Crossing the Barre...

As I reach the end of the quarter and say goodbye to this ballet class, I find that the last couple of weeks have been monumentally important in my training this quarter.

Analyzing my performance in class and giving myself a grade turned into an extremely introspective assignment. I became aware of many of my proclivities and saw where I had been coming up short.

To summarize: I struggled learning the sequences of the exercises.

This last week of class I've had my first small break-through with this process. After the grade-defense, I took a serious look at my habits, and to improve, I tried physically following every exercise as it was demonstrated rather than simply watching. This helped me to understand better the sequencing of the exercises and I went through many of the steps without missing counts or having to rely on watching the dancers around me.

I know that I have a long way to go, but this quarter ended on a high-note for me and I think that I now have a better way of approaching ballet technique next quarter and onward.

Also, Jessica told me I should look up the ABT Ballet Dictionary: http://www.abt.org/education/dictionary/index.html and I've set a bookmark for myself on my safari page and think that reviewing the vocabulary and becoming more comfortable with the basic steps will be very helpful for remembering sequences in the future and I am much looking forward to crossing the bar into winter quarter's ballet technique with my new tools in hand.

Woo!

~Brian

Different Mind Set

When I first started ballet when I was seven it wasn't because I wanted to or because I begged my mom to sign me up for classes like most little kids. It was a requirement. In order to be in the preforming group at my studio we had to meet a requirement of at least one ballet, one jazz and one elective class a week. As I grew older the requirements changed from one ballet class a week to two and then two to three. It wasn't until I was in high school that I actually enjoyed going to ballet class. I knew that it was important for good technique, I had heard that from every teacher that had ever came to my studio.

I always loved tap and jazz and hip-hop but ballet was always just a requirement that I needed to fill in order for me to continue to train, perform and compete in the styles that I loved. As I approached my senior year and was auditioning for different college dance programs I realized that the styles that I took at my dance studio were not the type of classes that I would be focusing on if I decided to peruse dance in college. After auditioning for programs with a strong modern focus I realized how different it was going to be and that I had to go into school with an open mind. I had never taken modern before so I knew it was going to be a big adjustment and it still is. I am used to all of my movements being set and precise and having reason behind them but in modern it is all interpretive and free flowing. I think because of this difference in styles I have began to like and appreciate ballet even more. After getting into a routine with my first quarter semester I realized that I was only taking two technique classes and was dying to take more. When faced with the option of classes I was eager to take another ballet class to continue to work on my technique and become stronger in order for my foundation to be solid so that I could build on that in my modern class.

When I called my mom to tell her I was taking an extra ballet class she was surprised because she knew that it had not always been my favorite. I have a different appreciation for ballet and when I am in class I am in a different mind set then I used to be. Instead of thinking that I am just in class to fill a requirement, I know that I am in class because I want to be, in order to get better and keep up my technique to become a better and stronger dancer.

Finally a light bulb has gone off.

Recently I have come into realizing that my hamstrings abdominals have never really been used in the way that they are supposed to be. For example I stand in what I believe is my neutral or relaxed state which is slightly pitched back over my axis. But if I engage my abdominals then I can bring my body into proper standing position. Which honestly I feel is forward then I should be but that is due to the fact of being back for so long so I need to re-train my body. Also my hamstrings are now engaged and more forward so that I am always (well mostly always) on top of my legs. I have found this new balance that I have never had and I have to say that I dig it.

The Next Generation

Becoming a professional ballerina is one thing, but teaching dancers how to become one is a whole other ordeal. I have had plenty of teachers who were nothing short of beautiful ballerinas with very successful careers, but sometimes, when they have moved from the performance stage to the standard classroom of students, something gets lost in the translation. A well versed and well educated teacher is vital in order for that teacher's student's prosperity. If I am taking a technique class, I need a teacher who can recognize my body type and understand how it works. I need a teacher with a plethora of metaphors, similes, and descriptively painted pictures to relate to my body. I need a teacher with the skill level that I am pursuing for myself, someone who is as good as I want to be.

How do we, as the next generation of dancers to perform and teach, learn to teach good ballet, proper ballet? I can think back to all of my old teachers and think of methods I do and do not like, or things that have and have not worked for me for a start, but where do I go from there? I know I can't simply teach myself how. I haven't always been interested in teaching, but the older I get, the more I find myself thinking about the possibility of doing so. Is this something that you learn how to do by taking many different classes under many different teachers with varied teaching techniques, or can this be taught in a classroom like atmosphere? I'm really interested in learning how to excel in this category. I want to be able to push and inspire my students in a atmosphere conducive to learning. I want to work hard for them so they will be willing to work hard for me in return.

I'm glad that Jessica mentioned that our generation has to be able to teach good ballet, and teach it the right way. So Jessica, want to give us our first official lesson in how to do so?

Post from Theresa Niermeyer: Ballet Vitamins

Ballet benefits our dancing like vitamins benefit our bodies. Growing up, whenever I complained to my mother about being tired or feeling a bit sick, she would always ask “Have you been taking your vitamins?” Therefore, it was instilled into me that for everything to work properly, I needed sleep, eat good food, and could not forget to take my vitamins. In my dance career, a similar formula seems to apply. If I want to be successful I need to focus my mind, strengthen my body and cannot stop practicing ballet.

I used to think that if I worked really hard and got good at ballet, then my quota would be filled and I could just keep it in my body, but maybe wouldn’t have to take ballet classes anymore. This is not true. The concentration and muscular control that the practice of ballet demands is necessary in order for my dancing to reach it’s full potential. This is something I should always be working on. Of course, it is best to be a well-rounded dancer, trained in a variety of techniques and styles. However, muscles accessed and isolated during ballet will positively inform the rest of the movement practices. I love watching ballet, and when see a dancer like Barishnikov or Marianela Nunez I am so inspired! They seem invincible! The work they are accomplishing and the control they have in their backs and legs is astonishing. Is there anything they can’t do? It’s times like these that I think about my modern classes, and my composition classes, where ballet  training is infinitely helpful, but there is also a whole different set of skill levels needed. I have to be able to drop my weight, and harness momentum, while releasing unnecessary tension. Ballet doesn’t really prepare me for this, and vitamins don’t give me protein. A healthy balance is key, while I don’t want a deficiency, I also know that taking a lot of extra ballet or extra vitamins may not really be helpful to my career. All things in moderation!

