10 Questions With…

10 Questions With…Gelsey Kirkland & Michael Chernov

July 13, 2010 by 4dancers

Today’s “10 Questions With…” features Gelsey Kirkland & Michael Chernov; the Artistic Directors of the Gelsey Kirkland Academy of Classical Ballet. The two of them were kind enough to take some time to talk about the school here with us and expound on some of the highlights…

1. What were the events that transpired leading to the creation of the Gelsey Kirkland Academy of Classical Ballet?

We believe that dancers should be actors first and foremost. We created GKACB to provide comprehensive classical ballet training with the goal of developing well-rounded artists. Our approach to training is unique in that the curriculum we offer is not available anywhere else in this country.

MC and GK — Gelsey Kirkland & Michael Chernov

2. What does each Artistic Director bring to this project?

Gelsey brings a ballet background with some theatre; Misha brings a theatre background with some ballet. Gelsey brings detail; Misha brings ideas and broad strokes. Our shared vision is to merge our backgrounds, knowledge and strengths to enhance the training our students receive and to give direction to the studio company.

3. You advocate a return to the story ballet. Can you explain a bit about how you will be working toward this ideal?

We believe that the future of ballet lies in dramatic storytelling. Stories help people to understand themselves and life. To work towards this, we will offer residencies to emerging choreographers, dance companies, designers and musicians, providing them with space to create new works in a collaborative environment. Our plan is to draw on in-house workshops to develop new, innovative dramatic ballets. At the same time, we will build a repertoire of traditional, classical works.

4. What will the training at the Academy be like-and how will it prepare and inspire students?

We take a specialized, multidisciplinary approach to training our students. At the base of our training is core dynamics, which includes dynamic alignment exercises, Pilates reformer and practical anatomy classes. This foundation work is built into the curriculum on a daily basis. Our ballet training includes daily technique classes, which draw from the Russian, Danish, and French traditions, with an overall kinesthetic approach. Classical character, historical dance, pantomime, acting, history, music, and critical analysis make up the remainder of the training.

Dramatic development is a key element of our training program. Students will learn how to build a character through physical and psychological gesture and how to communicate with the audience using the Michael Chekhov technique, as well as learning the art of pantomime and period movement.

5. Can you talk a bit about the Studio Company?

Our hope is to develop an ensemble studio company capable of realizing diverse and compelling theatrical ideas. We will build repertoire based on established classical works and new works by collaborating and bringing together actors, mimes, directors, dancers, musicians, choreographers, and production designers. We are building on established ideas; there have been many times in history that people have tried to achieve a synthesis of many disciplines to create a single work of art. We believe that only a small organization these days may be able to achieve this due to restrictions of unions, budgets, and critical expectations. The ability to experiment in large companies is very limited due to economic restrictions.

6. Your “Teacher Training” program appears to offer a unique synthesis of traditional methods and techniques. Can you share with readers some of the basic principles and why you chose them?

Our teacher training program will provide a systematic approach to teaching ballet: focusing on what to teach, how to teach, when to teach and for how long at any given level. It includes hands-on training by masters in the field of ballet pedagogy. The methods and techniques we have chosen reflect our desire to develop and train the dancer from the inside out and to provide them with the tools they need to develop into well-rounded artists. Teachers in training learn how to construct lessons that develop kinesthetic awareness, coordination, strength and flexibility. This goes hand in hand with the training that our students receive. Music training and understanding of musicality, time signatures and rhythms are integral parts of the training for teachers. Graduates will be recognized as certified teachers in the syllabus in the Gelsey Kirkland Academy of Classical Ballet.

7. You will be offering a summer intensive. Can you tell us a little about that?

Our summer intensive is a rigorous program (three weeks’ duration) that incorporates key elements of our year-round program. We have truly great teachers for our inaugural summer intensive. Our faculty includes master teachers David Howard, Nina Osipyan, Irina Kolpakova and Vlad Semenov; men’s class, variations and pas de deux teacher, Mikhail Ilyin; mime teacher, Pilar Garcia; Bournonville specialist, Karina Elver; character teachers, Larisa Calero and Nadejda Loujine; drama teacher, Lenard Petit; and nutrition/wellness specialist and physical therapist, Suzette Madson.

8. As you launch this endeavor, what do you most want the dance community to understand about GKACB?

Our vision is about fostering creativity. It isn’t simply about image-making; the emphasis is on the spirit, not the shape. The focus is on finding the creative spirit, wedding form and content.

9. How have you gone about the process of selecting your faculty?

We have brought together people who have a common vision. These teachers are specialists in their respective areas, and even though some are teaching different disciplines, their approach is in line with our vision for GKACB.

10. Are there any opportunities for sponsorship?

Absolutely, we accept monetary donations, as well as donations in kind (all tax-deductible). We welcome corporate sponsorship, as well as sponsorship for projects by individuals.

Bio: GELSEY KIRKLAND

Gelsey Kirkland received her early training at the School of American Ballet, gaining early stage experience dancing children’s roles in Balanchine’s The Nutcracker, A Midsummer Night’s Dream and Harlequinade. She graduated to the New York City Ballet in 1968, was promoted to soloist in 1970 and principal dancer in 1972. While in the New York City Ballet she performed a variety of leading roles in their repertory, including Concerto Barocco, The Cage, Irish Fantasy, Symphony in C, La Source, Theme and Variations, Tarantella, Harlequinade, The Nutcracker and Dances at a Gathering.

Her desire to master roles in full-length works coincided with Baryshnikov’s defection and invitation to dance with him at American Ballet Theatre, which she joined in 1974 as principal dancer. Teachers most influential in her development as a classical artist include Stanley Williams, Maggie Black, David Howard, actress and mime Pilar Garcia and dramaturge Greg Lawrence.

