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New Dance Site: Pas de Trois at dancing3.com

August 20, 2010 by 4dancers

Well, to end the week we’ve got a new announcement here at 4dancers…

There is an exciting new project that I am a part of which will be starting on Monday. Henrik at Tights and Tiaras, David at Ballet for Men and I have been preparing this new site for a little while now…it’s called Pas de Trois (at dancing3.com) and we hope that you will join us as we explore the world of dance together.

Through Pas de Trois, we hope to get a lot of different perspectives on dance. Each week we will be featuring a new topic that will be posted on the site. Every couple days one of us will share our answer on our respective blogs, and we’ll always be encouraging you to take part as well.

It is our hope that Pas de Trois will serve as an online community where both dancers and dance lovers can talk about a variety of subjects related to the art.

We’ll announce our first discussion topic later today on the site. Also, check out our Facebook-page, join the discussion on Twitter, or add our RSS feed to your reader.

We look forward to hearing your thoughts as well!

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Filed Under: 4dancers, 4teachers, Online Dance Resources, Organizations, Pas de Trois, Social Media, Studios Tagged With: ballet for men, dancing3, Pas de Trois, tights and tiaras

10 Questions With…Tye Love

August 18, 2010 by 4dancers

This week on “10 Questions With…” we welcome Tye Love from Oklahoma City Ballet…

1. How did you become involved with dance?

I went to a performance of The Nutcracker when I was four years old. I believe I just fell in love with the Prince and Mouse King fighting with swords, but I kept begging my Mom to let me do that! So she told me if I wanted to be in the performance I would have to take ballet, and I waited til that summer to start. She figured I would just forget about it, but when summer was about to start I asked her “Are you going to go sign me up for ballet?” I’ve been doing it ever since.

 

Tye Love

2. What are you currently doing in the field?

I currently am a Professional dancer with the Oklahoma City Ballet for the 2010-2011 season. This past season I freelanced across Texas and Missouri.

3. Can you share a moment from your career that is especially memorable?

I’ll never forget performing in Shanghai, China. I traveled to China with the University of Oklahoma dance department. We performed four shows in five days. I was dancing an opening heavy partnering pas de deux, into the full Le Corsaire Pas de Deux, into a heavy Gershwin piece, and closing as a soloist in Les Patineurs. Toughest performance of my life!

4. What’s the best advice about dancing that you have ever heard?

I really think the best advice I’ve had is from my mentor John Magnus. He has constantly told me to just relax and go for it in every step. Ballet can be so frustrating and so precise but if you don’t relax and just dance you will never get anywhere.

5. Do you have any advice specifically for men in dance?

I would think the two most important aspects for men in dance are elegance and partnering. Most men like to focus on jumps, turns and tricks, but if you cannot stand on stage with elegance and look beautiful doing absolutely nothing you aren’t a great dancer. As for partnering, it is a whole different technique in itself, and it requires so much focus and strength.

6. If you could share the stage with one dancer, who would it be and why?

I would love to partner Sarah Lane from ABT in Giselle. Her artistry is incredible and her dancing is so clean and spectacular.

7. How do you prepare for your roles on stage? Do you have a pre-performance routine?

I don’t have a whole lot of superstitions or pre-preformance routines that I repeat. I just simply need some coffee day of the performance, I also never do my hair and makeup before warm up class even if I am in the first piece. Class is time for my body to get ready to perform and I use the quick time while I am putting on my makeup to think about what role I am playing and get into character.

8. How does dance help you in your day-to-day life?

I think the focus in dance helps you in any other job you would work. The dedication and determination you put into ballet can transfer into any work field. I just feel that all dancers are more passionate people in general.

9. What is the most difficult thing about being a dancer?

The grind. Every sport has its down time its off season, but in dance we have no off season. If I take two weeks off I feel it, I feel as if I have lost something. A career in ballet is definitely a marathon, no stops.

10. What is next for you?

Next month I begin my career in a professional company with Oklahoma City Ballet. We have a great season planned with great choreography from Balanchine, Arpino and Jessica Lang. I can’t wait to get started!

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Filed Under: 10 Questions With..., 4dancers, 4teachers, Editorial, Studios Tagged With: arpino, balanchine, jessica lang, oklahoma city ballet, the nutcracker, tye love

Costuming For Flamenco

August 17, 2010 by 4dancers

4dancers contributor Karen Stelling joins us today to talk about the costuming in flamenco dance…

Thinking about costuming for dance, especially flamenco, isn’t so easy!  There are as many thoughts and feelings about costumes as there are patterns of materials and fabrics out of which they are made!

The flamenco look was originally born of the traditional clothing of the gypsies. For women, the long brightly colored skirts with tiers and ruffles and scarves and shawls were “borrowed” when flamenco began being performed by professionals.  It is said that the popular use of polka dots on fabric or “lunares” as they are called in Spanish, represented the “little moons” of glass that gypsies would sew onto their clothing to ward off the evil eye!   The gypsies every day wear was all they needed to express themselves.

