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Book Review: “The Ballet Lover’s Companion” by Zoë Anderson

April 11, 2016 by 4dancers

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by Lauren Warnecke

Ballet has been the topic of much debate among dance scholars and writers over the last decade. Authors, critics, and academics have questioned the relevance of an art form with more than 600 years of history, particularly given the fact that much of that history has centered around Euro-centric, imperialist, male dominated subject matter (or Euro-centric, imperialist, male-dominated stereotypes of non-Western themes). Ballet dancers, choreographers, and artistic directors have varying views on how to remain current and inclusive in modern society, with some companies focusing on preserving the classics, others re-imagining or somehow evolving older ballets, and still others trying to push the form into entirely new territory.

Published in 2015, The Ballet Lover’s Companion by Zoë Anderson is a brief dance primer on ballet, with each of its eight chapters dedicated to distinct periods throughout ballet’s long history. In fewer than 350 pages, Anderson sifts through 140 ballets, analyzing their context by examining the social and political eras in which they were created. It’s an exciting (context: exciting for dance nerds like me) update to the slew of western dance history books available in that Anderson actually digs into the late 20th and early 21st century, perhaps replacing Susan Au’s 1988 stalwart on many dance majors’ bookshelves.

The Ballet Lover’s Companion is essentially a less verbose, easier to read, more optimistic version of Jennifer Homans’ Apollo’s Angels; Anderson, a dance critic, is unafraid to infuse the facts with opinion and commentary. For this reader, those are the bits that allowed me to get all the way through the book as a recreational read, but a second, typo-free edition could easily complement a western dance history course given its interesting tidbits of history and thorough treatment of an impressive number of ballets.

That all of those ballets originated from Europe, Russia or the United States is a symptom of ballet’s history, and not necessarily the fault of Zoë Anderson. That only five of the 140 ballets surveyed were created by women (namely Bronislava Nijinska, Agnes de Mille and Twyla Tharp) might be more problematic given the scope of the book into the 2010s, but perhaps again indicative of a systemic problem, and not at all unique to Anderson’s book.

Unlike Au’s Ballet and Modern Dance, or Homans’ Apollo’s Angels, however, The Ballet Lover’s Companion doesn’t appear to identify a clear audience or position itself as a textbook, though it reads like one. One page offers an enlightened discussion on the radicalism of the Ballets Russes and the desire of early 20th century choreographers to abandon classicism for more meaning and authenticity, while the next page gives a definition of the word tendu. Unsure of its audience, The Ballet Lover’s Companion could be for everyone interested in ballet, or no one at all, but my guess is that pre-professional dance students and college dance majors have the most to gain from reading it.


Lauren Warnecke
Lauren Warnecke

Contributor Lauren Warnecke is a freelance dance writer based in Chicago, and regular contributor to SeeChicagoDance.com, Windy City Times, and Chicago Magazine. Lauren is the creator of artintercepts.org, a blog committed to critical discourse about dance and performance, and has written for nationally reputed sites such as Dance Advantage and 4Dancers. An experienced educator, administrator, and producer, Lauren holds degrees in dance (BA) and kinesiology (MS). She is a Certified Personal Trainer (ACSM), and holds specialty certificates in Functional Training (ACE) and Sports Performance and Weightlifting (USAW). Tweet her @artintercepts

Filed Under: 4dancers, Books & Magazines, Reviews Tagged With: apollo's angels, Ballet, Ballet and Modern Dance, dance book review, dance critic, Dance History, Jennifer Homan, lauren Warnecke, Susan Au, The Ballet Lover's Companion, western dance history, Zoe Anderson

One Dance Critic’s View On Choreography And Criticism

February 24, 2014 by 4dancers

by Lauren Warnecke

file2231286029038It’s been awhile since I’ve been here.

When I first started contributing at 4dancers, it was a place where I could process my thoughts from a choreographic standpoint and share my views about dancemaking – as a dancemaker.

Everything was going fine, and then one day people started calling me a dance critic.

In the past year, Chicago has experienced a huge shift amongst the dance writers – a shift of which I was a very fortunate benefactor. The head of state in the world of Chicago dance criticism retired, and everyone sort of just shuffled about and moved up the ranks. The shift in my local community of writers, combined with the impending collapse of print publications, has brought dance bloggers to the forefront. Bloggers are now participating in dance criticism on a pretty significant level.