Bottom line is, this year has made it clear to me that I will always be taking ballet classes as long as I am dancing, because it is cumulative and I cannot microwave technique. It is an ongoing process, not a bullet point on my checklist. 

Post from Tyisha Nedd: Ballet for your Body Type

As I mentioned before ballet in the past had always been a genre that I felt less than beautiful. While thinking about my experience with ballet here at OSU in comparison to previous experiences the origin of my former resentment became quite evident. It was the teachers who tailored the structure of his/her classes based off of one body type and mine was not in that category (which they seemed to have a  thing for making sure that you knew that). However, now I have a whole new appreciation for ballet and my hatred no longer exists. I owe this to teachers such as Courtney and Jessica who understand the many anatomical varieties that are in a class. They not only recognize and respect our differences but they educate us on how to maximize our potential and how to work with our bodies  to produce safe , effective, technically sound and beautiful movement(such a breath of refreshing air).I was inspired to talk about this because of Jessica's comment about how we need to be the next teachers who actually teach GOOD ballet. Though have no inclination to ever teach a ballet class I can rest assure that nieces, nephews, future children... or just the next generation of dancers will be in good hands with anyone in our class and will not be subjected to the forced turn out , tucked booty syndrome.

My Ballet Revelation

In the last two weeks of ballet I miraculously found my hamstrings. I didn't know it till half way through class when I realized that my hamstrings were soar from working and I was on my leg. The entire class I felt so amazing. I could tell that my dancing had improved a lot, just from finding my hamstring I felt more confident in my dancing. The rest of class I found it easy to get on top of my leg in releve. It was absolutely amazing. This revelation didn't only apply to my ballet but also improved my modern as well. In class when I found myself engaging my hamstrings I felt a new kind of stability. I use to dance mostly using my quads and it hasn't been the greatest for my knee, but now that I found my hamstrings I hope my knee will start feeling better.

There's a reason the Primas are so into themselves...

These past few weeks have been full of revelations. Revelations dealing with my alignment, my body, what has to be done, and what, as of yet cannot physically be done. It has been a humbling experience, which oldy enough, has driven me to dance proudly and declare in with power, that I'm learning. And I can't be expected to do much else but train my hardest and learn my fastest, and of course, never forget to dance things. Getting into that mindset that ballet is a DANCE class, not just a technique class, has helped me bounds. Finding my inner diva, ( a humble diva) has helped my balance, my alignment, and of course, to remember, if all else fails, dance it. At least go out with a bang instead of a ppft. I am one of many dancers who get anxious and let a combination go to bits after the first mistake, trying to make ourselves smaller by withdrawing into ourselves and screaming in our heads " please don't pay attention to me!" It's not helpful, and quite frankly, it's a disservice to myself. I'd rather be bold and wrong and trying, than to give up and pysche myself out.

Did I Really Just Put the Fred Step in my Senior Project?

To me, there is something really intriguing about the look and feel of ballets that focus more on a narrative and less on a Classical arrangment. Ashton, Tudor, Nijinska, etc. all had works that contained classic technique, but with the focus less outward towards the audience, there seemed to be a more calm, less urgent state that the dancers put on. Looking at pieces like Jardin aux Lilas or A Month in the Country, it is very pleasing to my eye to see dancers moving in ways that make them appear like rippling waves. As a choreographer, I am very much interested in what constitutes perceived serenity. In ballet, I am trying to find a way to mentally feel comfortable with the movement given so that my entire body can relax, on average, allowing the muscles that need the work the space to work. I find myself using these classical ideals of serenity and grace in my own senior project, albeit in a contemporary setting.

good ol Sullivant

In an effort to avoid sounding whiny, I want to express how much I miss Sullivant Hall not only for the advantage in seeing nearly everyone in the department on a regular basis in the halls before and after classes, but for the precious mirrors and floors.
This year in ballet I have been forced to feel and experience real proper alignment in my own self-discipline without the assistance of mirrors on one or multiple walls. In modern I have found this to be somewhat advantageous for me because I have an awful habit of being easily distracted by my hair or clothes, or how the movement looks to my eyes. This year none of that matters because all I have to do is trust the work that I am doing and the alignment that I feel. Having had more experience with modern and having it "in my body" more, I feel like not having the ability to check out what I'm doing in a mirror has been beneficial. Ballet on the other hand, is a different story.
Because my pelvic region has not yet adapted to the proper, stable place it needs to remain in throughout the entirity of a ballet class, I have found that being in 205 in Pom has been a good thing. I don't rely on the mirrors there as much (does anyone else think those are fat mirrors or is it just me?) but it has been immensly helpful to glance over and self-correct during barre as well as in center. I know it's impossible to watch and correct every student at every second of the class, so self-correcting is a vital part of ballet, and every style of dance. I believe that my brain can detect when I'm out of place but my body doesn't know how to detect that quite yet.
Although the silly distractions from class have been eliminated along with the mirrors, I find that they are still a vital aspect to my growth in ballet. I realize that my only real option is to force proper alignment into my muscle memory as quickly as possible!

Osiel Giros

One thing I really struggle with in Ballet is doing pirouettes. I have always had trouble with keeping my balance and being able to do many turns. The video Jessica put on Carmen, Osiel Giros working in the studio, is incredible. Giros is able to sustain his balance after turning for a very long time. This is because of his alignment, with his pelvis and ribs being directly over his legs. He is not too far back or too far forward in his fourth position. He then takes these beautiful turns one step farther, to the air. He goes from jumping and turning with his leg in retiré to doing the same jump with his leg in arabesque. During both jumps, his alignment remains in perfect accordance with his body. It is beautiful to watch.
What I struggle with most is being able to go back to my perfect alignment between exercises. Finding my center of gravity is difficult because of the bad habits I have developed over time. With more practice I am sure I'll be able to find it more easily and naturally during class. This video shows me that it is possible to maintain alignment during a long period of time and I am hoping my work with turning will translate into my jumping exercises later as well.

Great Dancers

There is something about watching someone who is a great dancer move. I will define what constitues a "great dancer" of course this is my opinion. One who embodies the movement he or she has been given to the degree where one would think the movement was choroegraphed solely for them. One who has stage presence the audience can not but help watch them... from their being exudes a magnet of sorts that draws others eyes to them. One who has the strength, stamnia, and flexiblity to make anything that they do seem other worldly. So... I just describe Barishnokov, he is great dancer. Some of the things I used to describe what a great dancer is, are innate, meaning that they come from the inside and cannot be taught. Stage presence can only be taught to a degree and ones ability to embody movement truly can only be taught to a degree. In other words, can some be trained enough to be the next Barishnokov? I don't think its possible.