Karen Stelling

Flamenco, as it was danced fifty or more years ago, before the current emphasis on fast heelwork, focused on the arms, hands, torso and the “spirit” or “aire” of the upper body especially for women.  Sleeves and fancy ruffles at the cuffs or shoulders were not just to cover the body but to highlight the movements that emanated from there.   The materials used for costuming were much heavier than current materials as well.  Dancers moved more slowly but did so in a very measured way. It may have been less spectacular than much of the dance we see performed today, but there was a certain drama that could be built to an intense yet calm finish.  Footwork was minimal for early female dancers and if they did lift their skirt or dress hem, or wore the “bata de cola,” the long dress with a train, to show their feet, they did so subtly and with style.  The dancer, who wore the bata, represented an artist who was committed to total artistic expression, using legs and hips to demonstrate the movement in rhythm, making the costume and the dancer appear as one.  Dancing well with a bata de cola remains a challenge for most dancers but when it is done well, it is a sight to see!

Men’s costuming has remained virtually unchanged over the years.  There remains the basic look of trousers and shirt or shirt and vest.  Early male flamenco dancers adopted the look of the bull fighter with spectacularly decorated jackets which were very ornate but may have detracted from the dance.  They also were made of heavy velvets and brocades and could not possibly have felt cool and comfortable!  The high waisted pant showed off a long, lean and elegant line.  Current male dancers have certainly dressed down to more comfortable fabrics and fewer pieces because there is so much more athleticism in the dance and the focus is on what the dancer is doing and less on what they’re wearing.

As flamenco dance technique has evolved over the years, with faster and more rhythmically intricate footwork and women totally keeping pace with men regarding their own “chops,” costuming, although still attractive, now has to serve the dance in an economical way.  With a dress made of light blends of fabric, rather than a bata, female dancers can make many turns and generally just move more quickly across the floor.  There is still use of accessories such as shawls, which may be worn as part of the costume, but are more often used as part of the choreography and usually wind up being used briefly then put to the side.

For most dancers, it is a matter of personal style but all costumes for flamenco work to represent the total body in movement, to be a companion in the dancer’s expression, not just a beautiful body cover.  Flamenco costuming is very sensual with a mystery to the lines that are created and ever changing by virtue of how the fabric clings and then moves on, again and again.

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Filed Under: 4dancers, 4teachers, Dance Clothing & Shoes, Editorial, Flamenco & Spanish Dance Tagged With: costuming, flamenco, gypsies

Dance In The US…Ballet Quad Cities School Of Dance

August 16, 2010 by 4dancers

Our series on Dance in the US continues today with a closer look at a school that is actually located in Illinois, but perfect for those living in any of the “Quad Cities”, including those near Davenport, Iowa…

Name: Ballet Quad Cities School Of Dance

Location: 617 17th Street, Rock Island, IL  61201

 

About: Ballet Quad Cities School of Dance (or BQC School of Dance) offers classes ranging from creative movement to ballet, rhythm tap and Pilates conditioning. Students are evaluated for placement in the appropriate level and class sizes are kept small so that individual attention can be given to every person in the classroom.

Besides being given the opportunity to perform in the annual Nutcracker production, students are often able to dance for an audience at other community functions throughout the year.

For those interested in learning more about the school, BQC School of Dance has their handbook posted on the website with all the details, including dress code, class costs and more about the faculty at the school.

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Filed Under: 4dancers, 4teachers, Dance In The US, Studios Tagged With: ballet quad cities school of dance, faculty, nutcracker

Post Curtain Chat with Joshua Grant

August 13, 2010 by Matthew Powell

The curtain is down, and the tutu is shed. Welcome to Post Curtain Chat! Let’s find out what these artists’ lives are like outside the theatre.

First up is Joshua Grant of Les Ballet Trockadero de Monte Carlo. By day, he is a striking man with a flair for fashion and a taste for the occasional Stoli martini straight up with a twist. By night, however, he is known as “Katerina Bychkova,” a 6′ 4” ballerina who wows audiences around the globe with his precise pointe work and amazing extension.  Let’s find out how this Trock likes to spend his downtime.

Joshua Grant, Photo by Sascha Vaughn
Katerina Bychkova, Photo by Sascha Vaughn

The Trocks are on the road roughly ten months out of the year. What personal items do you take with you to keep a sense of normalcy through it all?

I try to take as little as possible. Weight restrictions with flights are getting unbearable, and a lighter load is much easier to lug around. I find my life is much less stressful when I’m not trying to bring everything in my apartment. However, there is one thing I can’t leave on tour without. My MacBook is my life on the road. Email, Skype and Google Maps are my connections to home.

The company recently endured an extremely long bus ride from Bilbao, Spain to Budhapest, Hungary when “Eyjafjallajokull,” the Icelandic volcano, reared its ugly head. For long travel days, what do you do to keep yourself occupied?

