dancer

A Dancer’s Reflections: COVID-19, Social Media and Art

June 23, 2020 by 4dancers

by Luis Gonzalez

Luis Gonzalez dancing — Luis Gonzales. Photo by Luis Coronas.

It’s hard to put into words how it feels to be an artist during this time. There is so much that we are undergoing that no one was prepared for. Globally people are dying, economies are on the verge of collapse, theatres are closed, ballet companies can’t perform or rehearse, dancers all over the world are going unpaid–with no promise of upcoming paychecks. Careers in the arts are decidedly of an uncertain nature, and so in that sense I suppose the lifestyles we’ve led have in some ways provided insight into what it takes to navigate chaos; and maybe sometimes to even thrive in it.

The enterprise of abrupt change bleeding into our lives can feel like a merciless, consistent and destructive threat as it does to many of our livelihoods and mediums for expression right now. Still all one has to do is look around and see where people are finding shelter from the anxiety and where they find the ability to still be exposed to growth from different perspectives. Art, music, dance, movies, and television shows. Stories are being told through many different mediums that make life within our bland confinements have color. If anything, the global pandemic has shown us all the level of resilience that the art within us can provide.

I am no stranger to anxiety, and as I write I know that this is one of the many generous mediums I frequent whenever I find myself in need of the kind of peace that is only rendered through the process making a thing. I’m sitting at my desk with a cup of hot black coffee, looking out on to a rainy Georgia morning–just trying to process the fact the state of the world as it was when I went to bed just a few weeks ago was stripped out from under us. The one we woke up to was sick and uncertain and lonely, and – although some of them tried to convince us otherwise – no mentor, no politician, no figure of authority had any of the answers.

Luis dancing the Jester in Victoria Morgan’s *Cinderella* for Orlando Ballet.
Picture by Michael Cairns

I remember having the feeling for the first time in a long time of not knowing what to do with myself. My season had dropped off at a time when I was probably in the best shape I’ve been in my entire career. I had come off doing a full length classical ballet where I was pushed to dance dynamic virtuoso steps that were outside of my comfort zone as the Jester in Victoria Morgan’s Cinderella, and we were going full speed ahead into the next triple bill which included Jessica Lang’s Lyric Pieces, Robert’s Visions, and Val Caniparoli’s Lambarena. My body, my heart, and my art felt in sync. In my experience, as well as experiences that have been shared with me, no career gives you that feeling all the time, and some don’t have it at all, but when it happens in dance it’s one of the most euphoric states one can experience. In many ways an abrupt drop-off from that can feel like withdrawal.

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On Love, Ballet, And Sleeping Beauty

February 2, 2019 by 4dancers

by Emma Love Suddarth

Emma LOVE? “Yeah I suppose it is a pretty great last name—thanks!” I can’t count the number of exclamations at the uniqueness of that last name. I can’t keep track of the number of love-themed gifts I received from secret santas over the years—not to mention the number of love-related puns I heard from friends, assuming they were the first. I never thought anything of it. It’s just a word after all, right? Saying goodbye to it as a last name five years ago (not to worry, it’s still there—just sandwiched as the middle now) made me think more on the word itself. As irony would have it, the very act of saying goodbye went hand-in-hand with the true weight of the word. It was an act of love.

More often than not, love is thought of through a fairytale-lens. Here at PNB we are currently deep in rehearsals for the iconic classic Sleeping Beauty—wicked fairies, sleeping kingdoms, flying nymphs, and one brave Price Florimund. It is only by true love’s kiss that he is able to defeat the wicked Carabosse and awaken the beautiful princess Aurora. Love is all-conquering. Even where the lovers might not “win”—Giselle, Swan Lake, Romeo and Juliet, to name a few—the love itself transpired effortlessly. According to many iconic movies, books, and songs, love is just a force that we are swept up into. It happens to us, whether or not we are truly aware.

sleeping beauty ballet — Pacific Northwest Ballet company dancers in Ronald Hynd’s The Sleeping Beauty, which PNB is presenting February 1 – 10, 2019. Photo © Angela Sterling.

