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Worlds Unite

March 1, 2013 by 4dancers

hubbard street 2 dancers — Hubbard Street 2 Dancers Brandon Lee Alley, left, and Lissa Smith perform at 1871 Chicago during the launch event for Dance as a Learning Platform. Photo by Todd Rosenberg

by Lissa Smith

The similarities between startup tech companies and dance companies, while not always immediately apparent, are both striking and parallel in their structure and ultimate success. Hubbard Street Dance Chicago’s collaboration at 1871 Chicago is a shining example of what can happen when creative business meets the dance world.

The dancers of Hubbard Street 2 bring their passion and excitement to the Merchandise Mart on Monday evenings, to perform for entrepreneurs and participate in workshop forums. When not performing HS2 repertory, the dancers unleash individual creative movement, phrases and improvisations. The business leaders and dancers have both learned to appreciate the shared model for building a successful company, whether it makes dance or technology. Passion is the underlying fuel that is the commonality of both new business ventures and dance works. Both dancers and entrepreneurs see their work as filling gaps in their respected fields. Dancers and tech participants work together, often outside their comfort zones, to unravel what is necessary to building a successful framework, while consultants from ClearSpace and Strategos keep all of us moving.

Event themes such as Lead and Innovate direct participants to break down the building blocks that provide the steps used to assure successful performances or outcomes. Creative thought and movement, group cooperation, and acceptance of leadership and guidance sum up the shared recipe for successful dance and tech companies alike. Both parties have learned that there is inherent risk involved in the development of their careers, but that risk-taking is also vital. This unique program has brought together the arts world and business world, taking two unlikely compatriots, and teaching them that what they do everyday in their separate worlds is what is necessary to reach what is surely a common goal: great results.

At our first 1871 event, we looked at an idea at its starting point, through its development, and where its evolution eventually led. I chose a clear starting point and, gradually throughout the performance, expanded it. This performance was satisfying for me, because it included a lot of our own creative expression and movement, rather than being a presentation of choreography we perform in theaters.

Also in this back-and-forth collaboration, 1871 residents were invited to see Hubbard Street’s main company with HS2 in One Thousand Pieces by our resident choreographer, Alejandro Cerrudo. Our company continues to visit 1871, and its members continue to come into our spaces, opening eyes and minds on both sides to new outlooks and ideas.

hubbard street dancers at art institute of chicago — Hubbard Street 2 Dancers Emilie Leriche, left, and Lissa Smith with Pablo Picasso’s Man with a Pipe, 1915. The Art Institute of Chicago, gift of Mrs. Leigh B. Block in memory of Albert D. Lasker. © 2012 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo by Todd Rosenberg

Another Hubbard Street Dance Chicago alliance worthy of mentioning is its partnership with the Art Institute of Chicago. Similar to the 1871 collaboration, this program also brings together two things seemingly unlike: art objects and moving bodies. Dancers use movement to interpret the themes and ideas in famous artworks, often performing in front of the actual pieces themselves. These performances are always site-specific, which allows both the dancers and the audience members to bridge their attention and engage in appreciation of similarities between visual and performing arts.

The most recent Art Institute of Chicago performance Hubbard Street 2 participated in, “What is Blue?”, began a spring miniseries relating to the exhibition “Picasso and Chicago.” This first performance was described as a discovery of the artist’s social consciousness. Griffin Court was the site of this incredible performance — the vast, open space, a live guitarist, and Picasso’s art projected behind us provided endless inspiration for us dancers and the audience alike. My favorite work by Picasso is his Guernica, an oil-on-canvas created in 1937. The color-scheme of this piece is black, blue, grey, and white; it describes the bombing of the village of Guernica during the Spanish Civil War. I love everything about this piece: its horizontal length and dimensions, the angular shapes and, especially, the extreme emotion it conveys.

Something new and surprising is a regular occurrence at the Art Institute when Hubbard Street dancers are in residence — catch us back at the museum on March 21 at 6pm, for our next Picasso-themed event, “Why Cubism?”

BIO: Contributor Lissa Smith, age 21, was born and raised in Miami, Florida. She is currently dancing with Hubbard Street 2 of Hubbard Street Dance Chicago. She attended The Boston Conservatory where she was both a Dance Conservatory Scholarship recipient and Jan Veen Dance Scholarship recipient.

