Ballet – The Best Form of Dance

Ballet-Pointe-ShoesBallet has always been my favorite form of dance.  When I was a little girl, it made me feel like a princess, and as I got older, the grace and beauty that I saw made me want to be just like Suzanne Farrell, Julie Kent, Darcey Bussell, and Sylvie Gulliem.  Suzanne Farrell was my favorite ballerina which is probably why I have a soft spot for the New York City Ballet.  I was lucky enough to take class from her during a Paul Taylor Dance Intensive and she was one of the most inspirational people I have ever had the privilege to learn from in a classroom.  Her expressionism and the way she describe movement and music when we were learning excerpts from Paul Taylor’s ‘Airs’ was like listening to a fairytale.  She had a way of describing a dance like it was a story and that as dancers we need to dive into the work mind, body, and soul because if we didn’t the audience would not engage.  I think Ballet teaches dancers to have this type of attitude in the classroom, and it continues to carry over to other styles of dance as well as on stage as young dancers grow as artists.

Now as an adult and teaching ballet to students three to nine years old, I am working on instilling those same thoughts and mind-sets to my students.  I have taught all ages of students over the years, but having students from the beginning of their ballet days is the perfect opportunity to mold new dancers to have the correct habits from the right form of technique to the mind-set of dedication, discipline, and determination.  Teaching kids can be hard.  All they want to do is run around and yell since their attention span is two seconds.  I have learned that you have to turn everything into a game and use descriptive words that relate to animals or images that they know.

There is one girl who is nine that I have been teaching for the last four years and it is amazing how her technique has grown from her turning ability, the strength of her balances, and the way she carries her balletic style.  She has now started taking tap and jazz classes with me this year, and through ballet she has developed the skills to catch on quickly to new movement, knows the importance of her shifting weight, and  brings confidence when she is learning new steps.

I wish I could say that I came to the importance of ballet when I was a kid, but I can honestly tell you that I didn’t really understand the importance of ballet until college.  My biggest suggestion to every dancer out there is to never stop taking ballet.  It gives you the skills such as a strong core, arms, and legs as well as develops a support system within your body that can carry into other styles.  No matter how hard a ballet class is, as a dancer you need to fight everyday to be better.  Ballet makes you do the impossible, and with practice, makes the viewer think that the movement is possible by anyone.  So fight for that better balance, that longer arabesque, or that perfect pirouette.  Take a ballet class at least once a week and if you can’t afford it, give yourself one by taking a video or a book out of the library, or find someone you know and give each other class.  In the words of Suzanne Farrell, “You don’t learn from a situation where you do something well. You enjoy it and you give yourself credit, but you don’t really learn from that. You learn from trial and error, trial and error, all the time.”

Dance for the Next Generation

ParisDancerA musical is like a love letter.  It intertwines two people’s lives that expresses their feelings for one another through song and dance.  How can anyone not fall in love when a man who dances and sings like Gene Kelly?  We all know that Leslie Caron had no chance in the 1951 version of An American in Paris, and Gene Kelly was not giving up until they were together.  Now the movie is being brought to the stage in new fashion by one of the most requested contemporary ballet choreographers to date, Christopher Wheeldon.  Wheeldon has choreographed for some of the great dance companies such as Bolshoi Ballet, New York City Ballet, and The Royal Ballet.  Now, he not only brings his choreography back to Broadway, but makes his directoral debut with an American classic, An American in Paris.

It has been 63 years since Gene Kelly and Leslie Caron graced the screen in An American in Paris.  The six time academy award winning picture has been adapted into a Broadway show which opened in Paris, France at the Theatre du Chatalet in November 2014; Wheeldon has big shoes to fill.  He chose not to transfer the film directly to the stage, but instead taking an artistic stance and creating all new choreography and extending dance sequences within the score of the musical.  I thought it was interesting for casting he chose to go with a cast of extremely strong dancers including the two leads Robert Fairchild, Principal from New York City Ballet and Leanne Cope, First Artist from the Royal Ballet.  Wheeldon is taking a choreographic direction similar to Movin’ Out where Twyla Tharp had a show that was centered around Billy Joel’s music, but was strongly supported by the dancers that brought the songs to life.

George Balanchine once said, “Dancing is music made visible.”  The beauty and magic that happens when you see a work that you connect with for the first time is an out of body experience and I think society is finally catching up.  Over the last year, I have seen a large change in the dance world where choreographers are starting to be more in the public eye, and not just the people who are obsessive dance fans.  There has not only been growth in Broadway with the bright future of An American in Paris, but also the up-coming Finding Neverland  Spring 2015 debut in which Mia Michaels choreographed.  There have also been some fantastic music videos that have embraced the power that dance can bring to a piece of music in various music genres like Carrie Underwood’s Something in the Water that incorporates the Los Angeles dance troupe Shaping Sound, as well as Ed Sheeran’s Don’t, choreographed by hip-hop duo Tabitha and Napoleon D’umo and performed by Phillip “Pacman” Chbeeb.  Wheeldon’s new show has come at the perfect time where dance is starting become more prominent everywhere through television, music, and stage, and is now being presented to a whole new generation of dance lovers.  The great thing about An American in Paris is it connects an old audience with a new one. So make your New Year’s resolution to go see more live dance.  Connect with something on an emotional level, see something that is not through your iPhone or computer screen, and fall in love all with an art form that can bring you to the past, present, and future in a matter of minutes.