Yes, love as an initial happening—i.e. “love at first sight”—may come about without direct intent. However, love in a deeper sense, as a continuous, ongoing force, is a decision. It requires participation. Think about anything you’ve ever loved. Pets? It might be hard to love them when they’re chewing up your favorite shoes or shredding your expensive new rug. But you choose to continue to. Ballet—or any other passion? It might be hard on those days when you just want to give up because you can’t execute a single step correctly. But you choose not to. A significant other? It might be hard when he or she makes you more frustrated than ever. But when you love that person in the fullest sense of the word—in a way that requires you as an active member—you continue to.

Along with the decision to continue something, comes the effort to maintain it. Relationships require work; passions require work; love requires work. For love to have moments of effortlessness, effort must be put in. Oxymoron much? One tangible metaphor to illustrate this idea is in ballet itself. As a dancer, think about the most special moments you’ve had on stage. I’ll speak candidly from a personal experience as the Siren in George Balanchine’s Prodigal Son. In one of the more iconic moments, slowly rising from seated atop the head of my coworker Matt—the son—to standing against the front of his shins, my feet not even touching the floor, I felt love; love of the character, love of the story, love of the music, love of ballet. That love felt effortless. However, thinking back on the process, the love wasn’t always natural. There was the constant pain of a golf ball-sized blister encompassing my entire heel. There were the numerous tears from rehearsals that felt like flops. There was the sheer exhaustion from hours and weeks of intense repetition. There was a continuous trail of blood, sweat, and tears that led to that point. When people say, “love is not easy,” I believe this is what they mean. More often than not, some of our most cherished moments experience a similar journey. That’s what makes them worth it. That’s what makes them precious.

Ultimately, we must allow for love. One of my favorite ideas about love comes from a C.S. Lewis quote, and addresses this very thought: “To love at all is to be vulnerable.” While it might seem initially defeating, vulnerability does not have to be a negative. Asking us to be vulnerable means asking us to be open—to be whole-hearted participants. In loving a person, we are opening ourselves up by placing our hearts in their hands, allowing them to play an equal part in the journey of that relationship. In loving a passion, we are opening ourselves up to critique and frustration, because through those can we learn to experience it at a deeper level and find greater appreciation for it. This “vulnerability” lays the foundation for growth, for depth, for richer love.

Watching PNB tackle ten intense studio runs of Sleeping Beauty this week brought many different forms of love to light. None of them were without intention. I watched ballet masters praise tired dancers at the end of the week for a job well done. I saw Auroras push through nerves, pain, even illness. I watched boyfriends and husbands pass snacks to their exhausted fairy-friend-nymph-etc. at every five-minute break. No, love is not easy. But it’s certainly beautiful.

And it’s certainly worth it.

See Pacific Northwest Ballet perform The Sleeping Beauty! Performances run from February 1st to February 10th.

Contributor Emma Love Suddarth is from Wichita, Kansas. She studied with Sharon Rogers and on scholarship at Pacific Northwest Ballet School, and attended summer courses at Central Pennsylvania Youth Ballet, Ballet Academy East, and Pacific Northwest Ballet School. She was first recipient of the Flemming Halby Exchange with the Royal Danish Ballet School and was also a 2004 and 2005 recipient of a Kansas Cultural Trust Grant. She joined Pacific Northwest Ballet as an apprentice in 2008 and was promoted to corps de ballet in 2009.

While at PNB, she has performed featured roles in works by George Balanchine, Peter Boal, David Dawson, Ulysses Dove, William Forsythe, Jiri Kylian, Mark Morris, Margaret Mullin, Crystal Pite, Alexei Ratmansky, Kent Stowell, Susan Stroman, and Price Suddarth. Some of her favorites include the Siren in Balanchine’s The Prodigal Son, Jiri Kylian’s Petit Mort, David Dawson’s A Million Kisses to My Skin, William Forsythe’s New Suite, and Price Suddarth’s Signature.

