dance magazine

Anna Karenina, Happiness, and Dance Career Satisfaction

February 18, 2019 by 4dancers

Anna Karenina. Victoria Jaiani, Alberto Velazquez, and Joffrey ensemble. Photo by Cheryl Mann.

by Luis Eduardo Gonzalez

Anna Karenina premiered this past Wednesday at the Auditorium Theatre. The story was originally written by Leo Tolstoy in 1878, and been adapted into various media including opera, film, television, ballet, figure skating and radio drama. Yuri Possokhov took on the task of doing it for himself and as far as I’m concerned excelled. There is always more excitement as well as stress with a world premiere rather than something that has already been choreographed. There are so many aspects to work out in terms of production and seeing what does and doesn’t work on the stage, but what I have found most interesting is the way that Yuri has been able to simplify one of the most nuanced and complicated novels to fit a ballet setting without losing the essence of the story or the message that I think was originally intended by Tolstoy. The clarity that comes with having to simplify a story as nuanced as Tolstoy’s for the sake of something that works on screen or on a stage is that it makes it easier to draw the parallels and, in a way, draw a more profound correlation between the message of the story and life. The beauty of a masterpiece like Anna Karenina is that someone like Tolstoy spent most of his life writing this to articulate his thoughts and social commentary on the world around him. Having read the book, and seen a few of the movies I think specifically for us as dancers there may be more to learn from this story than initially meets the eye.

[Read more…]

Ballet Dancers: Special, But Expendable….

July 3, 2012 by Kimberly Peterson

by Kimberly Peterson

In the new series “Breaking Pointe”, a documentary style show highlighting the world of professional ballet inside Ballet West from the CW network, there are several brilliant things which happen here: 1) – a no holds barred look at life as a professional dancer, the ups and downs of this on their professional and personal lives, their own development as artists and people; 2) – it brings into sharp relief the nature of the competitive atmosphere of professional ballet and the ramifications of this atmosphere on the work ballet produces.

In the first episode, we are introduced to several of the dancers in differing points in their careers, who are getting ready for their annual contract renewals, or conversely, their pink slips. The Artistic Director, Adam Sklute, in speaking about how he must make difficult decisions for the good of the company, states: “The best recipe for creating a hardworking and well-functioning dancer and artist is if all the dancers know that they are special, but also that they are expendable.” This statement resonated with me and instinctually. I found myself bumping up against it as I watch these people struggle for an unattainable perfection, while knowing and accepting that they will never truly find it, never really have security or rest. There is only the constant pursuit of perfection.

While this may be the way in which ballet chooses to conduct itself, the manner in which they operate their business, I seriously doubt the efficacy of this kind of an environment not only on the people who work there, but also the work that is eventually produced. [Read more…]

Utterly Memorable: Approaching Ecstasy

June 2, 2012 by 4dancers

by Gigi Berardi

Bamberg Fine Art 1 — Bamberg Fine Art, Dancers: Chalnessa Eames and Andrew Bartee

In May, Seattle experienced a major dance event with 53 performers on stage and Olivier Wevers producing his best work ever – Whim W’him’s Approaching Ecstasy. The 86-minutes of music was composed by Eric Banks in a Paris attic, and the poems sung a capella (again, for 86 minutes, in English and in Greek) by his 40+ member Esoterics, some of whom danced on stage as well. Banks wrote the music to 18 sensuous poems by the 19th century Greek poet Constantine Cavafy (the audience is treated to just 18 of the hundreds of superb poems Cavafy wrote). It took the composer, choreographer, and other members of the production team four years to get all those artists on stage – well worth the wait for such a memorable performance.

The astounding concert featured the haunting music of Banks and vocal performance by his Esoterics, Seattle masters of contemporary a cappella. The choral setting that Banks provided for Cavafy’s erotic poems was, quite literally, a masterpiece – 18 vignettes, with Wevers’ 18 pieces of choreography – a rightful homage to the closeted gay poet. Every detail of the performance paid tribute to this 19th century quiet man-hero, who lived his life in an office, in a business suit (similar to the one the 53 performers wear on stage). The eerie scenic design, the underplayed overhead lighting, the gut wrenching music expertly played by the St Helens String Quartet (led by the magnificent Michael Jinsoo Lim) – all were utterly remarkable. At the premiere, the music and chorus were beautifully amped and the dance was understated, striking.

Bamberg Fine Art 2 — Bamberg Fine Art, Dancers: Lucien Postlewaite and Andrew Barte

Wonder how this will play in Europe.

For dancer Lucien Postlewaite, this was his last performance for Whim W’him (and husband Olivier Wevers) as a Seattleite (he joins Les Ballets de Monte Carlo in August). Their professional and love relationship is so strong, it is clear it will thrive, even as a multicontinental one (see my articles in February and July (forthcoming) issues of Dance Magazine. For now, Wevers focuses on his major upcoming gig at the Joyce, and commissions worldwide – while young Lucien is Europe-bound.

