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Student Spotlight: Joe Foster

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ballet dancers
Joe Foster and Emily Wohl

 

Today’s student spotlight features Joe Foster from Princeton Dance & Theater Studio…

1.      Can you tell readers how you became involved with dance?

I was fascinated by the art at the age of 11. I wanted to be like the men who I saw leaping and flying across the stage. Seeing others was what ultimately inspired me to become a dancer.

2.      What do you find you like best about dance class?

Dance class is repetitive and allows one to focus on perfecting his/her technique. I can focus on what is good and not good for my body and get a fine grip on my limits as a dancer.

3.      What is the hardest part about dance for you?

The hardest part of dance is learning how to be in control of my emotions. I find that I save so much energy when I don’t beat myself up on days when I cannot do a particular step. Trying not to get too frustrated is the key to success as a dancer. It is always important to remember how fun it is to dance and not get tangled up in the bad emotions of it.

4.      What advice would you give to other dancers? [Read more…]

DVD Review: The Nutcracker (ABT/Barishnikov)

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the nutcracker with barishnikov and kirklandby Catherine L. Tully

This is one for the home library. There’s nothing quite like seeing this particular Nutcracker performance–after all–it’s Mikhail Baryshnikov and Gelsey Kirkland, along with ABT members, dancing one of the most famous ballets of all time. The Blu-ray quality and remastering make it a much better viewing than it would be otherwise, given the fact that this was way back in the late 70’s.

Sets are a bit dated and the film quality isn’t perfect, but this is a real treasure anyway. The choreography is lovely and the dancing sublime. I had seen this version when it first came on TV and remember thinking how absolutely delicate Kirkland was as the Sugar Plum, and Barishnikov is always impressive.

I hadn’t seen this version since then, and it was really interesting to see how much choreography has changed over the years. The execution here is clean and sure, and while the lifts and solos may not be as technically complex as most modern-day versions, it’s still a joy to watch.

Was That Original Ballet Hatched or Snatched?

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by Risa Gary Kaplowitz

DanceVision’s The Snow Queen. Photo by Melissa

A few weeks ago, I found myself watching a YouTube video of an “original” ballet choreographed this year. It had been posted by a small professional company on the West Coast. I don’t remember how I came upon it because the shock that hit me within the first few minutes obliterated any memory of that minor detail.

The ballet that I had found on YouTube was based on the same classic children’s story as the one on which I had based my original choreography for a DanceVision production that premiered in New Jersey six years ago. The California based company had used a contemporary vocabulary, while I had used a neo-classical one. Also, they had commissioned an original musical score, while I arranged classical pieces to create the music for my ballet.

Still, there were undeniable similarities between my treatment of the story and the version I found on YouTube. For example, I had focused on a minor character in the story, and so did the other company. The flow of my narrative differed from that of the book on which it was based, yet the other company seemingly used the same order of events as I did.

Most troubling was how similar the other company’s production looked to the one I designed for DanceVision. The YouTube video showed a digitally animated backdrop to support the storyline, a tool that was not widely used in ballet productions at the time. I used it in my production, well before the highly original animation tool helped garner acclaim for The Royal Ballet’s version of “Alice’s Adventures in Wonderland,” choreographed by Christopher Wheeldon. DanceVision’s  animator and I painstakingly organized my animated backdrop. I subsequently saw projections very similar to ours in the other company’s production, to which my reaction was one of jaw dropping recognition. One scene in particular appeared to have miraculously flown into their video.

Was it merely coincidence that enabled a company on the opposite coast to produce a ballet twin-like to mine? [Read more…]

Student Spotlight: Julio Sierra

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Yesterday we featured dancer Jamie Sierra, and today we have his twin brother, Julio…

Julio Sierra
Julio Sierra

1. Can you tell readers how you became involved with dance?

I’ve always wanted to study ballet when I was younger but never tried to do so because of financial issues. This is until my mother called a local dance studio in our city and I received an amazing opportunity from the artistic director, Francisco Gella, to study at Nuevo School of Contemporary Dance under a scholarship. I immediately started dancing during the last week of August 2011. Taking my first ballet class at Nuevo, I can honestly say I instantly fell love with the art. I now train for at least 22 hours a week at Nuevo School of Contemporary Dance taking as much ballet I can take. I’ve also joined their pre-professional performance company in August 2012.