She is a contributor to Pacific Northwest Ballet’s blog. She is married to fellow PNB dancer Price Suddarth.

Three Training “Jewels” For Dancers

July 11, 2013 by 4dancers

by Emily Kate Long

I was reminded recently of a Zen saying about the three “jewels” of training: great faith, great doubt, and great effort. None of these attributes alone is enough to make an artist—all three must work together in harmony. This month’s post is a look at what happens when the three elements fall out of balance and ways to restore them.

Call it a rut, call it a plateau, call it a crisis—every artist has been in one. It can be as minor as a bad class or as major as utter creative paralysis lasting weeks or more. Whatever the extent, the feelings of being stuck, going backwards, or wandering aimlessly are frustrating. Frustration often begets negative self-talk, and negativity is anything but productive! What’s a dancer to do? Checking in with each of the three jewels is a great place to start when trying to get out of a stuck place.

Every dancer (heck, every person) has strengths and weaknesses. Some dancers love to examine technique but have a hard time opening up onstage. Some are natural performers but find it difficult to pick up or master steps. Yet, an artist needs a well-rounded set of skills, and he or she needs to be able to call on those skills as required. The good news is that we can tap into creativity systematically. We don’t have to be at the mercy of the muse…it just takes a little self-knowledge and self-listening.

Let’s examine the makeup of the three Zen jewels and how each can work in the dancer’s life.

Great Faith [Read more…]

Student Spotlight: Rachel Burn

May 6, 2013 by Ashley David

Today for our student spotlight, please welcome Rachel Burn…

1. Can you tell readers how you became involved with dance?My mother was a dance teacher and so my sister and I grew up going to ballet, acro and jazz when we were little. As a teenager, though, I began to love it for myself and a friend who had previously done a dance degree gently nudged me that way, which I’m always very grateful for!

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

I’m not sure there’s a best thing! Class is simply the most amazing thing/place for a dancer… I prefer it to performing some times! It is a unique and significant experience to be amongst a group of like-minded ‘Body Thinkers’, all sharing the same space, music etc, and whilst sharing that space also being alone to work just for yourself. What other opportunity do we get to pay attention to the very internal state of our bodies? Humans have bodies, not just brains, and a huge majority of the world don’t ever connect themselves to their bodies in an intentional way, I think they don’t really know themselves as a result, to set that time aside daily is the same thing as a faith/spiritual practice. I could go on and on…!

Physically I like the opportunity that class gives to teach your body new things, work hard, get tired, get sweaty, to develop the fullness of your fitness – agility and clarity alongside stamina and strength etc – and that very primitive joy that comes from flailing everything around to loud music! J I don’t understand why more people don’t love that.

In terms of being a freelance professional dancer, my experience has been that class is where you meet your network. Most of my work and projects and the dancers who I am currently working with have come from just meeting people in class and getting chatting. Contemporary dance doesn’t have a simple and clear system put on us to develop ourselves professionally so making your own network is important – it then joins up to other networks, other dancers, other projects…

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

This is a very difficult question… the answer is rather more about my insecurities than about dance itself. I personally at times can find it hard to be working in an industry that many of my peers and family don’t understand. They support it, endlessly in fact, but maybe also think I’m a bit odd or missing the point. But that might just be my paranoia! I don’t mind that I also have to waitress, or that I am usually broke or that a lot of my friends are married with mortgages and children – some people let those things push them out of dance.

4. What advice would you give to other dancers?

I would say to just keep going… there is absolutely not a direct and straight career ladder to climb. If you get a great project for a while and everyone thinks that this is it for you, you’ll always earn money now and travel the world on huge stages, you need to know that that is absolutely not necessarily the truth and a week after that contract ends you might be dancing at a kids party, but THAT’S OK. You need to do what you need to do to keep going. Be wise in your choices and look after yourself physically and spiritually, it really is a tough world to be in and you need to be in a good state to deal with it. Keep doing class.