I’ve been studying Japanese for about 3 years now. Usually that’s what I’m doing to kill the time on long travel days. But I also love to put on my iPod, look out the window and just watch the world go by.
Where is the first place you like to go in the city after coming off a long tour?

My apartment… and not leave for at least 48 hours. Depending on the weather, I like to walk around the city. I do miss it when I’m gone. I’ve been to lots of places, but New York has a special vibe about it that can’t be found anywhere else.

You guys are wildly popular all over the world, but you especially have a huge following in Japan. I know you have a great appreciation for Japanese culture and food. How does the Japanese food in the states compare to that of Japan?

I’ve become a bit of a snob when it comes to Japanese food in the states. Once you’ve had sushi at the fish market in Tokyo, it’s hard to enjoy it as much anywhere else. In the states, I try to eat at Japanese restaurants that are run by Japanese, but I guess that’s a given for all nationalities of food. Also, the Japanese food in Japan is a little wilder. They eat a lot of things that we consider “weird” over here. For example, after a fish is eaten as sashimi, the rest of the fish (bones, scales, head, etc) is thrown in a pot and used to make a stock to be eaten with noodles after the meal. When served, the fish head is in the dish and there is usually a fight for who gets to eat the fish eyes. Yum!

Do you have a favorite Japanese restaurant in New York?

Totally. Shabu shabu is a style of Japanese food very similar to fondue, but with thinner meat cooked by water instead of oil. The vegetables cooked in the water create/flavour the broth. It’s very fresh and very healthy. There’s a restaurant called Shabu Shabu 70 on 70th between 1st and 2nd in the Upper East Side. It’s run by Osakans and always very tasty. It’s my little part of Japan in NYC.

Want to eat at Joshua’s favorite shabu-shabu restaurant? Click here

I had the opportunity to see your bi-annual performances at the Joyce Theatre, and I can’t wait to go back this winter. There was such great energy both onstage and in the audience. How does it feel, after so many performances on the road, to perform for New York audiences and sleep in your own bed once the performance is finished?

First of all, this is my home; this is where my friends are. It’s so wonderful to have people in the audience that you know who you can go grab a late dinner with in Chelsea.  Also, the audiences in New York are full of fellow artists and balletomanes, and that’s always exciting. Knowing you’re performing for your peers adds a special energy. As far as returning to my own apartment, a hotel room is just as good a home to me as anything. I sometimes feel more at home walking through the hotel lobby knowing that I’ll return to a clean room and fresh sheets and towels.

Want to see Joshua and the rest of the Trocks perform at the Joyce from Dec 14 – Jan 2? Click here

Favorite place you’ve been in your world travels.

Tokyo, for sure. It’s the only city that has comparable energy to NYC. Other than there, I love going to Europe. Western Europe has an old world charm that is both romantic and beautiful. You feel so much history when walking down the streets. Bangkok felt incredibly different from anywhere I’ve been. I felt like I was in another world, like I was walking around in a bubble not understanding anything around me. It was interesting to see something so different. I love to travel and see the different cultures and people. It’s hard to pick one spot as my favourite, there are so many fascinating places out there.

It takes a lot of make up to transform Joshua Grant into “Katerina Bychkova.” How do you keep your face feeling fresh after performances?

Why yes it does. Layers, in fact.

I have an ancient Japanese secret that I use on my face. The geisha used to use it exclusively, and now in modern day it’s starting to become a bit more popular. It’s called uguisu no fun. Translated to nightingale droppings. Yep, bird poop. But don’t knock it…it’s amazing. It gently exfoliates, and the antioxidants are great for your skin. When used after washing with regular soap, my face feels toned and fresh.

Finally, we’ve heard a lot from Josh Grant. How does Katerina Bychkova spend her downtime?

She is a hard working ballerina and is in a constant ballet position. She cannot for a moment untie the ribbons of her pointe shoes nor can she step out of the tutu. Her downtime is spent watching ballet videos on YouTube of the old Russian ballerinas or studying the choreographic works of Petipa and Fokine.

She also loves ice cream.

Click here to see Katerina Bychkova and the Trocks in a special feature on Nightline.

Bio: Joshua Grant was born in Americus, Georgia. He received his training at Pacific Northwest Ballet School, and The Harid Conservatory. Prior to joining Ballet Trockadero in 2006, Joshua danced with Pacific Northwest Ballet, and the National Ballet of Canada.

Katerina Bychkova is the author of Dance-Your-Way-to-Beauty Self-help Guide, The Bychkova Make Over. Her unforgettable portrayal was the title role in Godzilla in Tights-warmly remembered for the touching pas de deux with King Kong on top of the Empire State Building.

Bios from www.trockadero.org

Filed Under: 4dancers, 4teachers, post curtain chat Tagged With: balletomanes, japan, josh grant, Joshua Grant, joyce theatre, katerina bychkova

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