"So you just dance all day?"

I had a very frustrating conversation with someone I met this weekend. I'm sure that we've all had this conversation on more than one occasion, but for some reason this particular one struck a chord with me and the way I have been feeling lately.

It all starts with the typical question, "What's your major?" And then after my reply the "oh, that's really cool." But after a couple of seconds of thinking it over, they always come back with the dreaded after thought-- "So do you just dance all day? Do you have to take, like, normal classes? What do you want to do with that?" I realize that this person is not trying to be rude or hurtful- they truly just have no idea what being a dance major entails. Sometimes I wish that we could have a "switch your major" day, where everyone has to go experience another major for one day.

They would realize that dance majors can't just sit in the back of a lecture hall on facebook or twitter during their classes. They have to be physically and mentally involved with every single class they walk into. Lose focus for any amount of time and risk being behind the whole class, or even worse, injuring yourself or someone else. They have to be ready to put themselves out there and take risks at the drop of a hat. Don't feel like going to class? Not really an option. Dance majors push themselves everyday to keep their bodies and minds in shape. Not to mention that we fulfill all of the same requirements that any other arts & sciences major completes…and a good majority of us are double majors taking way past the limit of credit hours (much to Jessica's dismay…) And as far as the future goes, we all have ideal career goals that we would like to accomplish. But we aren't in this program to have concrete pathways or financial security for the rest of our lives (wouldn't that be nice?). We're here because we genuinely love what we do and it's worth the risk and the fear of the unknown.

I've met some of the most intelligent, hard-working people I know in the OSU Dance Department. I just want to thank everyone for showing me what dedication and passion really look like. I am so fortunate to wake up everyday and get to do something that I love to do with people who push me improve myself in every way possible and support me on the days that it's hard to keep pushing. Even though people on the outside don't necessarily understand what it means to be a dance major, I am so grateful to be a part of a department that not only has amazing dancers and students, but just plain incredible people.

I love you guys! :)

Bad Habits, A thing of the Past?

Every dancer has bad habits and probably will for the entirety of their dance career. Whether its relaxing turn-out, hiking up shoulders, or much more minuscule things, they're there. The goal then is to break those habits, but this is much easier said than done. The main reason its so hard is the simple fact that now the correct habits feel weird. Over the quarter I've been working on using my rotaters and focusing on my pelvis placement (e.g. while in 4th position). For a while I was struggling with my rotaters because I didn't have enough strength to use the correct muscles. Because of the bad habits I had acquired over the years I was compensating with global muscles like my quads in order to make ballet happen on my body. Now that I have been pushing myself to work harder in ballet, I have finally started to find and apply turnout in everything I do. I still find myself falling back into my bad habits from time to time, but the difference now is that I realize and physically feel when I am doing it and can correct it on my own. This is also the case with my pelvis placement. At the beginning of the quarter I was in the habit of sinking back into my heels rather than lifting and holding my pelvis and weight evenly between my feet. At first this correction felt very weird on my body. I felt like I was too far forward on my front leg and that there wasn't an even distribution with my back leg, but now I am finally starting to retrain my body to know when I am in correct placement and not falling into old habits. I still have habits that need correcting but now that I have started this life-long process of correcting all my bad habits I fully understand that it takes time and a lot of hard work, but in the end it is one of the most worthwhile things a dancer can do.

Opposite Ends of the Spectrum

As I have been constantly told throughout my life, from class to master classes to even competition conventions, ballet technique is the basis for all movement. For one to become successful in other genres of dance, it is necessary to first master even basic ballet vocabulary. I have found this true in almost all different techniques; without my training in ballet, although small, my ability in other areas would be slimmer. And though I still believe this, it wasn't until this quarter that I realized that it is sometimes necessary to forget those basic ballet technique principles, specifically in Abby's contemporary class. Since my time at OSU, i have been encouraged to let go of my center, engage elsewhere, and throw my body around in ways that in fact, were uncomfortable on the body at first. Growing up and being constantly reminded of the erect posture it is necessary to hold, Abby's movement felt extremely awkward. Her contemporary African style asked us to throw our weight off center, push the pelvis in front or behind the heels, to displace our ribs, and to flail our arms around like madmen. Although our core is still always engaged, as it must be in ballet, this African movement is more grounded and seemingly organic than what I had ever experienced in ballet.

Although I am more likely to notice the differences between my ballet and contemporary classes this quarter, there are still some similarities. For one, we are constantly being told to engage our inner thighs and abdominals. There is also a similar sense of attack I've become aware of in both classes. There is always a sense of exactness and precision that we must pay attention to. Although these two genres seem to be almost on the opposite ends of the dance spectrum, it you look hard enough, there are ideas that may overlap.

Wake Up Call

When you're working towards becoming a professional dancer and you see a performance like BalletMet's Carmen, it's an eye opener. I can't even begin to describe how beautiful and strong the dancers were (and are). Basically, the entire company is simply gorgeous to watch. The dancers are effortless, powerful, and oh so very talented. I want to turn that easily, I want extensions that high, I want I want I want. It's a kick in the butt, because you really see how hard you have to work to get to that good. Is that kind of level even possible for me? How long will it take me to get there? What happens if I never get that good? It's scary to think about. I can easily overwhelm myself if I start to think that way, but at the same time I'm trying to be as realistic as I possibly can. I want to perform more than anything in the world, but I know I have a really long way to go. All I can do is turn my doubts into the drive to succeed and be the best possible dancer I can be for myself. I'm glad I'm at a University that can give me the kind of education I need to get there, but in the end, it's up to me and how I choose to use that education. I can either take advantage of every moment in class to better myself, or I can blow them off just as easily and slack through them, which will be of absolutely no use to myself. I just have to do it, simple as that. Challenge accepted.

