Studios – Page 20

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.

10 Questions With…William G. Hamilton, MD

June 23, 2010 by 4dancers

Today I have the pleasure of introducing a very special guest on 4dancers. I’m sure readers will find the interview with Dr. William G. Hamilton enlightening. He has worked with dancers at some of the leading companies and schools in the United States…

1. Can you tell readers a bit about your medical background and how you came to work with dancers?

I graduated from Princeton University with a degree in Engineering. Eventually I went to Medical School at Columbia University, College of Physicians & Surgeons. This was followed by a General Surgery internship and residency in Orthopedic Surgery, at the Columbia-Presbyterian Medical Center in New York City, NY. Then a post-graduate fellowship in children’s orthopedics.

Dr. William G. Hamilton

In 1972 I was a young orthopedic surgeon practicing near Lincoln Center, treating young athletes and a few dancers. By a chance encounter, George Balanchine asked me to become the doctor for his company, New York City Ballet. I gladly accepted but knew that if I was going to treat these fascinating professionals I had a lot to learn about classical ballet, so I went to Lincoln Center regularly on the weekends to watch Balanchine’s Company classes and to learn the vocabulary of dance. This helped me to understand the source and mechanism of their injuries.

In 1975 Lincoln Kirstein asked me to be the consulting orthopedist for the School of American Ballet; the training academy for NYCB.

In the late 70’s Baryshnikov joined NYCB to work with Balanchine but shortly afterwards Mr. B’s health began to decline and this never really came to fruition. So, in 1980 Baryshnikov left “City Ballet” to become the director of American Ballet Theatre and asked me to become their doctor too. Currently, I also care for their school, the Jacqueline Kennedy Onassis School of Ballet at ABT.

Because most of the injuries to dancers occur in the foot and ankle, I developed a sub-specialty in this area of orthopedic surgery and in 1993 became the President of the American Orthopedic Foot and Ankle Society (AOFAS). I also belong to the International Association of Dance Medicine & Science (IADMS) plus numerous medical boards, associations and societies.

2010 marks my 38^th year with NYCB and the 30^th with ABT. I have enjoyed every minute of it!

2. Would you talk a little about what you are currently doing with dancers and for what organizations?

I currently diagnose and treat both acute and chronic injuries to dancers and athletes as well as non-performers and do various surgeries when they are indicated. This can be a challenge because dancers often have obscure problems related to their dance techniques that are not seen in athletes.

Another big challenge I’m involved with today is promoting wellness, screening, and injury prevention along with proper rehabilitation following an injury at NYCB and, to a lesser extent, ABT. This is a win-win approach both for the dancers and the dance companies.

I also consult for The Ailey School, as well as various Broadway shows and sports teams, such as the NY Yankees and the Knicks.

3. Are there any orthopedic injuries that you see repeatedly in dancers?

Dancers have two types of injuries: acute (sudden) and chronic (ongoing). The most common acute injury is the sprained ankle, which is also the most common injury in all sports that involve running and jumping. The most common chronic problem is tendonitis, which is a form of overuse injury. It is important that these injuries be diagnosed, treated, and properly rehabilitated to prevent recurrence or permanent disability. Unfortunately, most doctors don’t see enough dancers to understand the technical demands or their “weird” injuries. Many patients who come to see me for injuries that are not getting better have been misdiagnosed and the treatment regimen is not right for their problem.

4. What are some things that dancers can do to help prevent injury?

The key to injury prevention is to be in shape for what you are trying to do. This sounds simple but it is not always so straightforward. Each generation of athletes is running faster, jumping higher, and breaking old records and this is true for dancers as well. A double fouetté used to be a rare thing, but now it is seen all the time. So dancers can no longer get by with “class” only. Like athletes, they must cross-train in a gym—but not in mid-season—in offseason or in preparing for re-entry after a lay-off or injury. In mid-season cross-training can cause overuse injuries and burnout. Of course, proper nutrition, healthy weight control, and rest (sleep) are very important.

Linda Hamilton’s book: The Dancer’s Way. The New York City Ballet Guide to Mind, Body, and Nutrition. St. Martin’s Griffin, New York, 2009 is an excellent reference for all types of dancers.

5. Is it worthwhile to get an orthopedic screening, and if so, how often should you have it repeated?

An orthopedic screening is an invaluable tool because the body changes over time. Dancers need to know how to work with their unique “instrument.” This is especially important for professional-level dancers or those who are having chronic problems or recurrent injuries.

Ideally, it should be done on a yearly basis.

6. Do you have any recommendations for dancers who are looking for a good orthopedic doctor?

As noted above, orthopedists with experience in dance medicine are rare. The 1^st place to start is to call up your local or regional ballet company and ask them who takes care of their dancers. Next would be to check the International Association of Dance Medicine & Science website at iadms.org. The next best thing would be to see a sports medicine doctor who takes care of the local soccer or football team.

