“King of all Nutcrackers”?
I’m running errands about town and happened to chance upon this.
According to its inscription:
“This Nutcracker is believed to be the King of all Nutcrackers. Found in Saragosa during the 17th century, it is the oldest Nutcracker ever discovered.”
(Marquis Lorenzo Leonard)
So functional, non?
San Francisco Open Your Golden Gate
During my most recent move I felt it was necessary to step back from things for a little while, which is why you haven’t heard from me in a very long time. I’ve always enjoyed writing, not only to connect to the audience and other dancers but also for myself; I’m finally ready to start that again.
Life has brought me back to San Francisco and I am currently corps de ballet with the San Francisco Ballet. My year in Hamburg was an incredible adventure and I learned more about ballet, life, and myself than I ever could have imagined. John Neumeier gave me a gift and I will never be able to thank him enough for that. I have many reasons for coming back to San Francisco and I feel very fortunate to have the opportunity to continue my career with San Francisco Ballet. Hamburg Ballet is one of the most beautiful companies I have ever seen, and I feel so blessed for the year I had with them. I hope to work with John again soon.
[Enter stage left]
Stage Door to Yale's University Theatre.
Well, not quite. After a full year of working behind the scenes and being tucked away from the world in a corner full of theories, case studies, histories, visions, ideas and concepts, however, I am definitely feeling somewhat … exposed.
As a second-year management student at YSD, I was presented with the opportunity to spend a term away from the School and at a professional setting (determined by the faculty). The motivation behind this–the Arts Management Fellowship–is that, in the performing arts, theoretical knowledge alone cannot, and does not, suffice; it must be applied and practised upon before it can be of use.
Michael Kaiser expressed a similar thought in his most recent article, published Tuesday in The Huffington Post:
Arts management is a young field. While wonderful impresarios have operated for centuries, serious codification of the rules of arts management began less than fifty years ago. And while we have a number of academic programs offered by universities across the nation, there are simply not enough of them, and several are too academic in their approach. Arts management, after all, is a practical field, like medicine, and must be taught through real-time, real world experiences.
And, thus do I find myself back on the Pacific Coast, this time in Seattle, Washington.
View of the Seattle Center and the Space Needle from the apartment.
I’ve just completed the first week of my Fellowship at Seattle Repertory Theatre, where I will be working closely under the guidance and mentorship of the managing director (a theatre’s counterpart to a dance company’s executive director). I’m very much looking forward to learning how Seattle Rep manoeuvres around the challenges presented by the economic downturn as well as to studying how the Theatre uses the attributes unique to itself to further its defining vision. It’s only been four days, but I am already impressed by the consistent deference made to the art. (In many, though not all, of my past situations, I sadly witnessed the opposite–the art was compromised before all else.)
Of course, the other wonderful thing about being in Seattle for Fellowship is that I am wonderfully close to PNB, which is located on the same block as the Theatre. I’m looking forward to progressing my recuperation from inside the studio as well as enjoying firsthand what promises to be a great season for PNB.
It was raining when I arrived in Seattle last weekend. (Surprise!) As I drove in from the airport, this rather large building housing a business called 1-800-WATER-DAMAGE did not go unnoticed.
Otis Houston Jr Has A Posse
Otis Houston Jr aka Black Cherokee has a posse and we are assembling. People are in play, talking to each other and working together. Case in point, member Chelsea Spengemann is curating FLOAT, the biennial series of performance and temporary sculpture at Socrates Sculpture Park, August 29 – 30, in Long Island City. For this show, Otis is crossing the river to install sculpture and manifest his concentrated human presence.
This social assembly requires consideration by promoters of online dance communications. It is another great example of how networking technologies can connect artists, viewers, producers and critics. The use of mobile video blogging (iphone 3gs) is new however there is something novel going on here beyond a mere technological advance, that is the treatment of the artist as the subject itself. Through the collective presentation and documentation of Otis’ life and work we build a group narrative around what we see in the artist, not only what he does but who he is.
The talk on Great Dance and DTW misses something else too. The grand narrative that surrounds the production and performance of “great dance” should not one of marketing or branding. Using the language of business is not the best way to conceive and develop relationships between artist and audience. A broader, more effective, grand narrative is that of social interactions rather than financial interactions.
The language of business is limited because it cannot properly conceive of itself. Otis’ support will never come from a bank or a tobacco company because he is their critic . Otis’ support comes from the people and the power they manifest developing social credit outside the logic of the marketplace.
Otis Houston Jr has a posse and we are assembling a story together.