The Great Unknown

I'm sure every single one of us has had this conversation at some point while studying at Ohio State. "Oh your a dance major!.. What are you going to use that for once your out of college?" This dreaded question, no matter the phrasing can be a frightening reality check for those of us who still don't have the answer. Being in this unique learning experience that we call OSU Dance is both a major blessing and a leap of faith.
We are blessed simply because we wake up everyday knowing that we get to do exactly what we love. We are surrounded by knowledge, resources, and opportunities. We have peers, teachers, and models to be inspired by and to learn from. We have this freedom in our lives to choose our own path, to make our own decisions and to test all the waters. We are truly fortunate for this period of exploration and discovery.
Of course with exploration and journeys, there is always unknown. Personally, I find the unknown to be one of the most frightening and invigorating things about being a dancer. Yes, we get to live out our passions but in our profession, there are no guarantees. There is no job security, you are constantly being evaluated on a subjective level, you are a competitor no matter what and your body is your utensil. Most of our success is out of our control. You can train for years and still be rejected by company after company. You can dance to your fullest potential, but if you don't look the part. you are out. You may have an illness or injury that happens by chance, but ruins your entire career. There are no absolutes, only hope and persistence. Living day by day, can make this sort of life exciting, but thinking about the finances, the traveling, the auditions and the lack of consistency can be a bit jaunting. I know it's ignorant to think we are the only profession with this type of lifestyle, but it seems we, as dancers, are pushed to the extremes.
For now, in this moment, all I know is that I don't know, and that's going to have to do.

MORE BALLET :)

The Ohio State dance program only requires the dance majors to take two ballet classes a week and three modern classes. I believe that it should be the opposite, with three ballet classes a week and a two modern classes. Classical ballet is the foundation for all dance forms. A strong foundation in ballet can make it less challenging for a dancer to transfer into other dance forms. Establishing a solid foundation in classical ballet is crucial to becoming an outstanding dancer in any other dance genre. The stronger your technique, the more versatile you will be as a dancer. The Ohio State dance program is solely based on modern and contemporary dance but I personally think that ballet training is more important. If we have ballet three times a week instead of two it could enhance our skills in our modern classes. Luckily, this quarter I'm taking Susan Hadley's modern class which is quite similar to ballet. We do various free flow exercises but she partners that with contemporary style adagios, grand battements, and grande allegros. So we get still get to have some type of technique in our modern class, which has been beneficial. If we have more ballet classes per week partnered with some type of technique in our modern classes, it will make us stronger and more skillful dancers.

Contemporary Ballet

A new area of ballet that has recently been growing is that of contemporary ballet. I really like the new companies that are embracing this aspect of ballet. In general, these companies use ballet as the basis for all their movement but add new contemporary aspects to create really interesting and creative dances. One of my favorite companies that embraces this in many of their dances is Cedar Lake Contemporary Ballet. Many of the company's dances use these qualities in the choreography. Here is one example:

http://www.youtube.com/watch?v=NIIwct9QNi4

One of the reasons I find this kind of dance so interesting is because the movement is very unexpected. Although it occasionally falls into recognizable "patterns" of movement, there are constantly different movements happening that would not be considered classical ballet. The unexpected nature of the movements is what makes this style really appeal to me. This is another clip, by California Contemporary Ballet, that shows the essence of the style well:

http://www.youtube.com/user/CaContemporaryBallet?blend=7&ob=5#p/a/u/2/jM3a7bM5Khg

There are many differences between classical and contemporary ballet. One major difference is the movement itself. There are many movements that are not traditionally seen in ballet, such as some aerials movements (flips, etc.), more floorwork, and non-traditional arm and leg positions. Another big difference is the music. The music is less likely to have the traditional sound that is generally thought to match ballet. There is also less likely to be a clear storyline that the ballet follows, and along with that, the characters are often more ambiguous. The sets are usually less literal. Overall, this style of dance seems to be becoming more popular, and while I really enjoy classical ballet, contemporary ballet is an exciting new take on ballet that I also enjoy watching.

Army of Teachers

I have an army of teachers on my shoulders that are constantly correcting me. It dawned on me when Jessica said that she was going to step back and let us correct ourselves instead of her constantly reminding us to pull up and turn out and use our hamstrings. It is our job to do that on our own and if we don't we will never improve. I realized if I really want to improve than I must be aware of everything that my body is and isn't doing, and fix it. Obviously I don't know everything about ballet or dance in general. So to be aware of everything and correct myself I need to remember every correction that any of my teachers have ever given me. By putting those teachers on my shoulders throughout class it helps me to remember not only the corrections that I have received since I have arrived at OSU but also those that I received back home. That is what it takes for me to remember everything that I need to be thinking about at barre, during center work and across the floor. It also helps me to go over what I am going to work on in a specific combination while the combination is being given so that I can fix the problem before it occurs. I realize that some corrections are going to take longer to fix than others because habits are developed at young ages. I also realized that information that I have received throughout my dancing years from my different teachers sometimes contradict each other. I know that different teachers have different styles of ballet and different training and teaching methods. To help my self I try to focus on the technique that works the best for me and when I am in a class I perform the movement the way that they like to see it, though that might be different from way I was taught and what others may say is right. But is there really a right and wrong? There is so many different styles, techniques and backgrounds that I don't believe in only training in one; a dancer must be versatile, observant and take corrections to be able to work.

Absolutely beautiful!

I took a minute to watch the clip posted on Carmen that showed Marianela Nunez- Lilac Fairy and it was absolutely stunning. Her alignment was perfectly in place and every single movement was in perfect control. Watching her pirouette really showed how stacked she was on her body and how aware she was as to all her limbs in space. Another moment that really made me marvel was when she began doing the fouette's into the pirouettes. She was able to pull clean controlled pirouettes out of nowhere, with no distinct preparation. You can tell how much she uses the control of her muscles and her back to be the center of her momentum in stead of a giant preparation or big swinging arms to get around.

Watching videos or dances like this always makes me want to work harder. Just being able to see how beautifully someone can dance motivates me to become a better dancer. If I'm watching dance on T.V. I will always go pull out the thera-bands or yoga mats and begin stretching and exercising immediately. Or, for instance, like last year, after going to see Complexions Contemporary Ballet perform the second I got home I began doing a lot of sit ups and strengthening exercises. There is just something about witnessing great dance that sparks a little motivation in me to work a little harder than I already am. We all get tired and worn out and it gets really easy to slack off in class but every time I remember the performances I've witnessed I get back on track and am ready to push myself to the fullest again!