Lissa has trained at the prestigious Jacob’s Pillow Dance Festival, Hubbard Street Dance Chicago, The Juilliard School, Alonzo King’s Lines Ballet, The Martha Graham School, The Joffrey Ballet School and The Joffrey Midwest Workshop. Lissa has worked with world renowned choreographers such as: Thang Dao, Peter London, Alberto Del Saz, Maurya Kerr, Clébio Oliveira, Penny Saunders, Hofesh Shecter, Didy Veldman, Uri Sands, Gregory Dawson, Stephen Pier, John Magnus, Josée Garant, Viktor Plotnikov, Robyn Mineko Williams, Tony Fabre, and Judith Jamison. She has danced principal roles such as: “Yellow Girl” in “Diversion of Angels”, “Conversation of Lovers” within “Acts of Light” and “Frontier”, the solo choreographed by Martha Graham and staged by Yuriko and Susan Kikuchi along with Yasuko Tokunaga.

Lissa was the soloist lead dancer in both Thang Dao’s contemporary ballet, “Foil” and Greg Dawson’s contemporary ballet, “Eclipsing Venus”. She has also performed Jose Limon’s “Choreographic Offerings” staged by Jennifer Scanlon and Libby Nye. Lissa has performed the “Doll with Broken Head” solo from within “Mechanical Organ” choreographed by Alwin Nikolais, staged by Alberto Del Saz. Lissa received the “Modern Dance Award” and the “Dean’s Dance Award” upon her graduation from New World School of the Arts High School in June 2009 and won the “Arts For Life!” dance scholarship in 2009 presented by Former First Lady Columba Bush.

In 2012, Lissa was awarded the Martha Hill Young Professional Award.

Lissa’s posts on 4dancers are her own opinion and in no way reflect the thoughts or opinions of her employer, Hubbard Street 2.

Finis: Working Women at The Joyce Theater

February 28, 2013 by 4dancers

by Christopher Duggan

The Joyce Theater’s Working Women performances were so cool, because I know all the talented women involved. I’ve worked with them all before at The Joyce or Gotham Arts or at Jacob’s Pillow. I have histories with them, and working at this dance performance was just like photographing my friends. It was wonderful to see some new work by these inspiring artists and also fun to be around them. What can be better than that?

It was particularly interesting seeing such a variety of work all in one evening. And it was great to see an entire program dedicated to work by female choreographers, since they have historically gone under-represented in the dance world. These women are fierce and their is work cutting edge.

For more photos from the Working Women series, check out my Facebook album from the shows.

Christopher Duggan bio — Christopher Duggan, Photo by Julia Newman

Contributor Christopher Duggan is the founder and principal photographer of Christopher Duggan Photography, a New York City-based wedding and dance photography studio. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.

He has created studio shots of Gallim Dance, Skybetter + Associates and Zvidance, among others, and in 2011 alone, he has photographed WestFest at Cunningham Studios, Dance From the Heart for Dancers Responding to Aids, The Gotham Dance Festival at The Joyce Theater, and assisted Nel Shelby Productions in filming Vail International Dance Festival.

Duggan often teams up with his talented wife and Pillow videographer Nel Shelby (http://nelshelby.com). A New York City-based husband and wife dance documentation team, they are equipped to document performances, create and edit marketing videos and choreography reels, and much more.

Christopher Duggan Photography also covers Manhattan’s finest wedding venues, the Metropolitan and Tri-State areas, and frequently travels to destination weddings. The company’s mission is straightforward and heartfelt – create timeless, memorable images of brides, grooms, their families and friends, and capture special moments of shared love, laughter and joy.

His photographs appear in The New York Times, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, Munaluchi Bridal, and Bride & Bloom, among other esteemed publications and popular wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame’s celebrated photography collection in 2010. His company has been selected for inclusion in “The Listings” in New York Weddings magazine.

DVD Review: First Position

February 27, 2013 by 4dancers

by Emily Kate Long

The documentary First Position chronicles the journey of seven young dancers through the semi-final and final rounds of the Youth America Grand Prix. The film’s subjects range from age nine to age 17. They ride in Jaguars through Palo Alto, CA for private lessons; they ride the subway home to graffiti-slapped Queens, NY. They are girly-girls, military kids, and war orphans.

What these students have in common is love for their work and dreams of success. The ones who stand out as truly special are infectiously passionate about the work they get to do in order to achieve that dream. They are an inspiration to their peers, to their families, and to their teachers and coaches.

