claire bataille

10 Questions With…Maxwell Parr Perkins

March 22, 2013 by Ashley David

Maxwell Perkins — Maxwell Par Perkins, Photo by Cheryl Mann

I met Maxwell and his parents at Dance For Life Chicago and thought he’d be a great interview for 4dancers. Learn more about him here…

1. Tell me a bit about your background in ballet.

I took my first ballet class when I was four – in my neighborhood – a way for an overactive kid to burn off some energy. I did that until the “boy taking ballet” teasing kicked-in, and then I switched to Jazz. I concentrated on Jazz for a few years and ended up at Giordano Dance where a very wise teacher explained the importance of ballet. I have had a love-hate relationship with ballet ever since! Studying with many great Chicago Ballet teachers – Lizzie MacKenzie, Laura Wade, Homer Bryant, Claire Bataille, Mike Gosney, Peff Modelski, Fury Gold, I also concentrated on summer programs that were strong in ballet – Milwaukee Ballet, Haird Conservatory, San Francisco Ballet, American Ballet Theatre and The Juilliard School.

2. What are you currently doing?

I am pursuing a BFA in Dance at NYU – Tisch School of the Arts – in my second year of a three- year program.

3. Can you share some of the best advice you have received from a teacher/mentor?

I feel so blessed to have a great support system from my family, friends and teachers. It has been eye opening, as I expand my dance universe, not everyone has it. It has made me appreciate ALL the support that I have. The very best advice that I have received is, “There are things in store for you that you can not even dream of. Just let it unfold.”

4. What is the thing you enjoy most about being a dancer?

When I am able to give-in and experience true release – allowing the music, movement and environment to consume not only the audience but the performers. I love being attuned to my own body and soul; dancing is an expression of my whole self.

5. What has been the high point of your career so far? [Read more…]

The Impact Of A Dance Teacher

July 16, 2012 by 4dancers

by Catherine L. Tully

As I reflect back on my time in the dance classroom, my thoughts often turn to those who taught me. I was lucky to have had some pretty incredible instructors–there actually weren’t any that I think of in a negative light. Each and every one of them shaped me as a dancer; gave me a piece of themselves really, when it comes right down to it.

Every teacher emphasizes different things. Some work you when it comes to technique while others hone your lyric ability. If you’re fortunate, you get a range of these teachers and become a well-rounded dancer with mad skills. Today, I just wanted to take a minute to write a little bit about what each of my instructors did to shape me as a dancer…

Mrs. Engstrom – Typically, your first teacher is pretty much the luck of the draw. Most people don’t know much about choosing a ballet teacher when they enroll their child in class, and I got so lucky with Mrs. E. She gave me a great foundation of technique, concentrated on proper placement and age-appropriate movements, and from that, I had a terrific base from which to grow as a dancer. She made sure our feet were ready before putting us in pointe shoes, let our turnout develop slowly, and really enforced basics. Hats off to her for a great start!

Iosif Isrealiov – (think I’ve got the spelling right there) Iosif was my character dance instructor when I studied at Chicago City Ballet in the 80’s. From him I learned stamina. He used to have us do this mazurka step in a circle until we would literally drop from exhaustion, one-by-one. I always strove to be the last one standing; and I often was. He pushed us very hard physically, and I found out I could reach deeper than I believed possible in terms of what my body could do.

Homer Hans Bryant – Homer wasn’t actually my own teacher–he taught another level (and I think it was a boys class?). Even so, his class was often right before mine, and when I’d watch I saw things I’d never seen before in a ballet classroom…he had them doing pushups and other exercises that were not exactly traditional. I found it exciting! From him I learned that sometimes you can step outside of the typical class structure and infuse the training with something practical and interesting. I also discovered that you can learn from observing a class–you don’t always have to take it.

Marjorie Tallchief – Soon I’m going to post something about Marjorie, so I won’t say too much here now and spoil it. But as for what she gave me, it was a more advanced understanding of ballet technique, coupled with the ability to execute combinations at a level that I never dreamed.

Inesse Alexandrovich – Ahhh. Inessa. This woman really developed my upper body–specifically the movement of my arms and my épaulement. Bolshoi trained, she knew how to tweak my movements perfectly to draw out the beauty in my port de bras, and she would help me understand what it meant to lose myself in the music. We had a special relationship. Even though she spoke little English, she knew just how to show me what I needed to do.

Rick Hilsabeck – Rick has always been a favorite teacher of mine. When I was just starting jazz at Lou Conte Dance Studio after many, many years of ballet training, it was Rick who worked with me patiently – trying to get me to let go a bit. It took a long time. He was great every step of the way.

Claire Bataille – Claire was a technique machine, but in a different way than I’d experienced before. She was confident and strong both inside and out, and although I found it intimidating to be in her classroom, it was also an adventure.

Maria Tallchief – What do you say about taking class from this woman? If I was intimidated by Claire, it was tenfold for Ms. Tallchief. She had a presence that can not be described unless you’ve been in a room with her, and learning directly from someone of her stature was extraordinary. You felt as if everything she said was something that could change you forever as a dancer.