Miss Kirkland received worldwide acclaim for her performances in the classical repertory: the title role in Giselle, Kitri in Don Quixote, Clara in The Nutcracker, Swanhilda in Coppélia, Aurora in The Sleeping Beauty, Juliet in Romeo and Juliet, the sylph in La Sylphide, Lise in La Fille Mal Gardée, Odette/Odile in Swan Lake, Nikiya in The Kingdom of the Shades, the Mazurka and pas de deux in Les Sylphides, and the sleepwalker in La Sonnambula.

Major choreographers have been inspired to create new works for her; namely, a production of Firebird by George Balanchine when she was seventeen, several ballets by Jerome Robbins, and Antony Tudor’s The Leaves are Fading and The Tiller in the Fields.

Miss Kirkland’s guest appearances with leading companies are notably the critically acclaimed performances of The Sleeping Beauty and MacMillan’s Romeo and Juliet with The Royal Ballet at Covent Garden, and in Cranko’s Romeo and Juliet with The Stuttgart Ballet. On the occasion of Queen Elizabeth’s 60th Birthday Gala at Covent Garden she performed the balcony pas de deux with Anthony Dowell.

Her appearances on American and British television include Live from Lincoln Center and the film version of Baryshnikov’s The Nutcracker.

Published works by Miss Kirkland include three books co-written with Greg Lawrence: “Dancing on My Grave” (1986), a best selling autobiography published in 5 languages,

“The Shape of Love” (1990), contracted and published as a book on dance education, and a children’s book titled “The Little Ballerina and her Dancing Horse” (1993).

Miss Kirkland has been honored at the White House by First Lady Nancy Reagan, and has been the recipient of awards that include the Victory of the Spirit Award at the Kennedy Center and the Gerald Manley Hopkins Theatre

Award. She was appointed to the Board of Directors for Sight Savers International, named National Chairwoman for USA International Ballet Competition, Jackson, Mississippi, and was an honored alumnus at the 50th Anniversary Gala for American Ballet Theatre at the Metropolitan Opera House.

Retirement from the stage in 1986 marked Miss Kirkland’s transition into teaching and coaching in institutions such as American Ballet Theatre, The Royal Ballet School, English National Ballet, and The Australian Ballet. In the 1990’s she was Professor of Dance at Adelphi University in New York. In 2002-5 she taught at the Victorian College of the Arts and was director of the ballet program at Danceworld 301.

In 2006-8 she collaborated with Kevin McKenzie and Michael Chernov in the staging and additional choreography for The Sleeping Beauty for American Ballet Theatre, as well as appearing as the Fairy Carabosse in that production.

Currently, Miss Kirkland teaches at the Metropolitan Opera, Steps on Broadway and privately.

Bio: MICHAEL CHERNOV

Michael Chernov received his early ballet and theatre training at the National Ballet and Theatre School in Melbourne, Australia. In the 1970-80’s he worked with the Sydney City Ballet and Sydney Festival Ballet in Australia and toured with Alexander Goudonov and Eva Evdokimova and The Israel Classical Ballet at the Athens Festival.

In 1995 Mr. Chernov choreographed The Nutcracker for the Philippines Ballet Theatre and in 1995-96 taught dance for Adelphi University where he choreographed Spring Sonata and Polish Suite.

In 2003 Mr. Chernov received his Graduate Ballet Teacher’s Diploma (Vaganova Method) at the Victorian College of the Arts, and in 2006 completed a Master of Arts Administration at the University RMIT, Melbourne Australia.

He taught classical ballet at the Victorian College of the Arts in 2004 and 2005, and at Danceworld in Melbourne, Australia where he was co-director of the ballet program together with his wife Gelsey Kirkland.

He has taught at Steps on Broadway, Peridance Studios and Ballet Hispanico in New York and in summer programs throughout the U.S.

From 2006-7 Mr. Chernov worked in collaboration with Gelsey Kirkland and Kevin McKenzie on the staging and choreography for The Sleeping Beauty at American Ballet Theatre. The Sleeping Beauty played at the Metropolitan Opera House, New York in 2007 and 2008 and also toured the USA. It is due to be performed again at the Met in June 2010.

From 1987 to 1994 Mr. Chernov worked as an actor performing Off–Broadway and in regional theatre with the Hartford Stage Company, Connecticut, and the Alonso Theatre Company, Florida in plays by Sophocles, Shakespeare, Shaw and Coward, working under the direction of Tony Award winning directors Vivian Matalon and Brian Murray.

In 1992 he studied theatre directing at T. Schreiber Studios in New York and has directed plays by Anton Chekov and Horton Foote, including directing the actor Leonid Satinovsky from Russia’s prestigious Moscow Arts Theatre in Chekov’s The Bear.

10 Questions With…Bruce Marks

July 8, 2010 by 4dancers

Today on 4dancers we have with us Mr. Bruce Marks, Chairman of the International Jury for the USA International Ballet Competition. (I have included two links at the end of the interview which you may want to read…they are other, more in-depth interviews with Mr. Marks. Very interesting.)

1. First, a bit of background on Mr. Marks and his extensive career:

Bruce Marks is a native of New York City. Marks received his training at the New York High School of Performing Arts, Brandeis University and The Juilliard School. At 14, he began his performing career when he created the role of the young boy in Pearl Lang’s Rites. He continued his ballet training with Margaret Craske, Antony Tudor and Mattlyn Gavers at the Metropolitan Opera School and joined the corps de ballet there in 1956 becoming premier danseur in 1958.