First Position does a thorough job of presenting the sacrifices and challenges these young dancers face, as well as their passion and their triumph. It also affords interesting perspective from some of the YAGP judges concerning the place and purpose of competitions in the ballet world. Happily, the overall consensus at YAGP seems to be that competitions exist to provide exposure to young dancers. They are a stepping-stone, not an end goal, and certainly not an occasion to objectively quantify students’ abilities. That message is emphasized by a closing shot of the Royal Ballet School’s “Bridge of Aspiration.”

This film carries an air of cool suspense throughout, and a certain matter-of-factness appropriate to a documentary about such tough, driven young people. That’s not to say it’s without moments of humor, emotion, and warmth—especially funny are shots of 11-year-old Aran Bell on his Pogo stick and of coach Viktor Kabanaiev wincing and guffawing at nine-year-old Jules Fogarty’s botched tours and pirouettes. Well-depicted, also, are the special bonds between students and coaches.

First Position is directed by Bess Kargman. It has won awards at national and international film festivals in 2011 and 2012. Extensive information about this excellent documentary is available on the film’s website, www.balletdocumentary.com.

The Clogging Shoe

February 26, 2013 by 4dancers

A clogging shoe — Clogging Shoe, Photo by Dorothy Stephenson

by Dorothy Stephenson

Known as the “melting pot of dances,” Clogging came about when the nation’s Irish, Scottish, English, and Dutch-German ancestors settled in the mountains of Appalachia on the east coast of the United States. As different cultures came together, their native dances began to intertwine signaling the birth of Clogging, an old dance form that continues to grow, evolve, and become more popular everyday. As clogging spread through the nation, other influences, such as Cherokee Indian, African, and Russian, contributed to the newly formed dance style.

I have been Clogging for twenty-three years. Ten years ago, when telling someone I was a “Clogger,” I would have to explain myself and how “Yes, Clogging is similar to what Fred Astaire did,” but “No, it’s not what Michael Flatley does.” Nowadays, when I vocally label myself as a “Clogger,” I usually get a “Wow! I love Clogging!” This dance form has appeared on stages as simple as county fairs all the way up to national television on shows like “So You Think You Can Dance,” “America’s Got Talent,” and “America’s Best Dance Crew.” And the tool that each clogger needs? Their shoes, of course!

Just like Clogging, Clogging shoes have evolved and changed since the dance form’s predecessors began in places like Wales with wooden clogs and Ireland with hard shoes. In the 15^th century, dancers replaced the original wooden clog with a leather-topped shoe that had a full wooden sole. By the 16^th century, dancers added separate wooden pieces on the heel and toe of the shoe.

These pieces, also called “flats,” are where the term “flatfooting” came from. Flatfooting, an ancestor of today’s American Clogging, is still practiced and respected in the clogging world today. In fact, Clogging competitions have a special solo category devoted specifically to flatfooting, and Cloggers of all ages will gladly clear the dance floor to marvel at dance patriarchs who will shake the dust off of their old flats to perform one more time.

Throughout Clogging’s evolution, dancers added another important element to their shoes – taps. Two “jingle” taps (also known as Steven Stompers) are attached to each shoe – one tap on the heel and one tap on the toe. With a flat stationary tap directly attached to the shoe, a dangling or “jingle” tap hangs slightly from the stationary tap to create a double tap that makes the signature clogging sound, which features just a little more sound than tap shoes.

Regular taps cover only the bottom of the shoe while buck taps have a small metal lip that bends over the toe. Where the regular tap didn’t make sound when a dancer stuck their toe, the buck toe creates sound and provides further support if contemporary dancers are executing toe stands. Present-day clogging shoes are usually black and white though some teams will occasionally branch out taking the stage with silver, red, or other colored shoes.

clogging shoe with taps — Full Sole Clogging Shoes, Photo by Dorothy Stephenson

When original Appalachian Clogging began, it was an individual form of dance where the dancer used their feet to turn out rhythmic percussive sounds to accompany music that was most likely bluegrass. Today, more complicated steps and more influences of different dances, such as hip hop and pointe, have dribbled into Clogging and have further urged the evolution of Clogging shoes. With steps, such as toe stands (where Cloggers balance on their toes), increasingly complicated choreography is made easier with a more flexible shoe. Clogging shoes with split-soles have emerged. Some feature a full sole with a soft leather upper, such as the Director’s Cut shoe, while others, such as Signatures Split Soles, have a complete split sole with hard leather on the toe and ball of the foot and the traditional heel block. There is no sole to support the arch of the foot, only leather.