Now that I’ve had the chance to talk about a few of my teachers…would you share something about one who shaped you as a dancer?

10 Questions With…Winifred Haun

March 2, 2011 by 4dancers

Today we have Winifred Haun with us for our feature…

1. How did you become involved in dance?

When I was 5 years old, I attended a little private school on Chicago’s north side. As an alternative to gym, they offered ballet classes on Fridays to the girls. I loved it, and sort of knew then that I would be a dancer for the rest of my life. When I was 10 years old, I started taking classes at the Ellis-DuBoulay School of Ballet. I think I received the best possible training in the city. Mr. and Mrs. ‘E’ trained not only our bodies but our minds. A lot of really successful Chicago dancers trained with them (Lou Conte is probably their most famous student). I also credit Harriet Ross for teaching me everything I know about modern technique. She also taught me how to perform and she and Randy Duncan encouraged me to choreograph.

2. What are you currently doing in the field?

I have my own dance company, Winifred Haun & Dancers. I started it in 1991 because I wanted to put together a group of artists who could help me create my work. My latest work, “Bento,” premieres March 17 & 18 at Hamlin Park Theater. I also teach modern dance at Hubbard St. Dance Center, and at Legere Dance Center in River Forest.

3. Can you share a special moment from your career?

One my favorite moments was when, as a member of the Joseph Holmes Dance Theater I first performed “Love Not Me,” choreographed by Randy Duncan, at the New Regal Theater in 1989. I had actually performed it a few times on tour, so it was really rehearsed. Despite all the preparation (I had great coaching from Harriet Ross), I felt terrible right after my performance, but I had a really quick costume change, so I didn’t have time to cry. After the show was over, the response and quick congratulations from Randy, Harriet, and my fellow dancers was so wonderful and so positive, that I still didn’t have time to cry or really be upset!

4. What advice would you offer other dancers?

Don’t worry about what others are doing or who’s getting what parts or into what company. Concentrate on yourself and make yourself into the best possible dancer you can. Take class as often as possible, listen to your teachers. Audition and then perform work for anybody who wants you. You never what will lead to what.

: “Bento” by Winifred Haun

5. What have you had to struggle against in dance?

As a dancer, I always felt that being tall (I’m 5’ 9”) was a challenge. Most of the lead roles go to women who are shorter (they’re easier to partner). As a choreographer, just being a woman in a field where the top jobs are all held by men is a challenge. Women just don’t get the recognition for their work that men do. (I think women in all careers probably struggle with this…) Which is kind of ironic, given that the field is about 80% women.

6. Do you have a favorite dancer or choreographer? If so, what is it about them that makes them stand out?

One of my all time favorite dancers is Claire Bataille. I loved her stage presence and her control of her technique. Watching her in class, in rehearsal, and on stage was inspiring. My favorite choreographers are: Merce Cunningham, Trisha Brown, Ohad Naharin, Eiko & Komo, William Forsythe, Randy Duncan, and Mark Morris. I love the risks that these artists take and how alive and individual they are. In my latest work, Bento, I honor some of these choreographers by purposely imitating their choreography. (Some have even “donated” 32 counts.)

As for young, local choreographers, my favorites are Jackie Stewart and Jessica Miller Tomlinson. I’m sharing a concert with them in March 2012 at the Ruth Page Center. (We just received a MetLife New Stages for Dance grant for this project!) I saw a concert that Jackie and Jessica shared a concert last year and it was amazing.

7. What is the best advice you have ever received regarding dance?

Hold your stomach in and move from your center. And don’t take yourself too seriously. Those are good life skills also!

8. Where do you think dance is going as an art form?

I think choreographically dance is moving away from ballet. In her amazing book “Apollo’s Angels,” Jennifer Homans, says that ballet is a dying art form, and I reluctantly agree with her. No one is moving the form forward and without constant re-invention, it will eventually not be an art. Ballet will always be a great technique with lots to offer any dancer who studies it. But, as an art form, dance is moving away from ballet. (Lots of my friends, teachers and colleagues will heartily disagree with me. To them I say, let’s have coffee and talk about it 🙂 )

I also think we are living in a great time for dance. I think more than ever are aware of dance as an art form. We have the current dance TV shows and the internet to thank for that!9. What is it about dance that you love so much?

I don’t know what it is but, I love watching dance, whether its a class, rehearsal, performance, or even my kids’ recitals. I love taking class, teaching class or coaching. I love all forms of dance: ballet, modern, jazz, tap, hip-hop, ballroom, etc. And I love making dances. Many times I have tried to live without making dances (my life would so much easier if I wasn’t a choreographer…). I’ve formally “quit” the dance field twice only to return for reasons I can’t quite articulate. I guess, for me, dance is kind of a calling. I feel like ideas for dances “seize” me and won’t let go. Its like I can’t not make dances. And I feel the most alive when I’m choreographing.

10. What is next for you?

Saturday, March 12 Winifred Haun & Dancers is performing at the Regional Alternative Dance Festival in Kalamazoo, MI. On Thursday and Friday, March 17 & 18, we’re premiering Bento in program of 6 works at the Hamlin Park Theater.