Baryshnikov is fantastic and I'm still working on it...

http://www.youtube.com/watch?v=WTso5moVNs4

http://www.youtube.com/watch?NR=1&v=_7jj8McPlVY

Ok after watching the clips of Baryshnikov that Jessica posted on the Carmen page, I decided to share one of my favorite pieces that he is in. “Sinatra Suite” by the amazing choreographer Twyla Tharp is a piece that allows you to see the range of personas that Mikhail is able to bring to life on the stage. His character invokes the ascetic of cool that Sinatra’s music evokes. I find that Baryshnikov can grab my attention in this piece just as much as in any other classical ballet that allows him to demonstrate to the audience his remarkable virtuosity in jumps, leaps, and turns. He is so amazing, I swear if I ever met him I would faint or do something terribly embarrassing.

On a side note, now that we are almost into week eight of the quarter, I wish we had more time to continue on the learning track that we are on. I feel that I finally have understood how to utilze engagement in my abdominals in so many movements not only at the barre but in center work as well. I have made so many realizations this quarter that I hope leaving for winter break soon does not make me lose everything that I have gained. I need to be able to retain the new information that my body has discovered in order to improve my performance in class, not just on my “good dance days” but every day. I know I’m not going to turn into a Marianela Nunez in a quarter or even ever, but I would like to keep progressing from the point at which I am at now.

P.S. To Jessica- I really enjoyed this outside discussion board. It really made me think and put into words what I need to understand in my physical practice.

Watch out Baryshnikov (just kidding, you're the greatest)

Since I entered this program, I have continually been discovering new things about my body; about the way I am built, what my natural strengths and limitations are, and what I can work on to get the most out of this fantastic program and become this thing we call a dancer. This quarter has been especially eye-opening in all of these respects, and now we are nearing the end of it and I want to figure out where I stand: What have I learned about myself that I like, what have I learned about myself that I want to improve, and what are the through lines in my classes?

Upon first consideration, it would appear to the untrained eye that the ideas I've gotten in ballet this quarter are completely different from the ideas we have addressed in my other classes. However, with my semi-trained eyes, I will attempt my own comparisons. I've been doing my modern technique, which is totally about dropping the weight into the floor (do I smell resiliency?). I've been doing contact improvisation, which is also about giving and dropping weight, and I've been doing comp/weight studies, which is, ironically, about giving and dropping weight. Then I've been doing ballet, which is about becoming taller and pulling myself up out of my hips. It seems the opposite, but I think there are at least a few key ideas that I can pull from ballet and bring into the modern.

I think that, even though we do not consciously "drop" our weight in ballet, the opposition we constantly strive for, the connection to the floor against the pull of our bodies upward, has an element of the drop. We have to maintain a relationship to gravity, and I always have to think about trying to find that relationship, whether in ballet or elsewhere. Core strength and initiation is another very important idea that seems to be a through line in all my classes. I have been thinking a lot about "visualizing movement from the core:" feeling the energy in that part of my body so that I can stay grounded in my movement and maintain a bodily awareness, even if the movement does not necessarily "initiate" there from an outside visual perspective. Through both ballet and modern classes, I have been working to strengthen and find my core, and I think this will really help me grow as a dancer. I have also been trying to work on articulation and clarity of movement in all my dancing, and I think clarity is sort of a big deal in ballet. Since we work on it so much in this technique, I think I should be able to gain something from that element of ballet class and take it to my other training.

The other idea I have been thinking about is presence. I was watching the videos of Baryshnikov posted on our Carmen page, and the main quality that strikes me about him is his incredible presence and command of the stage. He's fierce, and he grabs that audience and hangs onto them. In trying to develop my own ferocity, I think ballet can really be a great opportunity to try to develop some kind of personality. Rather than putting on a show, I would like to find a way to exude an energy and "inner life" outward: to show natural feeling and be able to grab an audience (not in a conceited or pompous way). How can I develop a presence through all my training, and become a Baryshnikov in my own right?

I miss Sullivant Hall

When I found out that we would be leaving Sullivant Hall for two years, I didn't think it would affect me that much. Besides making the hike over to the drake at least once a day, I didn't think it would really change anything about my classes. However, being part way through the first quarter, I have already found that a lot is changing. The first thing I miss is jumping. I have always loved jumping, and always been good at it. Petite and grande allegro have always been my favorite parts of ballet, and I always enjoyed doing challenging combinations filled with beats and quick steps that had everyone tripping over their own feet. Since moving into the drake and pomerene, I understand that this must be modified so that we don't injure ourselves, however I think we need to find another way to continue strengthening these muscles. During this past week, we've been jumping more, but I can feel myself getting tired by the end of each combination, which never used to be the case. I am worried that if we continue catering class to these floors, by the end of these two years, I will lose my ability to jump that I have been working on for so many years.

The other thing that I miss is mirrors. I know that we are supposed to be able to feel what is correct and what is not, but I am not at that point yet-- I need to see it. In modern, I think it has helped not having mirrors. I would always try to look at myself in the mirror to see how it looked, which would throw off whatever movement I was trying to do, so in that case, I think not having mirrors has been a good thing. However, in ballet, I am still trying to fix a lot of alignment issues, and for that, I need the mirror. I need to be able to glance over during barre exercises and make sure that everything is lined up and where it should be. No matter how hard I'm working, it doesn't do me any good if I think I am finally in correct alignment when I am not.

I understand that the department is trying to make the best out of our new space, but I hope that we are able to find a way to deal with these two issues.

It means so much...

I read Corn's post and I liked his topic so I am stealing it. : )

What does ballet mean to me?

I have never asked my self that question before. When I was younger I would have not believed you if you said to me I'd be enjoying ballet classes on a daily bases in my future. Ballet has become a love and a passion, a passion that kinda just snuck up on me one day. Ballet is also a source of frustration and even despair, mainly because of how much I want to succeed at it, but for every class that I leave disappointed there are other ballet classes that I leave feeling like I am floating across the floor and can do anything in the world. I feel like I am radiating with accomplishment.

Ballet is a source of strength and self betterment. I know that every great dancer in the world has taken ballet to a certain degree, and I know I must also in order to become the kind of dance performer that I wish to become.