7. Turnout is one of the ballet “buzzwords”…can you comment on how to approach improving turnout in a healthy way?

Turnout is complicated. The more you look into it, the more complicated it gets. It is the sum of the turnout in the hips + the knees + the foot & ankle; the hips being the most important. People are born with 3 types of hips:

Normal, with equal turn in/turnout (normal “version” in medical parlance).
Pigeon toed or turned in, ¯ turnout (“anteverted”).
Duck footed—turned out with ¯ turn-in (“retroverted”). These people are born to be ballet dancers.

The orthopedic literature indicates that turnout of the hip is pretty much formed by age ten and it is doubtful that it can be improved by early ballet training. So it’s mainly a matter of making the most out of what you have naturally.

Learning to work with what you have is very important because forcing your turnout or getting it from below the knee is the most common technique fault in ballet and can lead to many injuries of the knee, foot and ankle. An orthopedic screening and working with a dance-oriented physical therapist can help you be sure that you are working properly.

8. What is the most satisfying thing about working with dancers?

Dancers are terrific patients and are great to work with. They just want to get better and get back to what they love to do. For me, the most rewarding moments have been seeing a dancer get back to performing after having had a serious injury that might have ended their career. Fortunately, these types of injuries are quite rare, but when they occur they are devastating and the recovery can be one year or longer.

9. Can you talk a bit about the NYCB Wellness Program?

The New York City Ballet wellness program began with a study over two seasons at the company in 2000. The purpose was to try to identify and treat weaknesses or imperfections so they could be corrected before they led to an injury. It was led by Clinical Psychologist, Dr. Linda Hamilton, with the help of the rest of the Company’s medical team: Orthopedic Surgeon Dr. William Hamilton; Chiropractor Dr. Lawrence DeMann, Jr. ; and physical therapist Marika Molnar. Later, we included registered dietician Joy Bauer after discovering nutritional problems. In addition to educational seminars, the wellness program includes screenings for orthopedic problems that may require physical therapy, fitness screenings that encompasses flexibility, strength, and endurance with a specialized program at the gym, and dietetic evaluations and counseling for healthy weight control. Psychological counseling is available for dancers who are struggling with problems, such as a serious injury. We also offer educational seminars. This has resulted in a 46% decrease in weeks lost to disability, so it’s been beneficial for both the health of the dancer and a savings for the company.

10. If you could communicate one thing to dancers as a group—what would it be?

Injury prevention and survival in dance depends to a great degree upon knowing your own body’s limitations and working within your natural abilities. A perfect body in dance is a dream not a reality. All dancers, including principals and stars have their physical strengths and weaknesses.

In the end, the most important thing in dance is talent and this can make up for many physical deficiencies because it’s the illusion in art that makes it so exciting.

Bio: William G. Hamilton, MD is an orthopedic surgeon who practices in New York City. He specializes in injuries to dancers and athletes. He graduated from Princeton University and the Columbia University College of Physicians and Surgeons. He is the orthopedic surgeon for The New York City Ballet, American Ballet Theatre, The School of American Ballet and the Jacqueline Kennedy Onassis School of Ballet at ABT. He consults for The Ailey School, the New York Knicks and the New York Yankees. He has written numerous chapters and articles regarding injuries to dancers and lectured around the world. For appointments contact his secretary “Mary” at maryvelazco@covad.

9 Questions With…Rhodie Jorgenson

June 22, 2010 by 4dancers

Today’s “10 Questions With…” is actually 9, but Rhodie Jorgenson makes for an interesting read…

She is another person who 4dancers is featuring from the 2010 International Ballet Competition. Enjoy!

1. What is your dance background?

I trained in New York City at the School of American Ballet and American Ballet Theatre. I also performed with the ABT.

2. How did you wind up getting involved with the USA IBC Dance School?

In 1998, I was a coach for Rasta Thomas and Adrienne Canterna. In 2002, I was invited to be on the faculty. That year, I also coached Ashley Canterna and Danny Tidwell. In 2006 and 2010, I am again on the faculty.

Rhodie Jorgenson

3. What is the experience like for you?

It is wonderful! I am so happy to be here and grateful to be part of this extraordinary event.

4. What do you think the experience is like for the students?

It has to be wonderful and exciting. So many classes are taught by enthusiastic teachers who love dance and want to share. And then, they get to watch all of the beautiful competitors! What an inspiration!

5. What is unique about this schooling?

Watching the USA IBC of course! It is the most outstanding ballet competition in the country.

6. Who attends this program?

The students are age 12-23. There are 260 students from many parts of the country. The students are placed in 7 different levels.

7. What are some of the instructors like?

The faculty is all men and women who want to share their knowledge and love for dance. I find the teachers very positive and still very eager to learn.

8. What would you say the value is of this program in particular?

The value is being surrounded by dance excellence in a supportive, nurturing environment.

9. What is next for you?

I teach full time at Maryland Youth Ballet. This summer, I am also guest teaching in Long Island, New York and in Delaware. And—I’ll go to the ocean!!!