Nutmeg Conservatory at Jacob’s Pillow
The current students and a few alumni of The Nutmeg Conservatory performed on the ever-inspiring Inside/Out stage at Jacobs Pillow Wednesday evening in celebration of Nutmeg’s 40th Anniversary. As a 1998 graduate of Nutmeg, I was honored to be asked to take part in the performance.
Lynn and I have been teaching modern dance at Nutmeg this summer, and we have had SUCH a pleasure teaching these students. They have opened up and grown so much in a matter of weeks.
As a Nutmeg graduate, the pride and respect I have for the institution that trained me is, in a word, immeasurable. The faculty, directors, and staff at Nutmeg cultivated, in me, a crazy modern dancer in the midst of a regimented Vaganova syllabus, and fierce focus on pedagogy. Somehow, they allowed me the freedom to explore while maintaining every inch of the discipline and attention to detail that was demanded of us as students.
Today a new crop of Nutmeg dancers is blossoming, and I believe the institution itself is blossoming as well. In the ways that the world we now live in needs it to. It is an instutution that has earned respect through detailed and careful teaching, communicative and educated staff, and the generous and honest spirit of cultivating the love of the art of dance performance in its students, parents, audiences and general public.
Perhaps it is this honest, earnest, spirit of the joy and legacy of dance, and the desire to share it so richly, that made the connection between Jacobs Pillow and Nutmeg feel so genuine.
Whatever it was, it was felt all around. The staff at Jacob’s Pillow (Ella Baff, Executive Director, and Ginger Menard, Program Manager and the rest of the wonderful staff) warmly welcomed us all.
As anyone who has ever been there can attest to, the magic and inspiration of the Pillow, and the distinct place it holds in the history of dance, hits you immediately. The Ted Shawn Theater, The Ruth St. Denis Studio.. These are more than room names, these are the pioneers of my craft, and to be in that space, in those hills among that legacy, is a feeling I cannot describe. I wondered on the way there if these students from Nutmeg that we had taught all summer would know, would REALIZE, the opportunity that they were being given. To dance at JACOB’S PILLOW in the wide open, with the breeze on their back just feeling the history of all that is around them.
I know they felt it. Something was alive and real inside of them tonight. That light behind their eyes was there. Whether or not they fully understand it now is insigficant.. What matters is that their bodies experienced it and their hearts felt joy.
They danced.
They danced with sun in their eyes and leaves on the stage. With all the beautiful mysteries of an imperfect stage and unpredictable forces of nature. And they were beautiful. More beautiful than I have ever seen them.
Along with the students that performed, I also shared the stage with my fellow Nutmeg Graduates Emily Patterson (Joffrey) and Andrea Spiridonakos (Miami City Ballet). Both have recently left their long tenure with the aforementioned companies, but are sure to find success in their next ventures.
Emily performed a duet alongside dance partner and husband, Thomas Nicholas (Joffrey), a duet choregraphed by current Joffrey dancer, Michael Smith.
They looked phenomenol and Andrea was characteristically exquisite in her variation.
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Lynn and I had a blast dancing our duet “Interlude” in the open air, and felt joy coming at us and beaming from us all evening long.
The staff of Nutmeg is doing a superb job of continuing the traditions that I believe have helped shape the very unique training program it has become. It’s founding Artistic Director, Sharon Dante, carved her dream of a world class school with her bare hands. She has worked her entire life, tooth and nail, to build Nutmeg into what it has become and is no doubt no becoming. The work she has done cannot be measured. To see her stand in the back and just soak in the performance brought me unspeakable joy. Eleanor D’Antuono (Ballet Russe, Joffrey, ABT) returns to Nutmeg year after year because she sees the promise and the “shiny new pennies” that Nutmeg is developing.
Me and Eleanor
Victoria Mazzaerlli (Basel, Frankfurt and Zurich Ballet) graduated Nutmeg, danced professionally in some of the most revered companies in the world and is now back at Nutmeg sharing her talent and impeccable wisdom and grace with these students. Joan Kunsch who continues to demand the focus and attention to detail necessary while respected the individual artists being developed within each of the students. Susan Szabo who guided the kids at that school from the moment they walk through the door with a gentle, clear push and an exuberant attitude. Tim Melady (Miami City Ballet, Ballet Du Nord, Momix) is bringing new and fresh inspiration to the whole program. Ron Alexander, who is now the Principal of Nutmeg, brings his experience from so many professional dance angles (National Ballet of Canada, Frankfurt Ballet, Hamburg Ballet, etc etc) and very seamlessly weaves it into his sharp administrator skills to create a school that is active, engaged and growing.