I also think that ballet has taught me to be self disciplined and determined. Never have I been so challenged before in my life. Its funny how difficult ballet is for me, especially when I first started to dance it. I remember my first ballet class and it was so uncomfortable! All I could do was watch the other dancers and try to imitate them. I felt like I was hanging off a cliff, with only my finger tips securing me, the whole class desperately trying not to fall off the edge. I never stopped trying though from that day and I think in one short year I have come a far way in terms of my ballet skills. All I was that every great dancer does ballet... so I kept on keeping on! Its interesting how something so new, scary, and frustrating was able to push me to new limits. Ballet helped me find my inner artist, it taught me how to use my body for artistic expression and it has given me a reason to love what I am doing with my life.

Never have I been happier before in my entire life, than knowing that I get to wake up every week day, and go to class as a dancer and performer... its a gift and a blessing.

Ballet is a physical manifestation of my dream.... and I wouldn't exchange it for any thing in the world.

-Josh

The Advanced Version of Us

I just viewed the media clip on Marianela Nunez as the Lilac Fairy in Sleeping Beauty. After Thursday's ballet class, I was interested in the idea of being able to visualize the inner thigh muscle activating and firing as a ballerina moves on stage. I never thought that you could physically see how a dancer "works". I can depict whether a dancer has skill when I watch them. I never knew how to see the skill just by looking at a dancer as pure muscle and anatomy.

When I view this clip, I can see the inner thing muscles wrapping around to the front on her base leg during her turning sequences. I did not realize that this technical adjustment of having the inner thigh forward goes through the body and mind of the most amazing performers at their level. I just predetermined that these dancers are just naturally amazing. I assume that they never have to think about the moves. They just have to show what they have to the audience.

The understanding that they have to work in the same way I do on a different body helps me to be less "put down" after watching such a performance and more inspired by it. I would love to work as hard as these dancers on the basic technique concepts in order to put the results on my body as a dancer. I will never look like these movers anatomically. However, I am willing to apply the same concepts onto my body to get my personal best results over years of training.

Props to the Lilac Fairy!

Aimee Heslop

Macho Macho Man

I just watched the videos Jessica put up of Mikhail Baryshnikov and after seeing them I don't how I could not write about him. I've frequently been given the note "be more masculine" and when I hear that I think of Baryshnikov. His dance has a powerful mix of gracefulness and ease with strength and masculinity that are the picture of bravado. when I saw these videos all I could think was "wow." His stage presence and confidence make his execution of the moves more than just technically great, they add character, dimensionality, and strength.

It's more than just his stage presence though, the moves he performs are extremely difficult and the stamina he appears to have is amazing. His technique and the apparent ease with which he performs the movement vocabulary is unbelievable. When I hear people joke about men doing ballet and wearing tights, I say "have you ever seen Baryshnikov" because I don't know of a more manly display of physicality than his dancing.

"Words, words, words."

This has been my most challenging quarter at Ohio State since I started last year. I came back to school with an injury that had kept me out of commission for the month before classes began. My ankle injury and the guarded walk I had been limping with rendered my left knee unable to track over my foot and my leg significantly weaker than any other period of time in my brief dancing career. My ankle/foot is still only working at around 50% strength and participating in class is nerve-wracking because I feel as if I'm one misstep away from re-injuring my foot again. This leads to non-committal exercises at the bar and meager efforts across the floor. I've been feeling like my attempts at protecting my body are causing a general malaise to crawl upon my ballet technique. I've been experimenting with ways to address this because it effects not only ballet but every single class I have and recently a new idea has been bubbling up.

Locking.

The only form of dance that is somewhat natural for me is the "hip-hop" vernacular. I often dance to dubstep and hip-hop music on the weekends and in my apartment because I enjoy it and can freestyle my way through the music, but I've been experimenting with "locking" technique recently and it has re-informed my body of what stability actually means. With locking, you isolate and sequentially move parts of your body and the key to executing movement is an almost unreal capacity for tension in the core and legs. I had forgotten how much strength I was actually capable of until I was practicing locking on Thursday night after ballet and had a moment of mind-blowing realization of what stability truly was.

I'm looking forward to applying my newfound insights in class and hope that the changes will be significantly positive.

-B

Post from Taylor Craver: Dancing in my Head

Friends and family are constantly telling me that I am always moving, and I can never sit still. I know this. Whenever a song comes on it is my natural reaction, as it is any other dancers, to move ever so slightly to feel the rhythm of the music. If I can’t fall asleep I lie in bed just envisioning different movement to songs that I like or that are even just stuck in my head. Sometimes the dancing in my head comes out through my body no matter where I am. The other day I was studying in the library and Cobra Starship started playing on iTunes and without thinking I started dancing, when I quickly realized I was in a library and that probably isn’t the most appropriate place for me to be dancing.

That made me wonder is there a right place to dance? Obviously we are supposed to dance in class and always put full effort into classwork because that same work is displayed when we are on-stage. However, I feel that some of my best dancing occurs when I am behind closed doors, either by myself or even when I am just having fun with friends. I would like to try and change this. I don’t want my best dancing to be in my head or behind closed doors, I want my best dancing to be in class. I feel that because I am focusing on so many different things I forget to move. I forget to use my head and my upper body to truly dance my movements at barre, center and across the floor. 

Post from Tyisha Nedd: "Honesty Zone"

 This quarter has been a whirlwind of emotion for me. Last year Courtney would say "ah! Tyisha your improving soo much, but don't get discouraged when you reach the point where you feel like your not improving." I've reached that point...   The midterm grade was a frustrating yet eye opening experience. Frustrated in the sense that I felt like I had been putting forth a lot of effort but with no return. However, the same day I started to feel a new sense accomplishment and work that I hadn't yet felt this quarter or ever... and  I came to the realization that I had not been engaging my rotatators to their maximum .   What! I have more rotation! Scooore! I was also reminded of the constant need to multitask in ballet. I think many times my peers and I get caught up on working on one thing that we neglect other things.

Ballet bleargh

I must admit I was a little daunted by being given the task of blogging about ballet without a prompt. I mean, where do I even begin? Ballet, to me is beautiful and noble in the discipline it has to do in the proper aesthetic. Although, for my body, it's hard to adapt to strains that ballet pushes on it. I used to wish that I had started younger so that dance and more specifically ballet, wouldn't be so frustratingly hard for me at this point in my life. However, I've come to the realization that if I had started dance younger I would have different aesthetic while dancing , and I essentially wouldn't dance like "me". I would also probably find ballet less challenging, which would most likely result in a loss of interest. You always want what you can't have. It's best that ballet be a challenge, an ongoing thing I have to work on.

Let's Go, Body!.. Come ON! I ain't even playin'!

