a look into Dmitri Roudnev’s method. Like any syllabus, teacher, or teaching tool, it has both value and limitations—aspects that are effective, and aspects less so. Ballet Class with Dmitri Roudnev: Beginning/Intermediate Level is available on Amazon.com and on Roudnev’s website, BalletMethod.com.

Hydration: Great Drink Ideas For Dancers

July 24, 2013 by Ashley David

by Caroline MacDonald

During the summer it is more important than ever to stay hydrated. Whether you’re dancing at an intensive, spending the day at the beach, or walking in the park you’re bound to lose water. Replacing this lost fluid is crucial in order to maintain optimum physical performance and health.

The concept of hydration is simple, but the execution can require a bit of effort. Let’s face it: Water is boring. Though it’s refreshing after a long workout or a few hours in the sun, it can be hard to remember to drink H2O when you’re not thirsty. One trick to help you get your fluids is to add some pizazz to your drinks. Here are some healthy and tasty beverage options to fill the gap in your water intake without adding too many extra calories to your diet.

The Simplest of Drinks: Lemon Water and Infusions

Before you try bottled drinks off the shelf, try adding flavor to your existing glass of water.

Lemon Water: Lemon juice not only adds flavor, but also is great for your digestive system, immune system, skin, and tissue and bone health. It is recommended that you consume at least half a lemon per day to reap its full benefits. You can also create a zero- calorie lemonade by combining water, lemon juice, and stevia. Add a bit of cayenne pepper for some healthful heat!

Infusions: By adding berries, cucumber, herbs and spices to your water you can create great flavors without the extra calories. Fill a big pitcher with water, add fruits and herbs of your choice, and let it sit for a few hours. Here’s one tasty infusion recipe.

Juice

Though they have a higher sugar content, juices (especially homemade) are a good addition to your daily drinks. Juices provide extra vitamins and minerals from fruits and vegetables and are good for digestion. Avoid to many processed juices, as they tend to lose nutritional value and often have excessive amounts of sugar. Try making your own and get creative! Here are a few recipes to get you started. [Read more…]

DVD Review: Ballet Russes

June 25, 2013 by Ashley David

by Emily Kate Long

Alice Nikitina and Serge Lifar in the ballet La Chatte, 1927. By Sasha via Crossett Library Bennington. — Alice Nikitina and Serge Lifar in the ballet *La Chatte*, 1927. Photo by Sasha; Courtesy of Crossett Library Bennington.

This collection offers three colorful, humorous ballets. It’s the ninth volume in a series which includes, on other discs, works by Stravinsky, Tchaikovsky, Poulenc, Debussy, and Ravel. The entire “Diaghilev-Ballets Russes” series intends to highlight one surviving aspect of the artistic and cultural powerhouse that was the Ballets Russes. Where stagings evolve, records of choreography are lost, or dancers’ memories fall short, scores last and continue to recall this vital period in dance history.

First on the disc is Darius Milhaud’s Le Train Bleu, which premiered in Paris in 1924. The ballet was choreographed by Nijinska with costumes by Chanel. It illustrates with irony a set of light, sunny episodes at the beach—right in line with the carefree spirit of the “Roaring Twenties.” The ballet takes its name from that of a luxury train to the French Riviera. Milhaud’s work strongly influenced that of Copland and Bernstein, composers with whom today’s dance audience may be more familiar. Those roots are easy to hear in Le Train Bleu. The score also shares jazzy, humorous elements with the work of George Gershwin. Think “Rodeo” meets “Candide” meets “An American in Paris,” all tangled up in an exaggeratedly pompous Offenbach march.

Next is a suite of dances from Les Femmes de Bonne Humeur, Tomassini’s orchestration of five Scarlatti sonatas. The score was commissioned in 1917 for a ballet to be choreographed by Massine and designed by Bakst. Here again is a set of ebullient, joyful episodes. It’s easy to imagine the comedy that must have taken place onstage—the plot of the ballet, whose title translates to “The Good-Humored Women,” centers around games of romance in a small Italian town.

The third work in this collection is Henri Sauguet’s La Chatte, commissioned in 1927 for the Ballets Russes’ twentieth season—just one year before Diaghilev’s death. It was choreographed by Balanchine and designed by Naum Gabo and Anton Pevsner. Colorful and vibrant, La Chatte tells the story of a young man who falls in love with a cat. With Aphrodite’s help, the cat turns into a girl but is put to the test during a fantastic Scherzo when the goddess sends a mouse through the bedroom. The girl is unable to resist her instincts and chases the mouse; she is then transformed back into a cat.

This collection is enjoyable to listen to for its variety and brightness, in addition to being significant for its history.

Diaghilev-Ballets Russes Vol 9

SWR Music/Hanssler Classic

German Radio Philharmonic Orchestra conducted by Robert Reimer

74 minutes

Student Spotlight: Rachel Burn

May 6, 2013 by Ashley David

Today for our student spotlight, please welcome Rachel Burn…

1. Can you tell readers how you became involved with dance?My mother was a dance teacher and so my sister and I grew up going to ballet, acro and jazz when we were little. As a teenager, though, I began to love it for myself and a friend who had previously done a dance degree gently nudged me that way, which I’m always very grateful for!

