maria tallchief

Remembering Maria Tallchief

April 12, 2013 by 4dancers

by Catherine L. Tully

Elegant and intense. That is how I’ll always remember her.

I can still recall the first time I ever saw Maria Tallchief in person. I had been dancing at her school, Chicago City Ballet, for a month or so, taking classes with her sister Marjorie and other instructors there. One day I arrived early as usual to get my spot at the barre and warm up. Students filed in one-by-one, taking their places.

I turned around to check the time and saw her sweep into the classroom. You see, she didn’t just walk in–she made an entrance. Dressed in black from head to toe, she had a cape-like wrap on and a few unique pieces of jewelry. She wore her thick hair down and held her chin high–every bit the prima ballerina.

The class was silent which was typical, but there was an electricity in the air. We were about to take a technique class from one of the most famous American ballet dancers of all time. Talk about pressure! I looked around the room and noticed that all eyes were completely focused on her with a sense of anticipation. Even the pianist seemed to be sitting up a little straighter than usual.

As she demonstrated the steps her voice matched her appearance–dramatic and strong. For the next hour and a half, I tried with all my might to memorize each detail she pointed out and every correction she gave. As she touched my hand to adjust it, I was keenly aware that this same hand had also touched Balanchine, Nureyev and countless others. It was hard to wrap your head around.

I was thirteen years old and I had never been more intimidated. Or more thrilled.

Over the next few years I would have the opportunity to learn much more from Ms. Tallchief, but the most valuable thing I ever received from her was garnered simply by watching her move. By studying the way she gestured with her hands and turned her head–just so. It’s something you just can’t capture in words, and it’s something that became part of me as a dancer from that moment forward.

She really made an impression.

To me, Maria Tallchief will always symbolize the grandeur and mystery that people are so fascinated with when it comes to ballerinas. It was difficult to be comfortable in her presence because she didn’t just act like a prima ballerina, she really was one to her very core.

And I am so lucky to have experienced that.

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…Patti Eylar

May 7, 2010 by 4dancers

Today I am just thrilled to introduce a lady who was with Chicago City Ballet Company when I studied there. Her name is Patti Eylar, and I can recall sitting at the side of the studio on the floor, watching her rehearse, and being amazed by her focus, her technique and her beautiful arms…

I have been fortunate to cross paths with many wonderful people in the dance world over the years, and I love having the opportunity to share some of their stories with you here on 4dancers…

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

My mom started me in ballet at age 7 because she always wanted to take ballet herself but her family couldn’t afford it – she was the youngest of 10 siblings. About 10 years ago I reconnected with my first ballet teacher. I found her because she produced a video (Teaching the Most Important Levels in Ballet) and I saw the ad in one of the dance magazines. I was lucky to have such a great start.

2. Where did your dance career take you?

I studied at the ABT school and went to a lot of auditions in NY. I lucked into a job in Chicago (with the Lyric Opera Ballet, which later was the basis for Chicago City Ballet) and have been here ever since. The companies I danced with here went on not-so-glamorous tours – mostly bus tours – but I did get to tour France, Italy and Tunisia, and also the east and west coasts of the good ol’ USA. Even in a small company, I think the opportunity to travel AND dance is wonderful. True, sometimes your dressing room is the band room, but other times you find yourself in the most beautiful theatres.

When I was on scholarship at ABT they used some of us as snowflakes in “Nutcracker” and I got to dance at the Met – I know it was just “snow” and the regular company members were glad not to be in it, but it was quite a thrill for me. (Later, when they came to Chicago on tour I was asked to fill in at the last minute and dance “snow” at the Opera House.) Chicago City Ballet premiered at the Auditorium and I’ll never forget how exciting it was to be onstage for “Rubies” when the curtain went up.

3. What are you doing now in the field?

I’m the co-director of Chicago Ballet Arts, a small school with a big heart and a great faculty! We believe dance is good for everyone, attempt to make it affordable to everyone, and teach the real thing to everyone. I didn’t start CBA, it was founded by Clare Carmichael, but have been a co-director with Leslie Saunders for about 5 years now and am very proud of the school and what we accomplish there. We’re currently preparing for our annual spring concert and benefit (June 12 & 13 J) – I actually choreographed something, which is a first for me. Joffrey dancer and CBA faculty member Calvin Kitten will be our guest artist, along with Jennifer Goodman, a former Joffrey dancer.

I teach the Intermediate class at Lou Conte’s twice a week as well. I love teaching there – it’s a wonderful environment and I meet some fantastic people. I still take class regularly – at Lou Conte’s and CBA mostly. I’m a member of the Board of the Civic Ballet of Chicago (the pre-professional performing company of the Ruth Page Foundation), the Joffrey Women’s Board and the Dance for Life Committee.