For more on Whim W’him’s niche in the world of Seattle dance, see http://www.dancemagazine.com/reviews/January-2011/Whim-WHim and http://www.dancemagazine.com/issues/January-2011/Seattle-Takes-Off).

Gigi Berardi holds a MA in dance from UCLA. Her academic background and performing experience allow her to combine her interests in the natural and social sciences with her passion for dance, as both critic and writer. Over 150 articles and reviews by Ms. Berardi have appeared in Dance Magazine, Dance International, the Los Angeles Times, the Anchorage Daily News, The Olympian, The Bellingham Herald, and scientific journals such as BioScience, Human Organization, and Ethics, Place, and Environment. Her total work numbers over 400 print and media pieces. Her public radio features (for KSKA, Anchorage) have been recognized by the Society of Professional Journalists. She has served on the Board of Directors of the Dance Critics Association, and is a member of the American Society of Journalists and Authors, as well as Book Review editor for The Journal of Dance Medicine & Science. A professor at Western Washington University, she received the university’s Diversity Achievement Award in 2004. Her fifth book, Finding Balance: Fitness and Training for a Lifetime in Dance, is in its second printing. Her current book project is titled A Cultivated Life.

Email: Gigi.Berardi@wwu.ed<mailto:Gigi.Berardi@wwu.edu>u

Website: http://myweb.facstaff.wwu.edu/~gberardi and http://www.gigiberardi.com/

Blogs: http://blog.gigiberardi.com/ and http://resilientfarmsnourishingfoods.blogspot.com/

10 Questions With…Kristie Kahns

May 21, 2012 by Ashley David

Today on 10 Questions With… we have dance photographer Kristie Kahns…

1. What is your dance background?

I grew up in Grand Rapids MI, and began dancing at age 6. I studied ballet, jazz, and tap, and participated in my studio’s competition teams. But I began to love ballet the most, so I also studied at the School of Grand Rapids Ballet for about 5 years, before moving to Chicago.

I moved to Chicago to attend Columbia College, with an intention to major in photography and possibly dance as well. I did take some dance classes at Columbia, but photography consumed my schedule. Living in Chicago, I was exposed to hip hop culture, and became infatuated. I began to take hip hop classes at Lou Conte Dance Studio, and hung around with a lot of b-boys, even apprenticed with Culture Shock Chicago. Learning about the history of breakdancing led me to capoeira, and eventually I became a member of Gingarte Capoeira Chicago, with whom I trained for 7 years. Currently, though, I have devoted myself to my Ashtanga yoga practice, and am training for my teacher certification at Moksha Yoga. So I have a lot of body movement experience and knowledge.

2. How did you get started in dance photography?

During my first couple years at Columbia, I definitely missed dancing everyday and wanted to stay connected to dancers. My first studio lighting class was taught by Bill Frederking (a notable Chicago dance photographer), and I became inspired by his work to photograph dancers in a studio setting. I really couldn’t imagine photographing anything else, so I reached out to dancers that I would meet and began collaborating. My passion for dance and knowledge of technique came through in the photos, so I focused on that throughout my time at Columbia. After I graduated, I began to photograph for some Chicago dance companies that were new on the scene at the time – Instruments of Movement, Luna Negra Dance Theater, and Chicago Tap Theatre. And just kept going with it.

3. What do you think is the biggest challenge in dance photography?

This is a good question. Dance photography is a bit of a paradox: dance is the movement of bodies through space, and photography is a fraction of a moment, producing a frozen and forever still image. The challenge for the photographer then is to make a still image that appears to move, or seem as though it is about to move. That challenge can actually become a means of making a stylistic choice. How do I want to depict the movement or the dancer? Do I want to show the blur of motion or crisply freeze the movement? How can I show the impetus of the movement? I’ve experimented with many different ways of shooting, but I particularly like the work I’ve done which combines strobe lighting and long shutter speeds, which portrays a crisp moment of a movement with the blur of motion in or out of the movement too. But the style that was made so popular by Lois Greenfield, freezing moving bodies in mid-air or in the midst of a dramatic movement, is fun to play with too. Ultimately, the photographer needs to have a great sense of timing and intuition into the movement, because timing is everything when you’re shooting bodies in motion.

4. What has been the most exciting moment for you in your dance photography career thus far?

A few highlights come to mind. My first cover for Dance Magazine was a big deal for me – I photographed Meredith Dincolo and Kellie Epperheimer of HSDC for DM’s Body Issue, July 2008. Since I grew up admiring the photos in Dance Magazine, it was amazing to photograph the cover and feature article. Another great experience was photographing for Cirque du Soleil’s Banana Shpeel show, which did its preview run here at the Chicago Theater in late 2009. The show had a lot of dancing and acrobatic acts, and the lighting and costumes made for a lot of great performance shots. Those performers were incredible!

