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Central Michigan University is searching for a full-time Instructor of Dance to work in the Department of Communication and Dramatic Arts. This is for the 2010-2011 academic year, and the position requires an MFA in dance or an MA with related professional experience. To find out more, visit the page where the job is listed.
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.
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.
Name: Behind Barres Presents: Tune in and Turn Out, Volume VIII
Much like the other CD that I thought could have been a disaster (but was actually quite good) Under the Palms, the thought of teaching a ballet class with an album full of TV theme songs made me a little more than nervous. Once again, I didn’t have to worry…
This fun CD offers up some wonderful music from television shows such as The Munsters, The Flintstones, The Odd Couple and even I Love Lucy. Before I played the tracks, I couldn’t imagine how this might be pretty, but it really is. Although the melodies are the same, the tunes have been expertly arranged so that they are appropriate for the dance classroom (thanks again to Judy Rice and Paul Lewis). I think that students will be amused and entertained listening to the music and matching the songs to the show.
This is a wonderful CD to use as a change of pace to bring a little freshness to the studio environment. After all, who says you can’t have a little fun in ballet class? Tracks are all on the shorter side, so it is probably a good album for beginners, or to use mixed in with another CD for kicks. Adult students are probably the best audience for this, as many of the theme songs are from older TV shows, such as I Dream of Jeanie and the theme from the Carol Burnett Show.
I probably never would have chosen a CD like this for fear that it would be campy and silly, but I would have missed out on a really interesting compilation of music. My students loved it–and to me, that’s what it is all about.
Dance New Amsterdam is in trouble, and you can help…
They may be evicted as soon as July 14th unless they can have more time to work through some old rental issues that are clouding the new management’s ability to keep the organization alive so that they can continue to bring dance to the community.
From a press statement, sent out July 6th:
“There are questions regarding the legality of public policy issues connected to the lease that need to be addressed and corrected. We and our advocates have worked tirelessly over the past two years requesting re-negotiation of the original untenable lease agreements, including requesting DNA receive non-profit tax abatement under real estate property law 420a. After various appeals to landlord Fram Realty, building owner Department of Citywide Administrative Services (DCAS) and Department of Cultural Affairs (DCA), there has been no consensus for resolution. As a result, Fram Realty is taking us to landlord tenant court on July 14, 2010, suing for possession of premises for rent arrears of over half a million dollars.
We are seeking a solution enabling us to maintain our mission to teach dancers to dance, commission choreographers to create, and present dance performances to the public. We’ve requested lower rent to match current market rates and non-profit tax abatement. Unless there is immediate consensus between DNA, city agencies and Fram Realty, our legal teams will have to proceed accordingly.”
Catherine Peila, Executive Director of DNA says, “NYC is the Mecca for dance. DNA is a key player in training and presenting a diverse range of not only American but international contemporary dance artists in New York. In our 26 years, some of the world’s greatest dancers have come through our doors and they continue to come. We therefore have a responsibility to the community to stand strong and ensure DNA remains an active viable dance organization. We must remember once lost, the dance community will never regain access to a dance space like DNA. By showing your support we can demonstrate the positive impact of DNA on the community; the city must be made aware.”
If you have a moment to lend your voice to help support Dance New Amsterdam, click on the banner above and add your name to the petition. I’ve already added mine…
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