After appearing at the Spoleto Festival of Two Worlds in 1959, in a company organized by Herbert Ross and Nora Kaye, Marks joined American Ballet Theatre in 1961. He soon became one of the most respected and versatile of ABT’s male contingent, excelling in both modern and classical ballets. Shortly after his arrival, he was promoted to principal dancer. He created one of the two leading male roles in the American premiere of Harald Lander’s Etudes, as well as the leading role of Prince Siegfried in ABT’s first full-length production of Swan Lake. Marks was the first to be entrusted with the roles of Jose Limon when he danced The Moor’s Pavane and The Traitor for ABT.

During his ten years with ABT, Marks appeared as guest artist with the Royal Swedish Ballet (1963-64) and London Festival Ballet (1965). In 1971, he became the first American principal dancer of the Royal Danish Ballet, and remained there for five years, mastering the 19th century works of August Bournonville.

Marks has partnered some of the world’s great ballerinas, including Natalia Makarova, Cynthia Gregory, Eva Evdokimova, Maria Tallchief, Lupe Serrano, Violette Verdy, Melissa Hayden and Toni Lander, whom he married in 1966.

In 1976, Marks became Co-Artistic Director of Ballet West at the invitation of founder Willam Christensen. Following Christensen’s retirement, in 1978, he was named Artistic Director. The company flourished under Marks’ direction and his distinctive stamp was made with the addition of new works to the repertory from Bournonville and Balanchine, plus 19th century full length classics and exciting new Modern Dance.

In 1985 Marks and Toni Lander recreated and staged the “lost” 1855 Bournonville ballet, Abdallah. The production had its East Coast premiere at Washington’s Kennedy Center on May 1, 1985. The critics raved. “Abdallah is a triumph,” said the Boston Globe. The Wall Street Journal said, “That it communicates such broad meanings and does so, moreover, with such effortless charm, is the great achievement of Bruce Marks.” In 1986 Marks staged Abdallah for the Royal Danish Ballet, the company for whom the work was originally created.

In 1985, Marks assumed the position of Artistic Director of Boston Ballet. Under his dynamic leadership, the company achieved international acclaim and built a reputation for performing authentic versions of the classics and for encouraging daring modern works. In 1991, in Boston’s South End, the company opened a new facility that is one of the country’s leading centers for dance and dance education. During his tenure the Company’s annual budget and attendance tripled. His time in Boston had many highlights: An unprecedented American/Soviet production of Swan Lake, a 1991 five-city tour of Spain, and a highly acclaimed version of The Sleeping Beauty in 1993 to kick off its 30th season. Following a second Kennedy Center engagement in March of 1994, Boston Ballet became the first American company to perform John Cranko’s Onegin. In 1995, they added Cranko’s The Taming of the Shrew to the repertory. And in 1997, Michael Corder’s award-winning Cinderella.

Marks mounted the world’s most popular production of The Nutcracker. He also brought to the repertory the oldest existing version of Coppélia from The Royal Danish Ballet, and a traditional Russian production of Giselle, staged by Anna-Marie Holmes and coached by the legendary Natalia Dudinskaya of the Kirov Ballet.

The encouragement of American choreographers was one of Marks’ major thrusts as Director. Marks commissioned works by Mark Morris, Danny Buraczeski, Merce Cunningham, Bill T. Jones, Ralph Lemon, Monica Levy, Susan Marshall, Bebe Miller, Twyla Tharp and Lila York.

In July of 1997 Marks stepped down from his post at Boston Ballet and became Artistic Director Emeritus.

Marks was a founding member of Dance/USA, a national service organization that represents professional dance companies. From 1990-92, he was chairman of that organization. In 1989, Marks was chosen to succeed the late Robert Joffrey as Chairman of the International Jury of the USA International Ballet Competition held in Jackson Mississippi, a position he still holds. He served as the American judge at the international competitions in Helsinki, Nagoya, Moscowand Seoul. He was the American judge at the 1994 Prix de Lausanne. Until 1985, he was Board Chairman of the American Arts Alliance. He has been an Artist Fellow of the Aspen Institute the Humanistic Studies and a member of the Inter-Arts Panel of the NEA. Marks has been Chairman and a member of the National Endowment for the Arts Dance Panel. He was a member of the NEA’s International Advisory Panel.

Marks has been a pioneer in innovative Dance education and outreach programs, most stunningly, Boston Ballet’s Center for Dance Education’s City Dance, a tuition free ballet training program for urban public school students.

Marks is a recipient of the 1995 Capezio Dance Award for achievement in dance and contributions toward public awareness of dance in America. He received the 1997 Dance Magazine Award. He was awarded the Dance/USA honors in 1998. He holds honorary doctoral degrees from Northeastern University, Franklin Pierce College, the University of Massachusetts, Wheaton College, and Juilliard.

In 1998 Marks created ArtsVenture, Inc., a consulting firm dedicated to passing along the vast knowledge and insights he has accumulated over the years to others in the field. Through ArtsVenture, he has served as consultant to ballet and modern dance companies in America and throughout the world. He has also created a landmark program for the training of Artistic Directors.

Mr Marks is currently at work on an autobiography. He has three children by his late wife Toni Lander – Erik, Adam and Kenneth and lives in Boston, Florida and New York City with his partner, the American artist, Paolo Fiumedoro.

2. How did you come to be associated with the USA IBC?

I was invited to become Chairman upon the death of Chairman Robert Joffrey. I had been recommended to Sue Lobrano by then editor of Dance Magazine, William Como.

3. What is your current role in the organization?

Chairman of the International Jury.

4. Can you talk a bit about the international standards by which competitors are judged?

Competitors are judged against the highest standards of ballet. I ask each juror to ask themselves if this artist could someday attain the status of soloist or principal dancer. At Jackson we do not always award all the medals if we do not consider the artists to be of the highest caliber. In that sense they are not just competing against each other.