This year, which is my last year at OSU, is dedicated to reworking my body. My body has a history and while a lot of it is good, there is a need for versatility that needs to be met head on. In my composition classes, I am focusing on how I can choreograph various themes and elements. In my contemporary class, I am working on becoming more grounded and kinesthetically internal. However, in ballet, my focus is being placed on a skeletal-muscular plane. I have recently found a place that is closer to correct alignment and muscle use, so I am trying to push the envelope and really create new muscle memory. This is extremely difficult because my body doesn't have its old crutches to fall back on. My balance is a little wobbly, my turns have been reduced to singles, and my confidence is draining. However, I know that this struggle needs to occur in order for me to move one step closer to a friendship with ballet. I love the term "graceful strain", but let's be real... Ballet is an unforgiving beast. It shows you where you are weak and keeps poking that spot with a hot fireplace poker. Ending on a good note though, ever since I have been working with this new musculoskeletal process, I find myself sweating and hurting (the good way) a lot more in class!

Dance Is My Career

Say this title out loud to yourself. If you had the same reaction I did, don't worry the initial impact will wear off eventually. One of my mentors said this and it gave me a much needed wake up call. Being a dance major, we are going to college to dance. Eventually we will leave this bubble of "Academia" and will be off in the real world with the hopes that what we learned here will help us prosper and truly become the influential artists we all hope to be. So what are we doing in our technique and other classes that are helping us get there? Like Jessica said in class the other week and what many teachers have told us before, its not what we're doing while our teachers are watching but what we are doing when they aren't. Do you relax your turnout and lower your leg or still give everything you have and continue pushing yourself like you were the only one doing to combination and everyone else was watching? My midterm assessment helped me realize what i'm not working hard enough at. Since I got this information I have really thought about my work ethic and realized I could always be doing more. If I leave barre and am not sweating bullets then I clearly didn't work hard enough. To truly perfect my art I always need to constantly have my "Party of Past Ballet teachers" yelling in my ear all the corrections of my technique and really pushing myself to apply them. Much easier said than done, but still something that all dancers should really strive for if they want to be successful later on in life. It also comes down to consistency. Sure you can try really hard at combinations and parts of class that you enjoy but when you get to that one step that you really struggle with or just plain don't like you have two options, 1. just get by and do the combination but not invest that much effort or 2. try harder than the combinations you do enjoy in order to improve your technique. If you chose the first option, finding a professional career in dance is probably going to be a struggle, but if you chose the second option your technique will put you farther ahead than those that chose option 1. Its a constant internal struggle, but with enough self discipline, determination, and passion for what we do, anything is possible. Eventually when we are in our first professional audition for a company or show will you think back and wish you had chosen option 2 or know that because you pushed yourself to improve and succeed that you can lay everything you have on the floor and not have any regrets?

Ballet Musings

I want to take this opportunity to talk about what ballet means to me. This might come off as a "stream of consciousness" type thing.

Lately, I have only wanted to goto my ballet classes, thats why I'm taking it 5 days a week. My modern classes haven't been grabbing my attention the way classes ballet have. I find that the stronger I become in ballet, the stronger I become in all of the other dance forms that I do. Even on the days when I can't seem to do anything right in class, I would still rather be there than anywhere else.

Often, I wish my mother has introduced me to ballet much sooner. There is nothing I would love more than to be dancing at ABT or Alvin Ailey and had I had ballet much sooner, I think I would have been a cinch to get in.

I love the way ballet looks on my body, especially contemporary ballet. I wish we could do more contemporary ballet combinations in class. That's where I find alot of my connectivity to movement.

Freedom!

I would also like to take this free topic blog to discuss the ways in which I feel my body working differently in my classes this year. I think that every dancer finds a certain teacher, or multiple teachers if they're lucky enough, that they "click" with at some point in their education. I believe that I have found that harmony in my technique classes this quarter. Jessica and Susan give me corrections that make sense both mentally and physically in my body. Their use of image, personalized attention, and encouragement have been so motivational and beneficial for me as a dancer. I am getting new corrections, such as the lack of engagement in my hamstrings because of the hyperextension of my knees, and the length behind my neck, that have really changed the way I work in class. Both professors also stress the benefits in just going for it, even if you fall over, because it will teach you more about your body than staying safe. I have always been terrified to fall over and make mistakes, even in my everyday technique classes, so this idea has pushed me to take more risks and be more confident when trying more challenging combinations.

Overall, I am truly enjoying the atmosphere and working environment that I have experienced so far this quarter. I am a little sad to say that it is halfway over! :( If I feel vast differences at week 6, I cannot wait to see how I feel at the end of week 11.

Dancing

Ballet for me is such a passion. Ever since I first started to dance my senior of high school I had wanted to learn ballet and learn how to move with such grace and precise power. Since coming to OSU I had time to dedicate to the art form and to teach my body and mind how to become a ballet dancer but I feel as though I have come to a plateau in my dancing. Last year ballet was almost brand new to me and I was absorbing everything like a sponge. This year I feel like I am not learning as much. I feel like what I have to do now is truly start to focus on the little muscle and alignment suggestions that we get from every ballet teacher. I feel like that my days of just learning the dance combo and learning how to turn out my legs are beyond me. I need to start focusing on the more subtle corrections like staying up on my standing leg, using my inner thigh more often, keeping turn out in the middle, etc. I have never been so frustrated, yet passionate about anything in my life.

A wise dance professor once told me "It's kind of a metaphor for life.... relationships... when to hold on, when to let go..."

Ballet and I have an interesting relationship. Most of the time I love it and respect it, but lately I’ve been feeling a bit betrayed by it. I feel like the harder I work, the more it pushes me away…. perhaps it knows that I secretly favor modern, or does it just love the chase?

I have been taking double ballet this quarter, and I for a while I could really feel the changes in my body. I was better aligned and proper muscle memory was starting to set in, but then something changed. It may be that I am just over thinking things, or that I have hit a dreaded plateau, but classes have been a real struggle lately. I am trying to engage the correct muscles, and pull up, and look out, but stay grounded and rotated and then I still fall over. Just a couple weeks ago during adagio I felt very on my leg, I was confident in my work and loving this new found sense of stability, now I feel like I am doing adagio on a sailboat! It is discouraging and frustrating. I want to work through it and figure it out, but instead I find myself getting mad at my body and confused with what went wrong. I tell myself to think "up and out" but then I splay my ribs, or focus on standing leg rotation and gesturing leg looses it. What is wrong with me? Where did all that work go?

