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10 Questions With…Alexsandra Meijer

November 28, 2011 by 4dancers

Today I’m excited to announce 4dancers new partnership with Ballet San Jose. Much like our relationship with the Joffrey, in the coming months you will see interviews with various dancers from this amazing California ballet company, and today is our first…please welcome Alexsandra Meijer…

Alexsandra Meijer

1. How did you become involved with dance?

I suppose you could say my mother has always loved dancing. Even in her sixties she loves to salsa. So when my parents made us kids participate in all sorts of after school activities of course dancing was among them. My father thought that ballet was an excellent form of discipline, and he hoped that we would learn to move with grace outside the studio. It wasn’t until I discovered ballet’s athleticism, musicality and story telling that I started to understand its beauty.

2. What are you currently doing in the field?
I am dancing as a Principal with Ballet San Jose.

3. Would you share a special moment from your career with readers?

Without a doubt the greatest moments in my career are linked to roles like Swanilda and Odette/Odile, however one of my most cherished moments on stage didn’t involve being the lead in the ballet let alone my face even being seen. It was a little known ballet by the late SFB director Lew Christensen, named Il Destratto. Towards the middle of the ballet the lights suddenly go out and the stage is left completely dark. As Haydn’s music continues, slowly a pair of arms consisting of only an upper torso eerily emerges floating in midair. Some of the audience gasps while others giggle at this unexpected twist. Then shockingly a pair of legs bourrée from the wings on the other side of stage completely void of an upper body. As we perform a sort of “Dueling Banjos” pas de deux assisted magically by our men dressed all in black, as not to be seen, the audience starts to chuckle. Now, I have performed in many comedies in my time on the stage, and as always when the audience starts to crack up I know my timing is right and it brings a lightness to my heart. However what I could never have imagined was the intensity and roar of pure, whole-hearted, gut wrenching, explosive laughter that swept the audience. As I sailed offstage upside down in the splits, I couldn’t contain this infectious laughter. I was truly grinning ear to ear and it was at this moment that I felt that I had caught a glimmer of what comedians like Dave Chappell and Dane Cook must truly experience.

4. What is the best advice you have ever received from a teacher or mentor regarding dance? [Read more…]

Filed Under: 10 Questions With... Tagged With: Alexsandra Meijer, ballerina, ballet san jose, Dennis Nahat, giselle, swan lake, the nutcracker

10 Question With…Marina Surgan

September 26, 2011 by 4dancers

Marina Surgan

Today on 10 Questions With… we talked with Marina Surgan….

1. Can you tell readers a bit about how you got into music?

Getting into music was very easy and natural for me. Everybody in my family played an instrument and to keep the family tradition my mother sent me to a piano teacher when I was seven years old. It was a “must” in my family to have a subscription to Philharmonic concerts, to the Opera, and to Ballet Theatre. When I was nine years old I was accepted to the very famous music school for gifted children named after Professor Stolyarsky in Odessa, and I continued my education in Moscow’s Pedagogical Institute (former USSR) as a Soloist, Concertmaster and Piano Teacher. I was also composing music.

2. How did you get involved with the dance world?

When I was  seven I  thought that the minute I put on some pointe shoes I’d be able to spin and run across the stage as easy as those magical ballerinas. One day I persuaded my mom to buy me a pair of pointe shoes. I couldn’t wait to get home and try them on, but when I put them on the excruciating pain at once destroyed all my dreams of becoming a ballerina. I decided that it was better for me to stick with piano, as it wasn’t that painful.

When we emigrated to Toronto I met a former dancer from the Igor Moiseyev Dance Company who was looking for an accompanist. She asked me if I could play by ear – folk music. This is where I gave thanks to God for the gift of perfect pitch and improvisation. This is how I got involved with the dance world.

3. You have composed music for the Cecchetti Grade Examinations – what was that like?

It was in 1980, Carol Chadwick who was Vice Principal of ballet at Canada’s National Ballet School at that time asked me if I could compose new music for the Cecchetti Grade Examinations. I didn’t know grades music so I told her that I needed a studio with a student and teacher who could demonstrate each exercise for me – so that I could improvise on the spot and everything would be videotaped.

I should proudly say that I did quite a good job and didn’t have to edit any of my compositions. I just had to score all the music that was recorded by videotape and it was subsequently published by the Canadian Branch of the Cecchetti Society in 1983.