5. How did the IBC arrive at these standards?

They have always had these standards.

6. How are the dancers scored?

Dancers are scored on a 10 point scale. The top and bottom numbers are thrown out, ruling out partisanship. Only one judge from each country assures fairness. Almost all other competitions have multiple judges from the host country.

7. How are the judges/jury selected and how many are there?

The Chairman selects the jury.

8. As Chairman, how does your role differ from that of other jury members?

As Chairman I set the tone for the Jury. I place an emphasis on artistry. I insist that the jurors not discuss the competitors until the end of each round.

9. What is it that you like most about this competition?

I most enjoy the the enthusiasm of the young artists and the sense of community that the Jackson IBC fosters. Generally, everyone has a great experience at Jackson…..only a few go away disgruntled; but then they are those who felt that they were assured a gold medal.

10. What is next on the horizon for you personally?

I am now teaching all over the country….in summer dance programs and I am making new ballets….is there anything better?

Interview on criticaldance.com

Interview on I’m Dancin’ As Fast As I Can

10 Questions With…Ashani Mfuko

June 30, 2010 by 4dancers

Today on “10 Questions With…” I’m happy to feature Ashani Mfuko, a fellow dancer, dance writer, social media expert and all-around talent…enjoy!

1. What is your dance background?

I started dancing at age 10 (which many people consider “old” lol). I started off with the basic dance foundations, Ballet, Modern, Tap, and Jazz. After college I branched out and learned many other dance forms such as Hip-Hop, House, West-African, Haitian, Classical Indian dance, and Ballroom and Latin dance. I received my Bachelor of Arts in Dance from Connecticut College, and have trained at Alvin Ailey studios, and Steps on Broadway.

I’m currently doing a LOT in the dance field! For starters, I am a Dance Instructor, and have been teaching dance to ages 3 to adult, for the past several years. I teach Modern (Horton technique), Jazz, Lyrical, Musical Theater, Hip-Hop, West-African, and Ethnic Fusion. I’ve taught at the Ailey Studios for The Ailey Extension, I teach at Steps on Broadway, sub at Ballet Hispanico, and teach at many other local dance studios in the NYC Metropolitan area.

2. What are you currently doing in the dance field?

I am the CEO/President of Kiner Enterprises Inc., the first national dance instructor staffing agency in the U.S. We are the creators the America’s Best Dance Studio Contest, a contest showcasing excellence in dance studios across the country. I am also the creator of Kiner Dance Studio Success, the 1st online social media success resource center for dance studios.

Lastly, I’m a dance writer/blogger, and have a blog for dance studio owners, dance teachers, and dance professionals, http://kinerenterprisesincblog.com.

3. Can you talk a little about the staffing you do through Kiner Enterprises?

Sure. My company provides dance teachers for last-minute subs, long-term teaching positions, choreography, dance workshops, private dance lessons, and basically everything you can imagine that relates to teaching staff for dance studios, schools, and non-profit organizations. It’s a great resource for dance studios because they can come to us, and have their needs for talented, reliable dance teachers met, all in one place. It’s also a great resource for dance teachers who want access to more dance teaching job opportunities. We started out only working with dance studios and dance teachers in the NYC Metropolitan area, but last year, we expanded, and now are increasing our teacher roster in order to accomodate dance studios across the country.

4. How can dance professionals make good use of today’s social media?

They can make good use of today’s social media by first getting involved. There are many dance professionals out there who still haven’t quite taken that step yet. For those who already have, it’s all about connecting with other people in the dance industry, building relationships, engaging people, supporting other dance businesses, and really showing the world what unique skills and talent you have to offer. I truly believe that social media has leveled the playing field, and is a great way for dancers to highlight their talent and businesses in a way that wasn’t possible even 5 years ago. I highly recommend using videos in every aspect of your social media marketing, because they have a tremendous impact. Sites like YouTube and Blip.tv, are a dancer’s dream. I would also recommend getting plugged into Facebook, Twitter, and Linkedin, to get started. The possibilities are really endless in social media. You just have to know where to get the right tools, and learn how to utilize them to your best advantage.

5. What is the biggest mistake that dance studio owners make when it comes to marketing?

I would say the biggest mistake is having unrealistic expectations. Times have changed tremendously over the past few years as it relates to the economy, the use of magazines and newspaper publications, and just the way people search for and find the information they’re looking for. So having unrealistic expectations means a couple of things:

1) Believing that the traditional marketing methods that you used 5, or even 3 yrs ago, will still work as effectively today as they did before, with today’s shift to social media marketing.
2) Believing that by simply getting involved in social media, (i.e. creating a Facebook Fan Page, a Twitter account, and a YouTube page) it will have an impact on your dance studio, without having a specific plan and strategy in place to really maximize the benefits of social media marketing for your dance studio.

6. Your passion for dance seems to have informed all of your career
choices. How has it inspired you?

I love to dance, I love dancers, and I simply have a passion for supporting dancers that are pursuing their dream, whether as a dance studio owner, dance educator, choreographer, performer, etc. That is where my inspiration comes from. I always ask myself, “How can I create a way for dance studio owners to become more successful, have less stress, and enjoy what they do everyday? How can I help dance teachers become more successful and financially stable in their careers? How can I help professional dancers create a balance between doing what they love, and being able to truly thrive in this industry (myself included)?” These are questions that I ask myself everyday. I’ve just always believed that if you do what you love and are passionate about, and make a decision to not let anything get in your way, you will not only be successful, but you will be happy, appreciate your life, and be able to share that joy to help others succeed.