2. What do you find you like best about dance class?

The thing about taking classes is you can never learn too much, that there is always room for improvement. Especially since I’ve only just started dancing, classes are the best way to try out new things that will work best for your body.

3. What is the hardest part about dance for you?

Learning different styles of dance. Trying to switch gears from classes like Ballet to Hip Hop is the most difficult thing for me. Ballet feels so pure and elegant that when I try to do Hip Hop it constantly throws me off. Hitting hard beats and the fast choreography confuses me a lot. Also the musicality of it is so different. I played an instrument and I listen to a lot of classical music so it makes it a bit easier for me to count to Ballet music, while Hip Hop can be so random that I often won’t hear the beats as clearly.

4. What advice would you give to other dancers?

When I first started dancing, I noticed how amazing others were so I paid close attention to them. Aside from learning from my teachers, I also learned from my peers. However, I started to get discouraged because of the fact that I started to compare myself to others who were far ahead of me. The only advice I can give to dancers is try not to compare yourself to others. Every dancer is different and worrying how others are doing does not benefit you in any way. Focus on what you’re learning, improve on what you do best, and work on your weaknesses. You should always pay close attention to your peers and get as much from them as you can, but never compare yourself to others who may or may not be better.

5. How has dance changed your life?

Dance has only entered my life recently, but has changed almost every aspect of it. I believe that dance is my escape, it is a way for me to truly express the way I feel. It has changed the smallest detail about me, like from the way I think and to what clothes I wear. Without dance, I wouldn’t be the person I am today. It has turned me into a better person and has only been a positive influence in my life. Dance is my passion. It is my love and my dream. If I wasn’t dancing now, I would be truly lost. I believe that dance has found me and is leading me to a better path.

Bio: My name is Julio Sierra and I am 17 years old. I am from Chino Hills, California attending my junior year in Chino Hills High School. I am a conservatory and pre-professional company member at Nuevo School of Contemporary Dance.

The Cross Training Special: How To Survive Nut Without Cracking

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by Emily Kate Long

cross training for nutrcracker
Cross-training tools

It’s the most wonderful time of the year…Nutcracker season, of course! Nutcracker has never lost its magic for me. The fire was lit inside my nine-year-old soul as I hid under Mother Ginger’s skirt with eleven other curled, beribboned, lipsticked little girls, wanting more than anything to someday sit on the glittering throne upstage center. Fifteen years later, that throne is my domain for half an hour each Nutcracker night until a tiara and a tutu transform Clara into the Sugar Plum Fairy, bringing all her (and my) childhood dreams to life.

That’s the candy coating, anyway. Nutcracker is not a kind ballet, physically speaking. Classical pas de deux are lopsided as a rule, and it sure doesn’t feel great to sit still on foam-covered plywood for thirty minutes before dancing one.  Many companies’ Nut runs are a dozen or fifty shows in duration, or involve extensive touring. Injuries are often rampant this time of year. In preparation for all things Nutty, this installment of Finding Balance is an early Christmas present to dancers in Nutcrackers everywhere: the Cross-Training Special (or, How to Survive Nut Without Cracking).

The first (and probably, the most important) step in developing an effective cross-training program is to identify what your general and specific weaknesses are, and to realize that they will (and should!) continually change as your technique and choreography do. For example, most ballet dancers are stronger/tighter on the left side and looser/weaker on the right, and overall our adductors and hamstrings tend to be weak. That’s a general and probably constant issue to address. Specifically, if choreography involves one-sided, one-directional, or very repetitive movement (many releves on the right foot, leg extensions mostly to the front, consecutive press lifts, etc.), building opposite or complementary actions into cross-training can prevent or alleviate symptoms of overuse.

Dancing alone can’t provide the strength to dance well, and it really pays off to be proactive. Time and money are two things most dancers need a little more of, and we can save both long-term (along with our sanity) if we take good care of ourselves to begin with. My routine is one I’ve developed and adapted to meet my particular needs, but it’s always evolving. I’m sharing it not because it’s a generic solution to everyone’s problems, but because of how much I’ve learned about my body and my dancing from developing tools to help myself. [Read more…]

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