It was a beautiful day at the Pillow.
Thank You Jacob’s Pillow, and
Thank you Nutmeg.
A Glimpse of My Year
I can hardly believe it… it’s been a whole year, and then some! As you can see, in my previous posts, it’s been so hard to keep you tuned in with all the changes in my life. I don’t think I will ever be able to catch you all up with everything that has happened in the past year, but hopefully giving you a glimpse will suffice.
The first tour for les Ballets de Monte-Carlo was to Ljubliana, Slovenia with Jean-Christophe’s, La Belle (Sleeping Beauty). When I think back on the tour, I felt like I was going to the first day of school after summer vacation. EVERY situation was new. New people, new places, new ballets, new teachers, new system, and a new way of working – everything was new, new, new!!! The change was scary and exhilarating all at once! The only comfort was knowing that others were going through the same thing with me. With every tour and new experience after the first, came the realization that change was inevitable, and it WAS the thing that sparked my move to BMC in the first place. I, of course, made comparisons from my past life to my new one, but eventually came to the understanding that in a change, nothing is better or worse – it’s just different. And that thought alone has opened up my life!
I guess if I were to talk about an initial hardship, it would be the language barrier. Simple everyday tasks like going to the grocery store or bank turned into a guessing game. I found myself (and still find myself at times) freezing up, and then asking, Parlez-vous anglais? Thankfully, a lot of people in the south of France and Monaco are english speaking, but in the long run it will not help me learn the language faster. I guess in the course of a year I can say that I understand French pretty well, but I don’t speak it - and this will take years!
In terms of company life, things are amazing! Les Ballets de Monte-Carlo is remarkable. The work, the creativity, the people, the places… the list is endless. Jean-Christophe is a definitive artist. I could say a whole lot more, but feel I don’t need to. I just know BMC is a good fit for me!
On a whole different note - Those of you who are close to me know that I am an avid believer in “The Secret”, and for the last two or so years I have been using its principles to shape my life. Now, I am not here to preach it, but I will say that I believe in it whole-heartedly. The power of positive thinking and knowing how the laws of attraction work have forced me to look at my life (and future) with a fine-toothed comb. And in return, have made this past season, and also my future endeavors, quite clear. I guess my point in even bringing this all up, is that it has made my transition into this les Ballets de Monte-Carlo pretty seamless. If you haven’t heard of it, I highly recommend the book or DVD.
I don’t want to make this post too lengthy so I will try to show you through some pictures what I’ve done & seen. The world is definitely your oyster, and life is what you make it. If you crave change or are contemplating something, just do it. The outcome in learning is golden.
This is a picture from the our first tour. It is the set for JC’s La Songe (A Midsummer Night’s Dream). There is a very modern approach to all of the sets of his ballets. I love it. I feel it brings more attention the the dancers and their intentions.
This is a picture from the theater in Bologna, Italy. The picture doesn’t capture the beauty of this enchanting space. This is where we performed JC’s Romeo et Juliette. It was also my first time dancing on a raked stage!!! My turns were never so bad, but by day three I started to get the hang of it.
We traveled to two small cities on the north of France, and along the way (on a free day), a small group of us stopped in Paris for a day. This is my impression of Mary Tyler Moore in front of the Louvre. Oh, yeah, and the Louvre is not pink, haha.. it was a setting that the camera was on!
Earlier this year, I posted pictures of La Belle in Japan. Here is a fun picture from that tour! It was of one of the best tours this season - sometimes I don’t think I will ever grow up!
Me & Nathalie Nordquist before our debut in JC’s Altro Canto. This is one of my favorites of Maillot’s! This was in Valencia, Spain
On our last, and potentially best tour, we had one free day to explore. The dancers took it as an opportunity to go to the Dead Sea & Jerusalem. We packed on black mud from the earth all over our bodies (like a mask), then rinsed it off, and went to literally float in the salty water of Dead Sea. It was UNREAL. I wish that I could post more pictures from this tour - Performing La Songe, and experiencing Israel… la vie est belle!
And now, this is what we are currently doing. JC’s new creation, Men’s Dance for Women. It’s been wonderful to work on a “creation” with Jean-Christophe. The dancers are still fine tuning the choreography in this piece, and we always will be. Jean-Christophe has an intention for every step in this ballet which does two things - one, makes it easier to have an objective so we know why steps are executed in a certain way. And, two makes it a challenge to focus on that objective. It’s great fun!!