7. Who are your all-time favorites in the dance world?

My all-time favorites include: Alvin Ailey, Judith Jamison, Debbie Allen, Cynthia Gregory, Toni Pierce, Milton Myers, Troy Powell, Wade Robson, Desmond Richardson, George de la Pena, Emilio “Buddha Stretch” Austin, Jr., and last but not least, Mikhail Baryshnikov.

8. Is there a special moment from your career that you can share?

I’m going to share the 1st moment that came to mind when I read this question (out of all my ‘special career moments’, this is what I choose to share? Lol). I was auditioning for the show “Tarzan” on Broadway many years ago, and we had to go one at a time and show off some Martial Arts movement. I’ve studied a little Capoiera, so I decided to do some of that. All I remember is kicking my left leg up, high in the air, and feeling my right leg slide from underneath me, and falling flat on my back, in front of everyone. The casting directors nearly jumped out of their seats to see if I was ok lol. Needless to say, I didn’t get a callback, and I walked away with a bruised body and ego!

I can’t believe I just told you that story. But, I’ll say it’s a statement of just how tenacious us dancers really are. We fall down (literally lol), and we get back up, and try again.

9. What would you say are the top things you got from your dance training that prepared you to be a business owner?

Discipline, passion, tenacity (see question #8), determination, creativity, and simply the attitude that, just because I’ve never done something before, doesn’t mean that I can’t do it. There’s a first time for everything, and if you don’t take risks, then you won’t grow.

10. What’s next for you?

Well, my latest project, http://kinerdancestudiosuccess.com, the 1st online social media success resource center for dance studios, is a place where I’m dedicating a lot of my energy right now. We’re also focusing on building up our national dance teacher roster, so that we can accomodate more dance studios across the country, for the Fall hiring season. I plan on continuing to teach, pursuing my passion for writing, and still finding time to perform when I can. I know, it’s a lot, but, when you’re doing what you love, it doesn’t really feel like work, and, I love what I do!

Bio: Ashani Mfuko, a New York City native, graduated from Connecticut College with a Bachelor of Arts degree in Dance. She is bi-lingual, and currently a professional dancer/dance instructor/model /dance writer. Ashani is trained in Ballet, Modern, Jazz, Musical Theater, Hip-Hop, West-African, Latin, and Ethnic-Fusion dance. She has performed across the United States with various dance companies at many world renowned venues including, Madison Square Garden, Times Square Studios, the Joyce Theater, and the Alvin Ailey American Dance Center. Ashani has appeared on TV shows such as, Good Morning America and Showtime at the Apollo, as well as in films and music videos on MTV, BET, and VH1. She is the President and CEO of Kiner Enterprises Inc.,

the first, and largest dance instructor staffing agency in the U.S., and the creator of the America’s Best Dance Studio Contest, a contest showcasing excellence in dance studios across America. Ashani is also the founder of Kiner Dance Studio Success, the 1st online social media success resource center for dance studios.

Subscribe to her blog, http://kinerenterprisesincblog.com
“Like” Kiner Enterprises Inc. on Facebook, http://facebook.com/KinerEnterprisesInc
Follow her on Twitter, http://twitter.com/kinerenterprise
Become a member of Kiner Dance Studio Success, http://kinerdancestudiosuccess.com
Subscribe to her YouTube Page, http://youtube.com/dancestudiosuccess

10 Questions With…Lydia Hance

June 25, 2010 by 4dancers

Today 4dancers presents Lydia Hance, dancer and founder of Frame Dance Productions…

1. Can you tell readers about your dance background?

I grew up in the San Francisco Bay Area and began dancing at the ripe age of seven at the Marin Ballet, a pre-professional classical ballet school and continued through high school graduation. I attended Marin Academy for high school, a competitive intellectual-artsy institution. While dedicating myself to ballet outside of school, I began to see myself as an artist-dancer through the dance department at Marin Academy. By my senior year I produced my first evening-length production of my work in a professional theater. I then walked the straight and narrow technical path at Southern Methodist University training in ballet, jazz and Graham Technique and summered in New York at the Taylor School, Limon Institute, Graham School and NYU’s Tisch School of the Arts. While at SMU, I earned a BA in English Literature as well as a BFA in Dance Performance. The college-conservatory life (while it provided invaluable training and professors as resources) proved stifling to my creative spirit, and I worked very hard to complete both degrees early. After graduation, I moved to Houston, TX and danced with Suchu Dance Company, Ad Deum Dance Company, Dancepatheatre, and freelanced in various other projects. I have performed across the United States, from San Francisco to Times Square, and in Malaysia.

Alex Soares & Lydia Hance (c) 2010 Lorie Garcia, Studio 4d4

2. What are you currently doing in dance?

Currently, I dance with Suchu Dance—directed by Jennifer Wood—and various other choreographers and companies in Houston. I have also been creating works as an independent artist in Houston and as a Visiting Artist in Virginia. In May 2010, I launched my company, Frame Dance Productions. The first project for Frame was a dance-for-camera work called “Crease” which can be seen on the Frame Dance Productions website. I am currently artist-in-residence for the Community Dance Connection Theatre in Lexington, VA as part of the Rockbridge Artist Exchange. For the past three weeks I have been preparing material for Frame’s upcoming season in Houston. It’s been a fruitful retreat to create new work in the beautiful Rockbridge County, VA. I am excited to bring it back to Houston and begin rehearsals later this summer.

I teach at the Hope Center (Hope Stone, Inc.) and for the Dynamic X-Change Healing Arts Program, which is one of Several Dancers Core’s initiatives. The program uses dance and movement as a means to open up new pathways to joy, working with people of all ages who are isolated because of their circumstances —dealing with abuse, homelessness, aging, AIDS . . . . I also facilitate Fieldwork which is a rigorous weekly workshop designed to help artists of all disciplines gather information about their work.