Clogging shoes, split sole — Example Of Split Sole Clogging Shoes, Photo by Dorothy Stephenson

As more intricate steps developed, the full sole shoe restricted the movement of a dancer’s toes making it difficult and sometimes impossible to execute new steps. Split-sole shoes make it much easier for a dancer to bend their foot to achieve optimum sound and execute toe work.

Whether it was in the 15^th century or the 21^st century, Clogging shoes have always been used the same way – by striking the heel, the toe, or both against the floor to create rhythmic sounds usually to the downbeat of the music. If you haven’t seen Clogging, check it out. It is truly a dance form that has something for every personality – young, old, city, country, traditional, contemporary – and Clogging choreography can accompany a wide variety of music ranging from country and bluegrass to 1940’s swing and big band to jazz, hip hop, and even rap. The sky is the limit.

Want to see some cloggers in action? Here’s a video of Rhythmic Alliance competing with their Line Formations routine:

sundance studios director — Dorothy Stephenson, Photo by Kathy Cobb Photography

Dorothy Stephenson began her clogging career in 1990 when her mother enrolled her with the Little Switzerland Cloggers. Today, she leads Little Switzerland along with two other groups – Rhythmic Alliance, a competitive team, and Sundance Express, a professional performance troupe.

She also owns Sundance Studios & Productions Company, a dance studio and productions company specializing in clogging instruction and performance.

The Kirov Academy Of Ballet, The Royal Ballet & More…

February 25, 2013 by 4dancers

by Janice Barringer

Under normal circumstances I feel that my life is interesting and eventful even when no special events are taking place. That’s because, as a dancer, even the most commonplace activities have meaning. Just daily classes, whether I take them as a student or if I am doing the teaching, are something I look forward to. Of course, they can be frustrating when the students are not putting forth their greatest efforts. The low point, when it comes to class, is lethargic students. If they don’t put all of their mental and physical energy into this activity, there is not much even the most determined teacher can produce.

If my day-to-day activities are interesting to me, can you imagine how excited I am when something very special is on the horizon? January and February 2013 provided two extraordinary opportunities for me to further enjoy this career that I love so much.

Kirov Academy of Ballet in Washington D.C., photo by Janice Barringer

In January, sandwiched between teaching at a Dance Makers Inc. convention in Pittsburgh and one in Detroit, I spent the week at the Kirov Academy of Ballet in Washington D.C. This boarding school which serves students in grades seven through twelve, offers a high school diploma in addition to its dance instruction. It was founded to train dancers in a pedagogy based on that of the Vaganova Ballet Academy and the performance aesthetic of the Kirov Ballet, recently renamed The Mariinsky, in St. Petersburg, Russia.

Martin Fredmann, the Artistic Director and Executive Director of the school invited me to give a lecture to his students, staff and faculty on pointe shoes. For four days I observed classes from 9:30 in the morning until late afternoon and sometimes until 7 in the evening. The classes, taught by masters of the Vaganova system, were creative, artistic and demanding. While some classes are the traditional hour- and-a-half in length, many lasted two, three and even four hours. These lengthy sessions allowed the teachers to work on details and the students to apply corrections over and over again.

alice in wonderland ballet — Photo by Janice Barringer

While I was in the Nation’s Capital, Christopher Wheeldon’s Alice in Wonderland was being presented at Kennedy Center by The National Ballet of Canada. This version of Alice has garnered much attention due to, not only the stature of the choreographer, but also its outrageous sets and costumes. The company shares the production with The Royal Ballet. Of course, I had to attend, and it didn’t disappoint. While many of my ballet friends felt it was too long and “over the top”, I felt it was a very entertaining evening. As I discussed it with the Artistic Director of a major company, we both agreed the technical rehearsal must have been a nightmare. The sets were huge, complicated and almost as spectacular as a Broadway musical or Radio City Music Hall. After all, the story demands a fantastic imagination.

In an exchange program between the Kirov School and Kennedy Center, later in the week the company sent one of its teacher’s, Lindsey Fisher, to give a master class to the Kirov students. In addition to its wonderful staff, these fortunate students work with master teachers from around the world frequently.

There is nothing I enjoy more than watching incredible teachers work with selected and motivated students in an accommodating atmosphere. Therefore, my week in Washington D. C. was inspirational. In a week-and-a-half I was off again on another adventure in yet another fantastic city, London! Unpacking and packing again in a short period of time is definitely a hassle, but I felt privileged to have this great opportunity.