4. You have also held workshops for accompanists- what are those like? [Read more…]

Filed Under: 10 Questions With..., Music & Dance Tagged With: ballet accompanist, ballet pianist, Betty Oliphant, canada's national ballet school, Cecchetti Grade Examinations, giselle, la sylphide, Marina Surgan, Moiseyev Dance Company, pianist, swan lake

10 Questions With…Ashley Gilfix

October 26, 2010 by 4dancers

Welcome back to our “10 Questions With…” series where today we are featuring dancer Ashley Gilfix from Ballet Austin…

1. How did you become involved with dance?

My mom put me in ballet when I was 4 years old, and dance has been a part of my life ever since.

Ashley Gilfix, photo by George Brainard

2. What are you currently doing in the field?

I am currently in my 9th season as a company dancer with Ballet Austin.  I have been fortunate to be a part of the creative process of  innovative new works by director, Stephen Mills, and many other choreographers who are making waves in the dance world right now.  At Ballet Austin, we are constantly pushing the envelope, yet keeping the old traditions alive.  Last season, I danced Swan Lake and Coppellia, and also premiered several new contemporary works by Mills, and Dominic Walsh.  I feel so lucky to be a part of a company that performs such a broad repertoire of both classical and contemporary ballets.   

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

One of my most treasured experiences onstage was dancing Don Quixote with partner, Jim Stein in his farewell performance.  It was my first “Kitri” and his last “Basilio”.  I can still remember the electricity in the air that night.  There were so many emotions.  It was such a gift to share his last performance with him in that way, holding his hand while he took his last bow.  3 other colleagues retired that weekend.  It was bittersweet.  That ballet will always be sentimental for me.

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

My teacher always used metaphors to communicate corrections and words of wisdom.  One of the things she often told us was, “You cannot paint with just one color.  You need a palette with all the colors of the rainbow.”  She was telling us that a good dancer needs to be versatile, to not only dance one way all the time, to be open to new ideas, and become good at everything.   

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

Find a good school and teachers who can provide well-rounded pre-professional training in classical ballet and modern dance.  Sadly, many aspiring dancers find out too late that their training has not prepared them for a professional career.  If you are not training 5 or 6 days a week, it is probably not enough.  Also, supplementing your classes with private lessons can help you improve at a faster rate. And, for those who have gotten a late start or are not quite ready to be a professional by the end of high school, attending a university with a solid dance program can be an excellent option.     

 

Photo by Anne Marie Bloodgood

6. What has been your biggest challenge in dance?

My biggest challenge has been working with an imperfect facility.  I was not blessed with 180 degree turn out or much flexibility in my hip sockets and am constantly fighting for higher extensions and to appear more turned out than I actually am.  In dance, it is a constant battle against nature.  I am naturally a slow, fluid mover, so brisk movements and jumping have always felt uncomfortable for me.  I have had to work very hard to become a faster mover, and to be more dynamic and versatile.  I’m always looking for areas where I am weak, so that I can try to become a more balanced dancer.  It is important to me to be able to do everything well, rather than being excellent at just one thing that comes naturally.

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

I love ballet because it is beautiful.  I love the aesthetic and I love music.  I love performing.  It is such a gift to be able to express myself through dance.  It is indescribable.

I also really love the quest for perfection, and constantly being challenged and pushed to the next level.  You can never get bored because there is always that next hurdle ahead.  It is not just the physical challenges, but the emotional and artistic ones too, especially when you are portraying a character and/or communicating a specific idea or message to the audience.  There is hardly a dull moment because there is so much change.  You are constantly rehearsing new ballets, and working with different choreographers.  Even when we repeat old ballets, it is a unique experience.  I’m always learning new things and looking at the world from different perspectives.  It is such an interesting life.

8. Do you have a special routine that you go through before a performance, or is each one different?

There is usually an order in which I do things that I establish for each production.  Depending on the show, I will usually eat a certain way, and do specific cross-training exercises, and do my hair and make-up in a certain order.  If there is difficult partnering, or particular steps in the piece that stress me out, I usually like to rehearse them onstage either right after class, or right before curtain.  I set a routine with my partner and we work on those steps before every performance.  All that said, I am really not superstitious. 