5. How has dance changed your life?

I took a three-year break from dance and if I hadn’t gone back to it I would be a secondary school teaching assistant in my home town living a comfortable and timetabled life… Gary Clarke was a Butlins Red Coat and Natasha Kahn (Bat for Lashes) was a teacher in a primary school – so I feel in good company – we all need some thinking time, but at some point you have to answer the niggle in you to do what you need to do. My prompt came from watching Matthew Bourne’s Swan Lake for the millionth time one Christmas and thinking ‘What am I doing?? Why aren’t I dancing? I need to re-train’ and it’s been forwards from there. I have less money and less stability than ever before but far more assurance in myself, understanding of and energy for life, and I know that I’m doing the thing that I need to do. I think that’s important.

BIO: Rachel trained at Middlesex University, graduating with a BA Honours in Dance Studies with a particular focus on choreography, followed by completing a year of further training at the Merce Cunningham Studios in New York and performing with the Repertory Understudy Group. She has choreographed for Cloud Dance, Actual Size, Middlesex University students, Switchback Productions and currently a variety of her own projects, including Pullover, Pull Through, Flick, performed at Woking Dance Festival and for the Surrey Dance Collective. She has also worked with H2 Dance, Laila Diallo, Douglas Dunn, Shobana Jeyasingh and Gary Clarke.

Student Spotlight: Jamie Sanderson

February 24, 2013 by Rebecca H. Walker

For our Student Spotlight this week, we are pleased to introduce dancer Jamie Sanderson…

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

I first became involved in dance at the age of 14. I was originally involved in amateur productions every year with my local theatre summer project; I then started to look into dance too. I watched a showcase performance by my previous performing arts school and got goose-bumps – I was amazed at what I was watching. I remember thinking to myself, “I want to do that, I want to dance!” – sparking my involvement.

2. What do you find you like best about dance class?
With dance I find that it is really personal. Every movement you do has its own personality: it’s like saying ‘there’s no two people in the world that are identical’ in any single way, because that is impossible. Dance is for you, dance is about you and dance is you. I think the moment you start to dance you find everything you do becomes more expressive and dynamic, and you open yourself up a lot more. It therefore seems that my life is easier now – in some aspects – because I dance.

3. What’s the hardest part about dance for you?
The hardest part of dance is money, however it is a part of dance itself. I think to be involved in dance you need to understand the reality, and if you don’t, you are making more trouble than you need. You need knowledge of the job sector, what is available, and you need to think wisely.

4. What advice would you give to other dancers?
I would say ‘never give up, never stop, just keep dancing’, because to be dancer, you must never stop being involved in dance, in any aspect.

5. How has dance changed your life?
I believe dancing has changed my life as it has allowed me to understand a lot about myself, and others. It has allowed me to express myself and communicate in ways I haven’t learned intuitively. Dance has become an ever-changing life style for me and will continue to be so for a very long time. There is always something new to learn as it is such a hands-on experience, something that I shall never stop striving to grasp.

Jamie is a third year student at Middlesex University studying Dance Studies. He is currently the co-ordinator for MDXdancers – a company enabling dancers to broaden their range of dance styles outside their study programme. Jamie is also part of the MDX Cheer Dance Squad, winning 1^st and 2^nd place respectively at the British Cheerleading Association Nationals in 2012.

Outside of university, Jamie dances with two companies: avoiDance and Kansaze Dance. With avoiDance he has performed two company works at various festivals, and has taught avoiDance company class for students at Middlesex University. Kansaze Dance has seen Jamie perform showcases, and most recently at Resolution! a platform at The Place in London.

Aside from dance experience Jamie has appeared as an extra in the 2009 British film Angus, Thongs and Perfect Snogging.

Great Faith [Read more…]

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