The day after I arrived I attended an “Open Day” at the Royal Ballet School. Over the last twenty-five years I have observed and notated classes there, interviewed the teachers, and had photographs taken of the students by highly-respected dance photographer, Rosalie O’Connor. The School has been included in the three editions of the book I wrote on pointe shoes and pointe training, “The Pointe Book”, and I wrote a cover story about it for Dancer Magazine. No matter how many times I have been there, I am always thrilled to have another opportunity to visit one of the very best ballet schools in the world.

The school, which was founded in 1926 by Dame Ninette de Valois, consists of a Lower School for children between eleven and sixteen years of age, housed in White Lodge in Richmond Park which is on the outskirts of London. The Upper School for ages sixteen and over is located in Central London, directly across the street from the Royal Opera House where The Royal Ballet rehearses and performs. There’s a gorgeous spiral walkway several floors above the street that connects the School with the ROH called The Bridge of Aspiration. Both the Lower and Upper Schools are under the direction of Gailene Stock A. M.

The School has trained some of the world’s most famous dancers and choreographers including Margot Fonteyn, Kenneth MacMillan, Anthony Dowell and Darcey Bussell. For the past six years every graduating student has secured a contract with a national or international ballet company. Currently over 70% of The Royal Ballet and Birmingham Royal Ballet are alumni of The Royal Ballet School.

inside royal ballet school — Photo by Janice Barringer

The Open Day I attended was a special event for the Friends of the Royal Ballet School, an organization that supports the school in many ways including financial. One of the main studios in the Upper School is outfitted with lights, curtains and bleachers which support comfortable chairs for informal demonstrations and performances. This is where the day-long event took place.

From 9-10:30am the 2^nd Year Girls and Boys combined class presented a typical class complete with corrections. In major ballet schools the boys and girls are taught in separate classes. Today was an exception because the boys’ teacher was on an audition tour seeking out prospective students. Later, the 1^st Girls’ Class and a 1^st Year Pas de Deux class were a part of the program for the invited guests. The day ended with a tea break (of course, this is England) and ended with a champagne tea.

Just walking into that beautiful building is an inspiration. There are walls of photographs of legends in the ballet world, and the studios are named after these same luminaries. I felt honored to be within its walls.

Fortunately, while in London it just so happened The Royal Ballet was presenting one of my favorite ballets, Onegin, AND a friend of mine, Sara Lamb, was dancing the lead. What perfect timing! Sara grew up in Boston and was trained at the Boston Ballet School. After dancing as a Principal with The Boston Ballet, she joined The Royal Ballet in 2004 as a First Soloist, and was promoted to Principal in 2006. This passionate ballet was choreographed by the late, John Cranko, in 1969. It demands great acting, sensitivity, and artistry. Sara brought all those qualities to her role as Tatiana. She seems to simply float above the earth disguising the very strong technique that is securely underneath.

My guests at the ballet were enamored with her performance, as was I. What a thrilling evening! Because I have attended so many ballets over my lifetime, sometimes I can be bored—-lose interest— but not tonight. Tonight I felt like a novice seeing a ballet for the first time. It was lovely; it was inspiring; it elicited a strong, emotional response. It made me realize once again, that despite the hardships, the injuries, the disintegrating hip sockets, the challenges and uncertainties—-despite all the reasons our parents don’t want us to go into the arts—-it has all been worth it. To be moved by an artistic creation that takes years to create—there’s nothing like it in the world.

See more photos from Janice’s travels on our Facebook page

Contributor Janice Barringer was raised in Florida and received her early training in ballet, jazz, tap and acrobatics from Edith and Bill Royal. Upon deciding to focus on ballet, she moved to New York City and traveled to Europe where she studied with leading teachers in the field.

Janice danced professionally for many years before becoming a ballet teacher and writer. She has written for Pointe, Dance, Dance Teacher, and Dance Spirit Magazines, and is the author of 9 cover stories for Dancer Magazine. Her first book, The Pointe Book, has given her a reputation around the world as being a leading authority in this field. An updated third edition was published in May, 2012. She also is the co-author with Thalia Mara of another book on pointe work called On Pointe. In addition to detailed information about working en pointe, it has a history of the first International Ballet Competition in the United States which is held in Jackson, Mississippi, every four years.

Janice has written a ballet syllabus, produced by Music Works Unlimited, complete with corresponding CD’s and DVD’s for each grade. It is specifically created for the dancing school teacher. The last four years she was employed at Pace University in New York City as a ballet instructor. She now spends most of the year in her native Florida teaching at South Beach Dance Academy in Daytona Beach returning frequently to New York, as well as teaching as a guest instructor in studios, at workshops and conventions around the world.

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