Bio: Rhodie Jorgerson received her training at the School of American Ballet and the American Ballet Theatre School. She danced professionally with ABT, as well as the Metropolitan Opera Ballet, and in summer stock musicals on stage, TV and film. She is currently on the faculty of the prestigious Maryland Youth Ballet. She is D.C. Children’s Ballet Mistress for the Joffrey Ballet, where she has set children’s roles for their Nutcracker since 1992. This year, she is also assuming the same role for the Pennsylvania Ballet’s presentation of George Balanchine’s The Nutcracker, at Kennedy Center. In June 2010, she will return for the third time to be dance school faculty for the USA IBC in Jackson, Mississippi. She has coached gold and silver medal winners at the International Ballet Competitions in Jackson, Mississippi and Varna, Bulgaria.

10 Questions With…Christopher Fleming

June 21, 2010 by 4dancers

For today’s “10 Questions With…” we have Christopher Fleming, one of two competitor evaluators for the International Ballet Competition in 2010. Competitors may take advantage of the Competitor Evaluation Program, which offers a private session with a noted dance professional to discuss jury scores and provide guidance on the dancer’s strengths and weaknesses.

1. Can you tell readers a bit about your background in dance?

I am a former dancer with The New York City Ballet. I’m now a freelance choreographer and teacher, as well as a part-time professor with the Dance Department at Goucher College.

Over the last 12 years, I have created Solos and Pas de Deux for dancers competing in competitions in New York, Paris, Havana, Tokyo, Moscow and Helsinki. Many of these dancers have won medals, critical acclaim and more importantly contracts with major companies.

As a member of the New York City Ballet, I danced solo and principal roles in works of George Balanchine, Jerome Robbins and Peter Martins. I also headed a group of solos and principals from the New York City Ballet, which toured Europe and performed my choreography as well as that of George Balanchine. With Mr. Balanchine’s encouragement I embarked on a career as a choreographer and received a fellowship from the National Choreographic Institute.

I served as the artistic director of the Compania Colombiana de Ballet at the Teatro Colon in Bogota, Colombia from 1985 to 1990 and was named artistic director of Bay Ballet Theatre in Tampa, Florida in 1993. In the mid 2000s, I was co-director of Contrast Dance Theatre based in New York City, and I have served as assistant director and resident choreographer for The Rock School for Dance Education, formerly of the Pennsylvania Ballet, for nearly ten years. I am currently undertaking a freelancing choreographic career.

I’ve choreographed a broad variety of works appearing in the repertoire of a number of different companies, and my work has won medals of accomplishment by students in such acclaimed competitions as Youth America Grand Prix, Grand Prix du Cirque, Moscow Competition, and New York International Ballet Competition.

Christopher.Fleming — Christopher Fleming

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

Four years ago, I was invited by Sue Lobrano, executive directorof the USA IBC, to be a Competitor Evaluator. I was thrilled. I still am thrilled to be involved. It is great to create works for the stage, but here I get an opportunity to help prepare the dancers and to then consult them on the experience.

3. What exactly in the Competitor Evaluation Program?

The USA IBC is committed to creating lasting educational experiences for participating dancers. Competitors may take advantage of the Competitor Evaluation Program, which offers a private session with a noted dancer professional to discuss jury scores and provide guidance on the dancers’ strengths and weaknesses.

4. How is this program helpful for dancers?

The program provides an opportunity to be seen and garner knowledge. It is really about the process. Dancers prepare 6 dances to be judged by the world—it’s hard work. There is a high turnover rate to jobs here. It’s ultimately a job fair.

5. What type of guidance do competitors get during the evaluation?

We accentuate the positives to support the efforts of their weaknesses.

6. What do you look for when evaluating the competitors?

We try to look for their strengths and weaknesses. We always present the strengths first and weaknesses second.

7. What can the jury scores tell you about a dancer?

The jury’s intention is to look for artists, not just the people who can do tricks. Their scores will reflect this.

8. This seems like a unique opportunity—how does it feel to be able to be a part of it?

I am thrilled. I choreographed solos for competitors for years, but I have never been an actual part of the USA IBC. Usually I would be sitting in the audience like everybody else, but now I actually have a part in the competition.

9. What are some of the things you might tell a dancer in terms of how to improve?

It depends on the situation—is it a job situation or a school situation? Are they working as hard as they can? Are they doing things in a smart way? Are they doing things in an educated way? One thing I love seeing about ballet in Europe is that the dancers know the history of the art that they are performing, and at times, knowing the history and meaning of what you are doing can help.

We also try to make class fun. There are lots of intense people in this competition, but if you make class fun, warm them up and increase their spirits, it makes our job easier. When the competitors get off the plane, they have to be ready to go. We can’t fix anything from this point. We just try to get them to relax.

10. What is next on the horizon for you?

I just opened the Philadelphia Ballet School. I have a revival ballet in Tampa, Florida entitled Gaspar. I am also preparing a new Edgar Allan Poe ballet in the fall.

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