Hope you enjoyed my glimpse! Next for me is a small vacation & then a guesting with Ballet Hawaii!!! Very excited! Stay tuned…
Le Sacre du Printemps (Post 1 of 2)
For the past few weeks Hamburg Ballet has been working diligently on Nijinsky’s Le Sacre du Printemps, or The Rite of Spring as it is usually referred to in English. It is an extraordinary, groundbreaking ballet that was created in 1913 by Vaslav Nijinsky and reconstructed by Millicent Hodson and Kenneth Archer in 1987.
The dance, music, and history that goes along with Sacre was so groundbreaking, especially for 1913, and I would love to write more about it. Unfortunately, at this very moment I don’t have enough time but I plan on writing a follow up post with more information very soon.
This past Sunday, June 28th, we had a wonderful premiere and I wanted to share a few pictures with you. Tonight we will have another show and then a final one for this season on July 11th. For more information on the performances check out www.hamburgballett.de
For now, here are just are a couple of pictures taken before the premiere last Sunday.
The Black Cherokee Project
Its been a while since I have written. Have been working on projects underground and coming to appreciate the value of a secret. Here is one I am ready to reveal.
Many of you may already know about my interaction with famed unknown nyc performance artist Otis Houston Jr aka Black Cherokee. A record of our correspondence through the winger is archived here. Last I wrote Otis was posting advertising for the winger uptown and I was trying to figure out a way to archive his work. Soon I realized that the Black Cherokee project was not something Otis or I could not do alone. We need help from the people. So this weekend Otis and I setup a social network for this purpose. Everything is there: poetry, short writings, papers, music, photographs, video, documentation from magazines and newspapers, Otis and also you!
All the responses I got from these little blog posts indicated that Otis’ work is meaningful to many people and fills their hearts with joy. Also because of the space-time vortex Otis inhabits viewers can only see the work for a few seconds as they pass on their commute, maybe enough time to wave and snap a picture. In order to fill out the whole story, in order to see the entire performance, the people (as Otis calls us), have to communicate with each other.
The Dance Community Needs Your Help
Help save this beautiful company before it is too late!
As we all know money and businesses from every sector have been experiencing difficult times recently. Unfortunately the ballet world is no exception to this fact. I want to bring to your attention an issue that is very important to me personally; Oregon Ballet Theatre needs your help. If we all don’t pull together and help this company it will have to close it’s doors. Not only do I have close friends in this company, but it is also a company that the ballet world cannot afford to loose. I urge you to take action on this issue. If you can donate any amount please do! ( Click here for information on how to donate to OBT)
As you see from the poster above they will also be holding a benefit performance.
Here are a few links with more information on the company as well as the current issue:
http://www.obt.org/news_links/features/5-27-09_Oregonian_onthebrink.html
Dancers making a difference
I am constantly intrigued by the multiple talents of my dancing friends. Sometimes I feel as though I’m always discovering another dancer’s gift, other than dancing, that I didn’t know about.
Sometimes it is in a field that I might be more likely to expect such as teaching or choreographing because of it’s close relation to our daily job. But I also have friends who also have beautiful singing voices, play various musical intruments, are photographers or filmmakers, cut and style hair, are massage therapists, yoga instructors, pilates instructors, design and build jewelry or clothing, are gourmet cooks (more on that one in an upcoming post!).
One of my most recent discoveries was Elisabeth Holowchuk and Stylish Ink
I met Elisa while Ballet Austin was working with the Suzanne Farrell Ballet this past fall. I had already run across the Stylish Ink website and Elisa’s beautiful, sweet, streamlined, and of course balletically correct “stick-figure” type designs. But I didn’t make the connection until at least a week into our companies’ partnership.
Elisa has a variety of designs that I just adore. I think one of my personal favorites is the one of the five Serenade russian girls in sous-sous.
From her designs Elisa makes stationery, totes, apparel, and greeting cards such as the one shown below.
Stylish Ink Greeting Cards
Like I said, I am constantly intrigued by my dancer friends and the things they can do. I am always so impressed by them as well. I felt like mentioning Elisa specifically this month because of her latest design of Awareness Tshirts.
Elisa designed a shirt that comes in various colors to proceeds from sales of these Tshirts go to support several different causes and foundations such as: The American Cancer Society, St. Jude’s Children Research Hospital, Susan G Komen for the Cure, and the Foundation for AIDS Research.
Pink Awareness Tshirt
You can find Stylish Ink and Awareness Tshirts here
Or copy and paste: www.stylishinkstationery.com/cancerawareness
So many of us have been touched by cancer or disease in our lives, whether it is own battle or that of a loved one, friend or neighbor.
Let’s help make a difference!