This is a shift that makes lots of people uncomfortable (journalists and dancers alike). There is an old-school model of arts criticism that requires the critic to be from outside the community in order to remain objective. Bloggers are often working artists themselves, and may, at times, appear to simply be advertising for themselves and their friends. The problem with this way of thinking is: without bloggers, there are only a handful of writers left. The old-school infrastructure is caving in, and can’t support the writers. One-time dance critics have now opted for jobs in PR, marketing, and consulting within the dance community because it’s impossible to make a living as a critic alone. To deny that bloggers don’t carry weight in today’s press is not just narrow-minded – it threatens dance criticism as a whole. In a city such as Chicago with dozens and dozens of dance companies, the odds of getting press from one of the four or so writers left are pretty slim. Enlarge the concept of what a critic is, and you enlarge the possibility for press.

Personally, I never considered myself a dance critic, and it’s a title I’m still not entirely comfortable with. At my core, I’m one of you. I’m part of the community. I just express my voice through a different medium now.

As a dancemaker I used to wonder what the critics were looking for. Artists pour their hearts into everything they do, and expose an enormous amount of vulnerability onstage. For a stranger to come in and, in 500 words, say that you sucked… well… that doesn’t feel good. A bad review might lead to you think you need to change your dance, or change your process, or quit altogether. A bad review makes you not want to enter the theater the next day and do your show again. A bad review feels intensely personal, and what’s worse is that you know it’s not personal to the reviewer. A bad review can (occasionally) affect what other people think, because a dance critic is a trusted source who is supposed to understand dance better than most people.

All of that is true, except the part about you quitting altogether. I know it is, because I’ve been there. I’ve been the subject of some not-so-awesome comments, and know what that feels like. I’ve had to remind myself that this is just the opinion of one person, who isn’t nearly as invested in the work as I am – that there are very few right and wrong answers in dance.

Guess what? I carry those feelings with me every time I sit down to my keyboard. That’s not to say that I think every review should be glowing. Just like dance, a review comes from a place of vulnerability and authenticity. Telling the truth is the hardest part of the job, because I know exactly how hard each choreographer works to develop a piece. But it is pointless to give blanket praise to everything, or to say things I don’t don’t mean or don’t feel because I’m afraid people will be mad or hurt.

Above all else, criticism is about discourse. By its nature, the job exposes the critic to lots and lots (and lots) of dance. While you’ve been working really hard on your own thing, we are out watching everybody else’s thing. So the leg up is not that a critic can kick as high as you can, or make a dance that is better than yours. The cred comes from the fact that we’ve just seen more, and have a broader base of comparison than most people. The longer you do it, the bigger the inventory to draw from. None of this answers the question on the day, which is: what the heck are dance critics looking for?!?

Easily asked, and not as easily answered. I can only speak for myself here, but the next little bit of this manifesto is devoted to telling you, the choreographer, what I look for in a successful dance performance.

In a word: everything.

I consider the dance and the dancers. Are the dancers dancing strongly? Are they in unison when they are supposed to be? Are they pushed outside their comfort zone? Are the better or worse than previous appearances? Is your dance choreographically sound? Does it have a beginning, a middle, and an end? Is there a through-line, or any sort of “letting in” to your audience? Is it new, or innovative, or somehow different from everything else? What sort of adjectives does your dance evoke?

I consider the performance experience. Is this dance appropriate for this venue? Is it a good weekend for this concert? Is your concert worth the ticket price, or the bad parking situation, or the lumpy, uncomfortable chair I’m sitting in? Who is your audience? What does their response appear to be?

I consider collaboration. How are elements of lighting, sound, costume, set, etc. used to enhance (or, in some cases detract from) the performance? Is anything new or different or innovative about these collaborations?

At the end of the day, it comes down to my gut. How do I feel after leaving this performance? Was it awesome? Thought-provoking? Uncomfortable? Memorable? How does this performance stack up to others I’ve seen recently? If I know the choreographer or the company, was this a good effort from them, this time?

Maybe hearing what goes through my head at a dance performance informs your process, and maybe it doesn’t. Your art is your art, and plenty of people have created successful careers while being consistently reviled by the critics. It’s up to you to decide whether or not it really matters.

Love us or hate us, we need each other. We depend on one another, particularly in the live arts, to continue to push, question, and provoke new things from an art form that creates only fleeting moments. After disclosing what I’m looking for from you, the question is: what are you looking for from me?