3. Can you talk a bit about the unique direction you have chosen for Frame Dance Productions and why you selected it?

Sure. The purpose of Frame Dance Productions is to connect dance to the Web 2.0 social networking infrastructure, an emerging, media-rich forum for new creative expression. There is a lot of wonderful dance that is being created in Houston. And I work to be a voice in that dialogue. What makes Frame unique is our commitment to integrating technology into performances. The ways to do this are endless, but some examples are: dance made for the camera, simulcast live performances, integrating technology into live dance….

There is, very often, a disconnection between the performers/performance and the audience. That exists due to the nature of a performance—suspending reality for a period of time. It begins with the creative process and continues until the dancers leave the stage door at night. Frame Dance Productions is structured to allow audience awareness from the creative process through the performance—closing that elusive gap between artist and “non-artist.” It won’t be accomplished at once, and not all in one project. But we will break down parts of that divide a little at a time. (And I acknowledge that many performance-goers may not even want to partake in this specific aspect, which is always a respected option.) But the goal of Frame is to eliminate the super-exclusive artist club and invite those who are interested into the process through technology.

The Internet’s biggest shift has been the dawning of the age of social media, which is exactly what gives spectators the space to comment, question, and sometimes participate remotely in what goes on all over the world. Frame will integrate those platforms in its processes and performances. Additionally, Frame’s goal is to attract an extra-regional, and hopefully global, presence through web 2.0 and simulcast work.

4. How have people responded to your work?

Very positively, reviews can be read on the website at framedance.org. Frame is brand new, so I hope to continue to receive feedback to perpetuate discussion on the Internet AND in person.

5. Who are the people who have signed on for this and how did they sign on for this?

I have three categories of people who are integral parts of Frame Dance Productions. First, are the dancers. They are creative, open, talented individuals—just watch them dance! I invited them to dance with Frame because they are dancers who truly interest me as people and as movers. They are very smart. Second, is my husband and partner Jonathon Hance, Technology Director, who dialogues with me about potential concepts and projects and who dedicates himself to keeping current on technology—a never-ending task. He levels the technology stage upon which I create dance. Third, is you. Everyone who partakes and responds in the dialogue through commenting on the Frame Dance blog, through twitter, YouTube, email, discussions in person, or through simulcast conversations live as it’s happening. (Coming soon! Look out!) We’re early in the dialogue, but I hope to prove that this is a company that wants discussion and questions in any form, at any time. There is no “wrong.” I’ve had people tell me that they enjoy reading the blog but don’t have anything “deep and artsy” to say. That’s not what we’re looking for. We’re not looking for anything. We’re inviting anything.

6. What gets you excited about dance?

_0180141 — (c) 2010 Lorie Garcia, Studio 4d4

First, beauty. My eye and soul are drawn to beauty. I respect a synthesis of genres, vulnerability, commitment despite insecurity, exploring the uniqueness of individuals, and allowing that to inform the integrity of the work. I get very excited when dance is relevant to culture, but doesn’t compromise its truth to be current. And today, that’s wrapped up in technology. It’s important to know and understand what technology brings us, and to utilize it as an influential choreographic tool when creating work. Not technology incorporating dance—it’s about dance incorporating technology.

7. What do you find limiting about dance in the way that it has been done thus far?

People have been breaking boundaries since boundaries were built. There’s nothing new about doing something new. But the majority of dance is created for the stage. I find nothing wrong with three walls and rows of chairs. I enjoy creating work for that space. But why is that format still so dominant? Choreographers don’t make multiple pieces with exactly the same music and steps and timing and costumes and cast, but they create work after work after work for the same space. It’s a variable that’s hard to let go of. I find the overuse of proscenium stages limiting in how we frame dance.

8. Where do you see dance going as an art form?

I can’t say where it is going, but I do know where I hope it goes. As technology further penetrates us and we change how we live our lives, we become closer to our minds. We think faster, we process more information, and we make ourselves available and willing to know more about more. Our brains are dominant, but our bodies are, at best, secondary. Dr. Dominic Micklewright, from the University of Essex, put several successful sports gamers through tests to compare them to athletes. He said, ”their reaction time, motor skill, competitiveness and emotions were pretty close.” But when he tested their physical health he found that it was the equivalent of a sixty-year-old smoker. Because our minds are so stimulated by the information we access and process today it’s easy to rely on the power of our minds. And they are powerful. But our primal connection to our bodies requires activation, challenge and nourishment. I see dance providing that link— taking hold of all that technology can offer us, but remembering the importance, the beauty, the power, and the significance of the bodies we’ve been given.

9. Do you have any favorite dancers?

My company, of course! This is a hard question because I don’t watch dancers dance and naturally place them on a ranking scale. But I can tell you that dance has the most power to me when I know the dancers as people. I know their dreams and challenges. My favorite dancers are the ones I dance with and teach.

10. What’s next for you?

A lot! I’ll be speaking about Frame Dance Productions at SpaceTaker in Houston on July 21. We’ll perform a new work at the Contemporary Arts Museum in Houston on September 16, and “Crease” will be shown in the Weekend of Texas Contemporary Dance on September 24-25. In January, we will begin rehearsals for an evening-length piece to be performed in March, which is part of HopeWerks, a residency through Hope Stone, Inc. You can find out more on Twitter, Facebook, WordPress, and YouTube—all accessible through our website, www.FrameDance.org.

Bio: Lydia Polhemus Hance founded Frame Dance Productions in May 2010 out of her desire to connect dance with the vast, media-rich Internet culture, and to facilitate collaboration among diverse artists. Hance has performed the works of Steve Rooks, former principal of the Martha Graham Dance Company, Randall Flinn of Ad Deum Dance Company, Hope Boykin and Freddie Moore of Alvin Ailey Dance Company, Caleb Mitchell of Houston Ballet, among others. She has worked with several of these choreographers as a dancer with Ad Deum Dance Company. Lydia is currently a member of Jennifer Wood’s Suchu Dance and Dancepatheatre, directed by Sara Draper.