5. Can you describe what you do to get ready to shoot a dance performance?

If possible, I like to watch the choreography first so I can see the movement and staging of the dancers. Sometimes I can do this at a tech rehearsal, other times in the studio. This helps me know if there may be a better side of the stage to be on when shooting. It does help to see the dance and the lighting first, and I discuss details with the director about choreography and positioning myself in the theater. But I’ve done plenty of performance shooting without ever seeing the dance beforehand.

6. Where do you set up to photograph live dance?

It depends on the situation. Sometimes, I’m able to photograph a full dress rehearsal, which is obviously preferable – no audience to disturb and I can move around in the house and get close to the stage to get the best angle. If shooting during an actual performance, it’s tricky. I need to be close to the stage but usually off to the side, away from the audience as much as possible so I won’t disturb their experience. Every theater is different, so I just have to find the best spot where I won’t be a distraction from the performance.

7. Is there a particular dancer or company that you would love to photograph? If so, who, and why?

So many! I would love to photograph Misty Copeland and Drew Jacoby, both very hot in the dance world right now. Both of them are gorgeous and have incredible technique and very athletic bodies. I actually did get a chance to shoot Drew Jacoby when she performed with Complexions at the Chicago Dancing Festival many years ago – she is simply stunning! I’d also love to photograph Maria Kowroski one day. She is a principal with NYCB, and she is from Grand Rapids as well. I saw her perform with Grand Rapids Ballet for many years before she moved to NYC, and she was quite an inspiration to myself and many young dancers at the School of Grand Rapids Ballet. Neguin, a b-boy from Brazil and winner of the Red Bull BC One in 2010, is also on the top of my list of favorite dancers. His style and talent make him so much more than a b-boy, he’s truly amazing to watch.

As far as a company, I would love to photograph Nederlands Dans Theater, because they are simply the most amazing dance company I’ve ever seen. I’d also love to work with Antics Performance, a fantastic hip hop company based in Los Angeles.

8. What camera/lenses do you shoot with for this type of photography?

My digital camera is a Canon 5D Mark II, and I have a variety of lenses I use depending on the situation. For performances, I use a long lens – I have an 80-200mm f2.8 which I like for performances. For personal projects, I still love to shoot medium format film with my Hasselblad. I don’t get to use it very often anymore, but there’s nothing like that camera! The optics are fantastic and I love the square format.

9. What was the most challenging assignment you ever had?

A recent instance that comes to mind is when I photographed the Yoga Journal Conference last summer. I documented some of the classes and activities at the conference, which were held in very poorly lit and pretty unattractive hotel ballrooms and conference rooms. It was a challenge to make good images in an environment like that.

Basically, any scenario on location or on stage where there is poor lighting is a challenge.

10. What is next for you?

I’m focusing on building my portfolio of yoga photography right now. Currently, I am working on a book project with one of my yoga teachers, the beautiful and amazing Alexia Bauer. We’re collaborating to make a photography book of the Primary Series postures of Ashtanga yoga. I’m really excited about it. I’m going to make a Kickstarter fund to promote and sell advance copies of it. I’m also planning some shoots with dancers for personal projects that I’ll work on over the summer. Other than that, I’d really like to do some traveling soon, it’s been awhile since I spent time outside of Chicago!

Bio: Kristie Kahns is an accomplished photographer based in Chicago, specializing in capturing dance and creating dance-inspired portraits. Growing up in Grand Rapids, MI, Kristie was an avid young dancer, participating in many competitive dance companies and studying at the School of Grand Rapids Ballet. But a photography course in high school sparked her interest, and in 1998, she moved to Chicago to attend Columbia College, where she received a Bachelors degree in Photography. Remaining close to her original passion, collaborating with dancers seemed inevitable; thus, she has spent the past several years becoming a part of the Chicago dance community through her camera. She has worked as a freelance photographer for Cirque du Soleil, Diavolo Dance Theater, Dance/USA, Luna Negra Dance Theater, Chicago Tap Theatre, River North Chicago Dance Company, Chicago Human Rhythm Project, and many other dance organizations in Chicago. Her work has been published in Dance Magazine, Dance Spirit Magazine, Dance Teacher Magazine, Pointe Magazine, Time Out Chicago, and has been used for various marketing materials for dance performances and performing arts organizations nationwide.

She was a recipient of a Community Arts Assistance Program Grant through the City of Chicago Department of Cultural Affairs in 2007 and 2009, and received an Illinois Arts Council Professional Development Grant in 2010.

She enjoys continuing to explore the many manifestations of the dance medium in our world, from capoeira in Brazil, to the traditional dances at Native American powwows in New Mexico, to b-boy battles in Chicago. Through her camera, she pushes for new ways to express her admiration for movement artists of all kinds, and continues to allow her passion for photography and movement to evolve.