4. Can you talk a bit about your involvement with Dance For Life?

I attended Dance For Life many times when it first started but just became a co-chair last year. Everyone involved has been fantastic – Keith Elliott, co-chairs Joe and Kevin, and the whole committee. It’s obviously a great cause, but also a great performance every year and you really couldn’t ask for a better group of volunteers. I love seeing dancers from all the companies join together in the finale.

5. What do you think is the most important thing for a dancer to realize?

Wow, that’s a good question. I’m afraid this is going to come out the wrong way, but I think we have to realize that it’s a privilege to be able to share our art. Dancers provide the talent, of course – there wouldn’t be a company without them – but dancers need others to help present that talent to audiences, and audiences to come to the performances. The companies I danced with, CCB and Ballet Chicago, were often struggling financially so I was grateful to the directors, funders, Board members and audience members who did keep the company going. I was happy to be able to perform the ballets I loved and to have a great city to live in as well.

6. Has your view on dance changed over the years? If so, how?

I don’t think my view has changed much, except I’m more protective of the older dancer now, having been there. I know the young dancers have to have their space and time marches on, but younger dancers will be older dancers soon! It was frustrating to me to be finally feeling like I knew what I was doing and then to be replaced. I know there are practical considerations, so maybe my frustration is more with the way these things are generally handled.

7. Can you offer any tips for those who want to dance professionally?

I fully realize that it’s harder to get a job today than when I was 19, but even then it wasn’t easy. I was a few months away from going back to college when I landed my job with Maria Tallchief at the Lyric Opera Ballet, and then I ended up dancing professionally for 18 years. Perseverance is important, of course, but also realizing if you’re on the right track or not. I see some aspiring dancers who don’t seem aware of their weaknesses, so are doing nothing to improve them, and seem to have no sense of urgency! Look at the dancers in the company you aspire to – can you see yourself dancing with them? If not, why not? Is it something you can change, or do you need to look elsewhere? The internet is a big help in that regard – you can research the companies and discover where they get their dancers, height requirements, etc.

8. Would you share a favorite moment from your dance career with readers?

I had a lot of favorite moments, because overall, I loved being a dancer. There were certainly sad, frustrating and depressing moments – disappointments in casting, performance opportunities, abilities, etc. But I loved going to work every day – how great to have a job doing what you love that also keeps you in shape. I only had one injury, a stress fracture, that kept me out of class for a few weeks, but other than that I never missed a day. I loved learning Balanchine ballets, which I didn’t grow up with, but are just indescribably wonderful to dance – even for corps members, as I usually was.

I know most dancers get tired of dancing “Nutcracker”, but I just really enjoyed performing it. Most of the time our regular seasons were short, but we did enough “Nutcracker” performances to really get comfortable in a part, and I loved my roles so it was just a great experience all around. Taking class from and being directed by Larry Long was part of it – I had been taking class from him for over 30 years when he passed away last summer – a tremendous loss for us all. His sense of humor was legendary – every year I looked forward to the time in rehearsal when he would act out the mouse counting the chimes as the clock struck midnight – a priceless rendition….

9. What was it like to work with Maria Tallchief?

Life-changing, no question. I would not have had a career at all without her. Not everyone seemed to be able to work for her – she’s very dramatic! But she had a way of making every little detail VERY important – and guess what? That’s what classical ballet requires. If you saw 100 dancers in a class – who would you watch? The ones who are treating it as an exercise class or the one who is displaying musicality, attention to detail, artistry – even at the barre? I was not a prodigy or virtuoso dancer by any stretch of the imagination, but I actually think that’s more inspiring – you actually can make a career for yourself even if you can’t manage 32 fouettes! But you do have to respond to what your teacher or director is telling you. It took me awhile to accept what Miss Tallchief was teaching – I did not have any SAB training – but I did come to understand what she meant and it helped me immensely as a dancer. It wasn’t easy though, and I do have some good stories….

10. What is next for you in terms of your career?

I’m very happy co-directing CBA and teaching at Conte’s. I love teaching – I always hope I can be helpful.

Michael Jackson: Reflections

October 20, 2009 by 4dancers

This post is a bit different. I watched Michael Jackson dance again today and was struck (as always) by how easy he looked as he moved. The body did what came naturally and it flowed. Every time I see it I am in awe. I went out in search of some of the things that have been written about his dancing and would like to share these links with you here. No matter what you think of the man, Michael Jackson, the dancer, was without peer in his genre. There are precious few people I have seen move like that in my lifetime. Maria Tallchief. Fred Astaire. Suzanne Farrell. A handful at best.

Enjoy this reading. Each of these pieces has something to say or show about the artistry of dance:

The New Yorker – A thought-provoking piece about Jackson’s dance moves.

NY Daily News – An interesting reflection on how Jackson’s dancing impacted today’s dance world.

Dance.com – This shows several clips of Jackson dancing, along with a brief commentary on his life.

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