Her choreography has been performed in Kuala Lumpur, Malaysia and throughout the United States, including Times Square, San Francisco and Virginia, where Hance is a guest choreographer for Lexington’s Halestone Dance and Roanoke Ballet Theater. Hance is the Facilitator for Fieldwork Houston, a unique forum where artists of all genres gather to receive feedback on developing works. Her latest work for the stage, Dancing Diana, came from a partnership that was formed in Fieldwork. Dancing Diana, which showcases Hance’s collaboration with writer Diana Weeks, was performed at the Houston Fringe Festival and Danceplorations. Her dance-for-camera work “Crease” will be presented at the Weekend of Texas Contemporary Dance on September 25-26, 2010.

Lydia enjoys teaching students of all ages in institutions all over the United States and in Malaysia, including the Houston Metropolitan Dance Company, Houston Ballet, Marin Ballet, and Hope Stone, Inc. Lydia teaches in the Dynamic X-Change Program as part of Several Dancers Core’s initiative for healing for populations at risk.

Originally from San Francisco, California, Hance graduated Magna Cum Laude from Southern Methodist University with a B.F.A. in Dance Performance and B.A. in English Literature. She was named a recipient of the Meadows School of the Arts Artistic Merit Award. Lydia trained at the Taylor School, the Limon Institute, the Graham School, and at NYU’s Tisch School of the Arts.

10 Questions With…Matthew Donnell

June 24, 2010 by 4dancers

This week we have Matthew Donnell on our 10 Question With… series…

1. Can you tell us a little bit about how you became involved in dance?

I credit my mother. Many little boys begin ballet by getting dragged after school to the studio with their sisters. Mine was my mother. She picked ballet up in her thirties after a twenty year hiatus. She began to have an interest in teaching, and my brother and I became a couple of her first students. My brother discontinued training, but I stuck it out. I wanted to pursue musical theatre, and I knew that being able to dance would help me in that dream. I began attending the North Carolina School of the Arts (or slap a “University of” in front of that as it is now called,) shortly after I began working with Mom. Ballet proved to be such a challenge to me that I fell in love with it and wanted to see how far I could go. After spending a total of three years in the “Preparatory Program,” an after school program for local students, I enrolled in the eighth grade full time until I graduated from the high school program. (dance and academics.) I then went on to study at what was then The Rock School of Pennsylvania Ballet, and after a year there was hired by William Whitener as a dancer for the Kansas City Ballet.

894779781_mcd_4550_cwb&w8x10v — Matthew Donnell

2. What has your dance career been like?

Now that I am looking back on my dance career with a professional ballet company, I can say that I have been completely blessed to have gotten to both start and finish with one company. I had many opportunities that one wouldn’t necessarily be awarded in a larger company. I suppose it’s a trade off in some ways. In a smaller company, you don’t get to perform as much as you do in a larger one, but at the same time, you also don’t have to spend the first three years of your career holding a spear. I performed principal roles within my first season. I’d choose the same road again if I had the option.

Another thing that was paramount for me were the people I worked for and with. Overall, we were close and practically a family. We supported one another in ways that are foreign to some other companies from what I have been told. Of course at times there was drama within the “fam,” but we had a good time, and it is the people that I miss more than the actual career at this moment.

3. You studied under some impressive teachers such as Duncan Noble and Melissa Hayden…can you share a bit about what they were like?

Oh my what an experience! The easiest way to speak of my reverence for Mr. Noble is this: ever since his death in 2002, I have dedicated my seasons to his memory. He taught so many wonderful male dancers and gave us a solid technique. He also trained many a wonderful partner. Lifting was difficult for me, and my strength developed later than many of my peers. It was frustrating for me, but he gave me such a solid foundation that once my strength did begin to improve (though high lifts I struggled with throughout,) I was a pretty solid partner-if I may say so myself! He had a dry sense of humor and it took my entire first year to understand it, but once I did-man oh man did we have a great time! He was always encouraging and supportive of his students.

Ms. Hayden was quite a character. She was to many of the women what Mr. Noble was to the men. To be honest, she scared the heck out of me. Fortunately, I remained in her good graces throughout school.

4. Can you share a particularly good moment from your career with readers?

My career was full of so many wonderful moments, but one I will share is the story of how I came to do my dream role of Herr Drosselmeyer in “The Nutcracker.”

First, go back to when I was about twelve years old in my first production of the beloved holiday ballet. I used to mimic Drosselmeyer and use my party-scene cape to fly around and “swoosh” as he did his. It was an early sign that the character roles would be my favorite.

Now, zoom forward to the third year of my career. One of our main “Dross’s” decided upon coming back to work that his body was ready to stop and move onto another playing field. This was the ONLY time in my career that I remember distinctly asking for an opportunity. I went to our ballet master who is in charge of the Nutcracker and told him that although I knew that I was perhaps young for the part, I would love to learn it for the future.

To my amazement, they gave it to me. I had never poured myself into the creation of anything at that point my history as I did that role. If I was at an elevator, I would sweep my hand and open it with “magic” as if “using the force” from “Star Wars.” I blew on traffic signals to change them. I had several quirky things I would do.

I went on to perform the role for the rest of my career, and I loved every moment and every evolution of the part, but I never felt as magical as I did the first season I performed my dream role.

5. What has it been like to dance with the Kansas City Ballet?

SO MUCH FUN!! NEXT QUESTION!!