2. What do you find you like best about dance class?

I’m not sure there’s a best thing! Class is simply the most amazing thing/place for a dancer… I prefer it to performing some times! It is a unique and significant experience to be amongst a group of like-minded ‘Body Thinkers’, all sharing the same space, music etc, and whilst sharing that space also being alone to work just for yourself. What other opportunity do we get to pay attention to the very internal state of our bodies? Humans have bodies, not just brains, and a huge majority of the world don’t ever connect themselves to their bodies in an intentional way, I think they don’t really know themselves as a result, to set that time aside daily is the same thing as a faith/spiritual practice. I could go on and on…!

Physically I like the opportunity that class gives to teach your body new things, work hard, get tired, get sweaty, to develop the fullness of your fitness – agility and clarity alongside stamina and strength etc – and that very primitive joy that comes from flailing everything around to loud music! J I don’t understand why more people don’t love that.

In terms of being a freelance professional dancer, my experience has been that class is where you meet your network. Most of my work and projects and the dancers who I am currently working with have come from just meeting people in class and getting chatting. Contemporary dance doesn’t have a simple and clear system put on us to develop ourselves professionally so making your own network is important – it then joins up to other networks, other dancers, other projects…

3. What is the hardest part about dance for you?

This is a very difficult question… the answer is rather more about my insecurities than about dance itself. I personally at times can find it hard to be working in an industry that many of my peers and family don’t understand. They support it, endlessly in fact, but maybe also think I’m a bit odd or missing the point. But that might just be my paranoia! I don’t mind that I also have to waitress, or that I am usually broke or that a lot of my friends are married with mortgages and children – some people let those things push them out of dance.

4. What advice would you give to other dancers?

I would say to just keep going… there is absolutely not a direct and straight career ladder to climb. If you get a great project for a while and everyone thinks that this is it for you, you’ll always earn money now and travel the world on huge stages, you need to know that that is absolutely not necessarily the truth and a week after that contract ends you might be dancing at a kids party, but THAT’S OK. You need to do what you need to do to keep going. Be wise in your choices and look after yourself physically and spiritually, it really is a tough world to be in and you need to be in a good state to deal with it. Keep doing class.

5. How has dance changed your life?

I took a three-year break from dance and if I hadn’t gone back to it I would be a secondary school teaching assistant in my home town living a comfortable and timetabled life… Gary Clarke was a Butlins Red Coat and Natasha Kahn (Bat for Lashes) was a teacher in a primary school – so I feel in good company – we all need some thinking time, but at some point you have to answer the niggle in you to do what you need to do. My prompt came from watching Matthew Bourne’s Swan Lake for the millionth time one Christmas and thinking ‘What am I doing?? Why aren’t I dancing? I need to re-train’ and it’s been forwards from there. I have less money and less stability than ever before but far more assurance in myself, understanding of and energy for life, and I know that I’m doing the thing that I need to do. I think that’s important.

BIO: Rachel trained at Middlesex University, graduating with a BA Honours in Dance Studies with a particular focus on choreography, followed by completing a year of further training at the Merce Cunningham Studios in New York and performing with the Repertory Understudy Group. She has choreographed for Cloud Dance, Actual Size, Middlesex University students, Switchback Productions and currently a variety of her own projects, including Pullover, Pull Through, Flick, performed at Woking Dance Festival and for the Surrey Dance Collective. She has also worked with H2 Dance, Laila Diallo, Douglas Dunn, Shobana Jeyasingh and Gary Clarke.

Student Spotlight: André Fabien Francis

April 22, 2013 by Ashley David

Here’s our latest student spotlight–André Fabien Francis…

1. Can you tell readers how you became involved with dance?

I first became seriously involved in dance while I was auditioning for the Aspire Dance Mentoring Programme – which is run by the Council for Dance Education and Training. On the Panel was Vanessa LeFrançois who is the Director of Prevocational & Recreational Dance at The Place: London Contemporary Dance School and while auditioning for Aspire she scouted me to join the Centre for Advanced Training at The Place – which I joined in January 2009 – before graduating to accept a fully Funded Place at London Studio Centre in September 2011 where I’m currently in my 2^nd Year.

student spotlight

2. What do you find you like best about dance classes?

I’d have to say one of the best things about dance classes is being somewhere you want to be. Then to add to that; being taught by a teacher who loves what they do and therefore encourages you to go beyond your limits each every time is something I love. Being surrounded by other individuals who want to be there and want to work hard to achieve their goals too is always a bonus!

3. What is the hardest part about dance for you?

Honestly one of the hardest parts of dance for me would have to be: having to push myself constantly to achieve things… it’s hard work! Some people can turn well, others can jump like a kangaroo, some are more flexible than a rubber band and others have to work on all three.

The hardest part is having to work on the things that don’t come naturally and the things you’re working on that often really annoyingly do not come straight away, while knowing if you want to achieve them you have to keep working and pushing for that bit extra as if you keep doing what you always do you can’t really expect to see change!

4. What advice would you give to other dancers?

While I was at CAT one of my teachers Raymond Chai –who is Chief Ballet Master for Ballet Black – said something that has ALWAYS stuck with me: “Dancers never reach their 10 out of 10, when they reach what they thought was their 10 that then becomes their 9”

5. How has dance changed your life?

The amount of people who I have had the pleasure of meeting through my dancing experiences is honestly second to none. Dancing has given me so many opportunities to travel nationally and internationally and experience some of the Best Experiences of My Life so far which I am so thankful for! E.g. Performing in The Lion King West End as Young Simba, being the face of Move It 2013, representing Youth Dance England in Leeds as a National Young Dance Ambassador, performing at the London 2012 Olympic Closing Ceremony and the next exciting opportunity is going to New York this Summer to take part in the Alvin Ailey Summer School – I CANNOT wait!

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