10 Questions With…Claire Bataille

December 8, 2010 by 4dancers

Today’s “10 Questions With…” features a woman that I have a great deal of respect for. Claire Bataille was someone that I looked up to in my days at Hubbard Street Dance Company’s school, the Lou Conte Dance Studio. She was a powerful dancer with amazing technique and I loved taking her class. I’m thrilled to have her on the site with us today…

1. How did you become involved with dance?

Claire Bataille with Ron De Jesus — Claire Bataille (with Ron De Jesus)

I started taking ballet lessons when I was 3 years old and never stopped.

2. What are you currently doing in the field?

I am director of the Lou Conte Dance Studio and teach ballet and Pilates.

3. Would you share a special moment or two from your career?

HSDC’s first public performance in the tiny theater at the Cultural Center. We felt like we were at the Met.

Our first day in the studio with Twyla Tharp. I was in awe and it was so much fun!

The feeling I had being on stage again after my son was born. Performing was the only time I felt like I had time to myself and my only job was to focus on what I had to do. It was ironic. And at the same time becoming a mom put it all in perspective.

4. What is the best advice you have ever received regarding dance?

Lou Conte taught me how to really work. We had to give 100% every day. His rules were pretty simple: be on time, take the full ballet class everyday, take corrections, pay attention to details, be responsible.

As a choreographer and director he always made you look into the heart of the movement, no matter how simple. When he was disappointed in you he let you know and when he was moved you felt great, like you could do anything. I would not have had a career without Lou in my life. Definitely not like the one I had.

5. Do you have any advice for those who would like to dance professionally?

You have to physically and mentally strong, be prepared to stand tough against rejection, study ballet, jazz, modern, tap and any other discipline that’s interesting, take class every day, audition for everything and maintain a life away from dance. Read the newspaper, go to the movies, keep good friends close.

6. What advice can you offer for dance teachers?

Besides teaching a clean, strong technique combined with musicality and fluid movement quality, good teachers are much like good parents. You have to be willing to tell young dancers the truth and be ready to listen with compassion and heart.

7. What is it that you love so much about dance?

I love the dancer mentality. There is a dedication and emotional connection to the business that makes dancers good people no matter where their careers and life take them. A good dancer is a well balanced person.

8. What was it like to dance with Hubbard Street Dance Company?

Being in the company for the first 15 years, during the time of complete realization of what this company would become, was thrilling. Difficult and challenging at times but so good both in the rep that we did, the way a company could tour in those years and absolutely in the community we formed. That is what I miss the most. The dressing rooms, the hotel bar after a show, the open minded, love you no matter what, kind of people dancers are. I have good memories of what I did on stage but the best ones are backstage.

9. You have also choreographed. Can you talk a bit about that process?

I choreographed a few pieces, had some good ideas but it’s not where my strength is. I much prefer being a guide.

10. What is next for you?

I’m 58. At this point I just hope to be able to continue to help young dancers navigate their way into and through this difficult and glorious business.

BIO: CLAIRE BATAILLE was a leading dancer with Hubbard Street Dance Chicago (HSDC) from 1977-1992 performing works created by Lou Conte, Twyla Tharp, Lynne Taylor-Corbett, Daniel Ezralow, John McFall and Margo Sappington. She received the Ruth Page Award for Outstanding Dancer in 1992. Between the years of 1977 and 2001 Claire also served the company as assistant artistic director, ballet mistress and rehearsal director. As a resident choreographer she created 5 works for HSDC between 1978 and 1985. Claire toured internationally with HSDC and has performed and taught throughout the US, Canada, South America and Europe.

As a choreographer, Claire has created works for HSDC, Spectrum Dance Theater in Seattle, Akasha Dance Company in Chicago, Dancers in Company in Iowa, Point Park Dance Ensemble in Pittsburgh and the Tennessee Children’s Dance Ensemble. In 1993 Claire conceived, choreographed and directed “Lifetimes” for the WTTW (Chicago’s Public Television) production of “Love in 4 Acts” featuring 4 Chicago choreographers. She has restaged Lou Conte’s works for many companies including HSDC, Dublin City Ballet, Spectrum Dance Theater, Point Park, Western Michigan University, Civic Ballet of Chicago and the University of Georgia.

Claire began teaching at the Lou Conte Dance Studio in 1975 and has been teaching dance in Chicago ever since. She has been on the faculty of The Chicago Academy for the Arts, Gus Giordano Dance Center, Columbia College, Melissa Thodos and Dancers, Cirqua/Rivera Dance Theatre, The Ruth Page Foundation and HSDC. Currently she is on the faculty of the Lou Conte Dance Studio and River North Chicago Dance Co. and is a guest teacher for several Chicago companies. In 2003 she earned her certification in the Pilates Method in New York with Romana’s Pilates. In Sept. 2005, she was appointed associate director of the Lou Conte Dance Studio at the Hubbard St. Dance Center. In Sept. 2008 she was promoted to director.

The best job of all is being mom to her 2 sons, Isaac and Jack.

Disclosure – Affiliate & Ad Info

Copyright Notice