Seriously though, it has been the gift of a lifetime. A phrase that I once stole and paraphrased from an actor goes as this, “I love my job. I get paid to play!” It’s true. Although there were many times when I was frustrated or in pain (face it folks, it’s not always glamorous-I hate to break it to you,) the lure of the stage and the knowledge that I would be back up there to entertain audiences again and again kept me going. I have a need to perform. Being in the ballet helped to quench that thirst.

6. What prompted your decision to retire from the company after the 2009-2010 season?

This was a hard decision to come by in many ways, and yet I came to it quite simply. I had always known that I wanted to move to New York to pursue musical theatre, and I had always wanted to do it in my twenties. Also, it was important for me to “retire” on my own terms. I didn’t want to have anyone make that decision for me. It would have been too big a blow on my ego. I wanted to go out at the top of my game. “I did it my way” as Sinatra said, and I can always have the satisfaction of knowing that.

Now, that I am in New York and taking wonderful classes on my own schedule and out of the pure love of dance, I feel that I am still strong. It’s hard to evaluate yourself against a company of your peers with whom you have worked with for so long. Now that I am in the city comparing myself to other dancers, I can understand why I was able to have a career. I’m certainly no Baryshnikov, but I don’t completely stink either!

7. What will you miss most about this part of your career?

I will miss performing. However, in my next career, I’ll still be performing, so fortunately for me, I’ll still have that fix.

That said, on the vain side of things, it’s been a bit of a blow to the ol’ ego to be in a city where no one knows me as a “Senior Member of the Kansas City Ballet.” People used to come up to me in random places such as Target and thank me for my work. I miss that. I loved being recognized publicly because what it really meant was that my work had touched the lives of others. It’s not just about my pride-I promise!

8. Is there anything you will be glad to leave behind in the world of dance?

Well, there are a couple of things, but I am learning that they just manifest themselves in other ways no matter what the field.
People complain. It’s life. However, in ballet companies we sometimes complain a lot. I was guilty of it, and I tried to keep it under wraps, but it still happened. There can sometimes be a cattiness that goes along with it too, and I won’t miss that. I must say though, it can be even cattier in musical theatre, so I’ve got my guard up against that. I’m constantly trying to surround myself with people who will call me out when I’m becoming negative. Actually, the first person who ever did that was the gentleman I inherited Drosselmeyer from, and I’ve been forever grateful.

The other thing I won’t miss were the long rehearsal processes. They were never my favorite.

One of the luxuries about being in a small and financially stable company is that we were able to have a decent length of contract without having to have too many layoffs. What I mean by this is that when in some companies, ballets have to be put together quickly because “time is money,” we were often able to take our time and really clean things. That can be a luxury for both dancer and choreographer.

What I wasn’t always so wild about was that sometimes I felt that I peaked to soon in the process, and then had to wait another three to four weeks sometimes for a weekend of shows that were over in a flash. I believe I do some of my best work under pressure. That’s why I like that musicals are often put up in under three weeks.

One thing that KC Ballet has to look forward to is the opening of the new Kauffman Center for the Performing Arts. This will give the dancers opportunities to perform more often.

9. What will you do in this new chapter of your life?

As I’ve touched on previously, I am now living in New York, and I am here to pursue my first love, theatre. It’s a challenge to be thrown into auditions with many talented people for the first time in over a decade, but in a way, I’ve prepared for that with the ballet company life. In a ballet company, you constantly are auditioning for roles. The main and amazing difference is that you get paid regardless of the role you receive! Lucky, lucky!

10. What is your best advice for performers of any kind?

The first thing I’ll say is stolen from the actress Kathy Bates, who was my commencement speaker at UNCSA.

“Get a life.” Your art can be what you do, but it can’t be the sole thing that defines you. In the end (especially as a dancer) it will end. If the person you are is wrapped up in the art you create, you’re going to be in for a rude awakening.

Get out into your community. Learn about other people outside of your field. You will find that many “normal” people don’t understand what it is that you do. Don’t give up on them, and they won’t give up on you. Get to know as many different people as possible. I believe we are all here to hold each other up. Several of the friends that I have made and will have for life are not dancers. I’m also not an architect, but I’ll be darned if I wasn’t going to try to understand the lives of those around me.

Please, please, please try to keep the complaining to a minimum. Here I will quote (what I believe is) myself, “Complaint without action is pointless.” If your complaining can result in accomplishing something to better your life or the lives around you, then by all means, complain away, and then make a change. However, if you’re simply fetching and moaning which comes from a false sense of entitlement, shut your mouth. Someone else would love to have your job. None of us are irreplaceable. That said, we are unique and deserve to be treated as such.

Enjoy your life. There’s a fine line between being happy and being miserable. One side of the can line lead to a great life, but once you begin complaining and being unhappy, it’s hard to climb out of that rut.

Merde!

-I documented my last season in a blog at www.matthewdonnell.blogspot.com

I also have a website at www.matthewdonnell.com where I can be reached if anyone has any other questions.

Bio: Matthew Donnell, a native of Mt. Airy, North Carolina, began ballet training under his mother’s instruction. He trained on full scholarship at the North Carolina School of the Arts and the Rock School of Pennsylvania Ballet. He went on to dance for ten seasons with the Kansas City Ballet where he was seen in many principal roles. His most memorable roles are Merce Cunningham’s solo Totem Ancestor, Drosselmeyer in The Nutcracker, Iago in The Moor’s Pavane, and the Boogie Woogie Bugle Boy in Company B. In addition to the Ballet, he has been seen at Piedmont Opera, The Lost Colony, and regularly at The New Theatre of Kansas City. He doesn’t just limit himself to dancing, and his special skills include clowning, juggling and unicycling. He now resides in New York where he is pursuing theatre.

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