All photos courtesy of Kristie Kahns

10 Questions With…Avichai Scher

August 5, 2010 by 4dancers

Today’s “10 Questions With…” features Avichai Scher…dancer and choreographer…

1. Can you tell me about how you came to be a choreographer?

I was always choreographing and making little dances in my living room. At age 16 I got my first chance to make a short piece for the SAB choreography workshop, and I was hooked, I knew I had to continue.

Avichai Scher, Photo by by Matthew Murphy

2. Would you comment on the process? How do you come up with the movements you create?

I am inspired by music and dancers. So, I’ll be grabbed by a piece of music and then a specific dancer will appear in my head and I’ll imagine how that dancer would move to the music. When I get in to the studio, I have an outline of the piece, but the movements tend to come to me on the spot and I develop it with who’s in front of me, hopefully that same dancer I originally imagined.

3. What are some of your “career highlights” thus far?

A big highlight was working with ABT Studio Company when I was 18. That was a major learning experience and a big honor for me at a young age. Recently, working with Marcelo Gomes for the debut season of my company was a dream come true.

4. You still dance as well as choreograph. How is the feeling different when you perform someone else’s work?

Dancing in works by other choreographers is a great learning experience for my own choreography. I get to physicalize and internalize different points of view and (good or bad) they filter into my own work.

5. When you were chosen by DANCE Magazine as on of the “Top 25 To Watch” in choreography—what was your reaction?

I was shocked and ecstatic, to put it mildly. I had felt like I would be a good candidate for that, choreographing at such a young age, but didn’t actually think it would actually happen anytime soon.

6. What are some of the things that inform and inspire your work?

I go to see A LOT of dance. I take full advantage of what there is to see in NYC. It always surprises me what sticks in my head, sometimes I hated a whole show but there was one gesture that stayed with me forever.

7. What other choreographers do you especially admire and why?

Of course Balanchine and Robbins are my biggest influences as I grew up at SAB, I’ve seen basically all of their works several times. For new works, I’ve been inspired lately by Alexei Ratmansky’s large scale classicism and Anabelle Lopez Ochoa’s dance-theater style.

8. Is there a piece of music that you just find completely compelling?

I like many different types of music so it’s hard to choose just one piece. Right now I’m hooked on the music of Elena Kats-Chernin, a contemporary composer who’s music I hope to use soon.

Avichai Scher, Photo by Matthew Murphy

9. Do you have any advice for up-and-coming choreographers?

My advice to an up and coming choreographer is to be pro-active about your career. You have to find and create opportunities all the time and you have to be your own biggest fan to keep the motivation.

10. What is next for you?

My company is performing at Jacob’s Pillow July 23, I’m creating a new work for Ballet West and Ballet West II, and another Avi Scher & Dancers NYC season is in the works.

Bio: Avichai Scher, 26, was born in NYC and raised in Israel. He returned to New York to study on scholarship at the School of American Ballet for eight years. There he had the opportunity to perform Fritz and the Nutcracker Prince with New York City Ballet in The Nutcracker for four seasons. A desire to work with many different companies and choreographers took him on a journey, dancing with ten different companies in six years: Sacramento Ballet, Washington Ballet, Ballet San Jose, Joffrey Ballet, Los Angeles Ballet, Tulsa Ballet, European Ballet, Ballet British Columbia, Carolina Ballet and Ballet X. Some standout roles have included: Puck in Ashton’s The Dream, working with Sir Anthony Dowell, “Red-Man” in Elemental Brubeck, choreographed and staged by Lar Lubovitch, Mark Morris’s A Garden, Michael Smuin’s Shinju, Matthew Neenan’s Steelworks, and Tharp’s Nine Sinatra Songs. Scher always had the desire to be a choreographer and his first professional commissions came at age 18, creating Jouons for American Ballet Theater Studio Company and The Perilous Night for Miami City Ballet. Since then his work has works at: Miami City Ballet School and San Francisco Ballet School’s annual showcases, Usdan Center for the Arts, Washington Ballet Studio Company, Harvard University, Festival Ballet Providence, Manhattan Youth Ballet, West Wave Dance Festival, Ballet Builders, Sacramento Ballet, and Shut Up & Dance: Dancers of Pennsylvania Ballet. Dance Magazine recognized his choreography by naming him one of the “Top 25 To Watch,” and he is the recipient of the Strassler excellence Award from Jacob’s Pillow Dance Festival. In 2009 his company Avi Scher & Dancers debuted at Jacob’s Pillow Dance Festival, and danced its first NYC season at the Alvin Ailey Citigroup Theater in April 2010. He has created 6 works for the company and the performances have included several guest principal dancers from New York City Ballet, American Ballet Theater and Boston Ballet.

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