Lauren Warnecke, MS, Photo by Kelly Rose
Lauren Warnecke, MS, Photo by Kelly Rose

Contributor Lauren Warnecke is a Chicago-based dance writer. She holds degrees in Dance (BA, ’03) and Kinesiology (MS, ’09) and is currently on faculty for the Department of Kinesiology and Nutrition at the University of Illinois-Chicago.

In 2009 Lauren created Art Intercepts, a blog focused on dancer health, education, and editorial criticism. She is a regular contributor to SeeChicagoDance, Windy City Times, and the Huffington Post, with occasional contributions to Dance Advantage, 4dancers, and The L Stop.

Lauren has freelanced as a production/stage manager, curator, choreographer, and grant writer. She is a Certified Personal Trainer (ACSM) and Functional Training Specialist (ACE). She enjoys coffee and vintage apparel, and believes in the Oxford comma. Follow Lauren on Twitter @artintercepts.

Filed Under: Editorial Tagged With: chicago dance, dance bloggers, dance critic, dance criticism, dance writers

Dance Blog Spotlight: Swan Lake Samba Girl

August 17, 2012 by 4dancers

Today I’m excited to introduce Tonya Plank, author of one of the early dance blogs on the web (Swan Lake Samba Girl). I can remember reading it years ago, and it’s every bit as good today as it was then. Say hello to one of the early adopters, and see where her journey has taken her…

Tonya Plank

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

As a child, I took ballet, tap dance, jazz, and acrobatics, concentrating the longest on ballet. But I gave that up once I went to college. I was just too busy. As an adult, I took up ballroom dancing – mainly to alleviate stress from my day job, as a lawyer. I ended up loving it so much, I started competing at the amateur level. That rekindled my childhood passion for ballet, and I started going to a lot of ballet performances in New York, where I lived for many years, before moving to L.A.

2.    When did you begin your blog-and why did you start it?

I started my dance blog in mid-2006. I was competing in ballroom dance competitions and I’d just gone to Blackpool – the mother of all ballroom dancing comps. I started my blog to document my journey as a dancer – really, to capture the trials and tribulations of learning to dance and compete in dance as an adult. Later, I got very busy and ballroom dancing became expensive and I stopped competing so much. But then I started going to the ballet, and to other kinds of concert dance performances in NYC and my blog kind of grew into a blog about watching dance. Soon, I had a loyal following of other dance-goers, other ballet lovers.

3.    What does your blog cover?

My blog now covers mainly ballet and modern dance performances.

I’ve moved to Los Angeles, so I write mainly about what’s going on in dance in Southern California. I also try to write about the TV dance shows as often as I can. I especially like to cover the new ones – like “Breaking Pointe” on CW, and now “A Chance to Dance,” which will premiere on Ovation TV in August. I also try to keep up with the ballroom dancing competitions as much as I can.

4.    What has been the best part about participating in the dance community online? [Read more…]

Filed Under: 4dancers, Dance Blog Spotlight Tagged With: a chance to dance, abt, Ballet, breaking pointe, dance critic, dance critics association, garth fagan dance company, james wolcott, la scala ballet, laura jacobs, marc kirshner, nycb, oberon's grove, operachic, ovation tv, roberto bolle, So You Think You Can Dance, swan lake samba girl, tendutv, tobi tobias, tonya plank, vanity fair

Adult Ballet Student: Steve Ha

March 30, 2012 by 4dancers

As we continue with our focus on Adult Ballet this month, please welcome Steve Ha…

Steve Ha

1.      How did you first get involved with ballet and what attracted you to it as an adult?

I started dancing in my twenties—ancient by dancer standards—as a senior in college, just to pursue new creative outlets. Though various performing arts have played crucial roles throughout my life, dance was the final frontier, and I really just wanted to try it. I started with beginner’s jazz and modern classes and had fun with both, but my teachers often stressed the importance of ballet training so the subsequent quarter I enrolled in ballet. Everything about it made sense because not only did it touch upon my roots as a classically trained musician, it also gave me the opportunity to act and express myself without having to speak (or worse, sing) a single word. Ballet also elicited a strong desire to be disciplined about the practice and an eagerness to learn that I had never experienced as a student before.

2.      How many classes are you currently taking per week?

I try to get in the studio two to three times a week. Although, when I was still attending university I took class almost every day and those were some of the happiest times of my life!

3.      What do you see as your biggest challenge as an adult ballet student? [Read more…]

Filed Under: 4dancers, Adult Ballet Tagged With: adult ballet, adult ballet students, Ballet, dance critic, dancer, seattle dance, seattle dances, Sir Frederick Ashton, turnout, you dance funny

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