 

Photo by Tony Spielberg

9. Where you do think dance is headed?

I think dance is continuing to move away from tradition.  Many choreographers are re-working the classics or abandoning them altogether, and trying to please a younger audience.  I have seen a lot of dance that is more of a theatrical or “performance-art” type of experience.  Dance has always transported its viewers, but now it is based less on storytelling and more on making impressions.  It is becoming a multidimensional, mixed-media experience that is reflective of the technological era we live in.  Dance is also moving toward a more raw emotional experience, not just capturing classical beauty and perfection, but exposing pain and uncertainty and the beauty that can be found in unconventional places.

10. What is next for you?

I am very excited about graduating from St. Edward’s University in August of 2011!  It has been extremely challenging to split my time between my personal life, dancing, and school.  I look forward to being able to spend more time with my husband, Mike, and focusing more energy on growing as an artist.  I am also interested in volunteering around Austin, and becoming certified in Pilates.

BIO: Ashley Lynn Gilfix is a native of the Chicago area, where she received her formal training from Ms. Sherry Moray.  Ms. Gilfix performed with the Alabama Ballet prior to joining Ballet Austin in 2002.  During her eight seasons with the company, Ashley has had the honor of performing in many world premieres by Stephen Mills, and touring with the company to Italy, Slovenia, The Joyce Theater, and The Kennedy Center, where she was featured in Balanchine’s Episodes in collaboration with The Suzanne Farrell Ballet.  Ms. Gilfix has also danced a variety of roles by such choreographers as Sidra Bell, Thang Dao, Thaddeus Davis, Nicolo Fonte, Gina Patterson, Dwight Rhoden, Amy Seiwart, Twyla Tharp, Michelle Thompson, Septime Webre, and Dominic Walsh, and recently appeared as a guest artist with Dominic Walsh Dance Theatre, and the Califa Arts Collaborative.  Ashley has especially enjoyed dancing the roles of Aurora in Sleeping Beauty, Kitri in Don Quixote, Ophelia in Hamlet, Cinderella, Odette in Swan Lake, and Swanhilda in Coppelia.  Ashley was honored to receive a 2009 Austin Critic’s Table Award for Outstanding Dancer for her performance in Balanchine’s Episodes, Mills’ Hamlet, and Fonte’s Left Unsaid.  Ms. Gilfix is currently pursuing a degree in Dance and The Humanities from St. Edward’s University.

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Filed Under: 10 Questions With..., 4dancers, 4teachers, Editorial, Studios Tagged With: ashley gilfix, Ballet, ballet austin, coppellia, dancer, dominic walsh, don quixote, jim stein, stephen mills, swan lake

Teaching Tip: Keeping Things Fresh In The Adult Ballet Classroom

August 4, 2010 by 4dancers

Teaching TipIf you teach an adult ballet class you are probably already aware of how rewarding it can be. Adult students are typically serious about doing well and try very hard to improve. While this is great–as the instructor, it is up to you to remind them of how much fun dance can be as well. Try to keep things fresh so that your students maintain their enthusiasum and love of dance.

Here are a few ideas you can incorporate into the adult ballet class that can be helpful in that regard:

  • Periodically have a class where each student can pick something that they would like to work on in the centre. It can be helpful to announce this at the beginning of class to give them time to think about what they’d like to do.
  • Mix in some music from the big ballets here and there. Nothing is quite as inspirational as moving across the floor to a piece from Swan Lake or Giselle.
  • Pair them up. Rather than having students do their combinations alone across the floor, have them go in twos. This changes things up a little bit and can help break the ice between people in class–especially if there is someone new.

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Filed Under: 4teachers, Studios, Teaching Tips Tagged With: adult ballet class, giselle, swan lake

A Tribute To Margot Fonteyn

March 14, 2010 by 4dancers

Margot Fonteyn.

I was lucky enough to meet her in person when I was a little girl. I still have a black and white photograph that she gave me at the autograph signing. It was a moment, to be sure.

Each of us will have in-person encounters with different people in the dance world and it will mark us in some way.

Interesting how that works.

She was amazing–a true ballerina in every sense of the word. A juxtaposition of soft and strong, she was unlike anyone else I have ever seen. A unque, musical talent. I have compiled a few resources here for those who would like to read a bit more about this amazing lady…or see her dance; if only through the magic of the Internet.

From Ballet.co, a brief, well-done historical piece.

The Ballerina Gallery, a great collection of photos.

Voice of Dance, a video clip of her in Swan Lake.

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Filed Under: 4dancers, 4teachers, Dance History, Editorial Tagged With: ballerina gallery, ballet.co, margot fonteyn, swan lake, voice of dance

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