Overall, I know I am still getting strong and learning so much, but it is hard to work towards a goal and not always have something to show for all the effort I have put in. It is also such a subjective field we are getting graded in. Everyone has a different aesthetic and a slightly different view of “good” or “right.” One of my biggest challenges right now, aside from working on improving this never ending battle with ballet technique, is figuring out what my personal goals are in dance and my individual aesthetic. What do I need to do to improve my own work and become the best possible dancer I can be? Luckily for me, I am in the perfect place for that; I am surrounded by supportive and incredibly talented people, who can offer up a wealth of knowledge. Even when I’m feeling down on myself though, I try to remind myself that I get to wake up every morning and do what I love. Every relationship worth having is worth fighting for.

Yet ANOTHER Radio and Juliet Post

This past Thursday, October 27, 2011, fellow sophomore dance majors and I made a trip downtown to the Palace Theatre to see Ballet Maribor's performance of Radio and Juliet. At first, I was not sure what to expect, for I had not heard much about this production nor had I heard anything about this particular ballet company, Ballet Maribor, for that matter. Mostly, I was unsure of how this ballet company could successfully use songs by RadioHead, modern day strange and sometimes morbid music, while portraying the essence of the romantic tragedy of Romeo and Juliet, a seemingly ancient playwright. By the end of the show though I found myself sad that the performance was over and shouting "encore" to the dancers on stage, it was wonderful!

The show started off with a very interesting video clip of a woman; this video clip continued to play at other parts later on in the performance. All together the cast consisted of six men and one woman--a choice made to portray the idea of a woman in a man's world, said a Ballet Maribor representative in a Q&A session we attended afterward. All of the dancers seemed to be trained in the classical ballet technique. Through this obvious classical ballet training, I really enjoyed Ballet Maribor's contemporary twist they added to their production. I found this choice to be much more easily relatable and more appropriately paired with the dark and peculiar RadioHead music and storyline. Overall, I really enjoyed this company's interpretation of Romeo and Juliet. Although it was a very minimalistic interpretation, at times I was unable to follow the romantic tragedy's plot, I enjoyed the very modern day mechanics of the show, from costuming, to props, to videography, choreography, and of course the choice of music.

One thing that I found very interesting is that I noticed myself paying more and more attention to the performers' alignment, especially pelvic placement. Because I would say that my pelvis is the number one item I should be focusing on correcting, I've taken notice to the mechanics and sensibility of the pelvises of others (as strange as that sounds). Although the performer's pelvis always seemed to be properly aligned as a classical ballet dancer, it was also interesting to see much of the movement was driven by the pelvis, two ideas I don't usually pair together. Now I realize that both are possible, I just need more practice!

Oh Baryshnikov..

http://www.youtube.com/watch?v=l5AP33ygcKY&feature=related

Yesterday I decided to search Baryshnikov videos on youtube, partially to obsess over how incredible he is as well as to see exactly what he does while dancing and training to make himself into a beautiful dancer. I stumbled upon this video and had my thoughts trail back to class when we were told by Jess to, "dance the best you can, THE FIRST TIME." It is clear that his training was rigorous, but his dedication in and out of rehearsal is what sets him apart from many. In this video he is wearing weights to train his muscles, and he is moving with elegance but uses his strength and power throughout different combinations.

I have learned already this year, that the energy required in ballet class is much greater than any other class. The only way to tackle a combination or a certain concept, is to push the body to work to its fullest potential at all times. This is the only way we can truly create balon, and defy gravity as we move. Baryshnikov's warm up video shows me that training is done for yourself. If you want to achieve great heights in a dance career, the effort you put in parallels the effort that comes out of it.

50% Mental, 50% Physical

Ballet II with Jessica Zeller has made me truly realize how much mental work I need to do while in my technique classes. Obviously, I’ve always used my brain in class as well as my body, but this year I’ve had a different thinking process. My dancing has changed tremendously. Of course, your physical ability is very important, but the way you think during class will have an impact on what your body will do. Your body has to be present in class, as well as your mind. There are many things to be thinking about in ballet class including advice your instructor gives to you, learning the logistics of new exercises, and self-correcting your personal mistakes etc. Also your mind determines what limit you will push yourself to. By mentally pushing yourself you can physically make it through a rough exercise, when your calves are on fire and you are drenched in sweat. Positive and analytical thinking can have a huge impact on your success with ballet. Making your ballet experience better in mind, body, and soul.

Too much to think about

I know that during class, especially ballet, that I need to think of a lot of different things at once. For example just at bar with the plie combo I have to constantly remind myself to turnout from my inner thighs, keep my shoulders down, widen my back and try not to hyperextend my knees. At times I think that I should just focus at two or three things at a time, but then I get corrected for the one thing I'm not thinking about. Then I change my list of things I'm going to think about and get corrected again. I know that my dancing is improving, but I feel like some days are two steps back from the day before. I feel more confident about correcting most of my habbits at the bar than in center. I try my hardest to keep turning out with my inner thighs but then I feel my balance is off and then my inner thighs stop ingaging. After getting my ballet midterm notes I got a pretty good idea of the big problems I should work on for the rest of this quarter and perhaps the rest of my life.

Radio and Juliet

Well I guess I am going to jump on the Radio and Juliet bandwagon. It was, without a doubt, one of the best shows I have ever seen. It contained all of the elements necessary to make a great dance show. The progression of the story was present, but in a much more abstract way then I am used to seeing with Romeo and Juliet, and it was very interesting to be able to interpret which dancer was which character, how exactly the story was progressing, and what each symbol meant. There was a lemon used as a prop, which was very interesting, and could be interpreted in many different ways, and I liked the ambiguity of it. Another aspect of the performance that added to the story was the use of the projections. The first projection used showed the ending of the story, and from there the rest of the story seemed to be told as a look back at what had happened, which gave the dance and story a new twist. I was also amazed at how well the music matched the dance and how it gave new meaning to the story.

Although all these aspects gave the dance a new perspective, the part that made it stand out in my mind was the dancing itself. It was great how precise the dancers were with their movement. The muscularity of the dancers' movement was really amazing and the movement appeared very strong because of it. This made me think about how we have been talking about using our muscles correctly in class and in the dance it really showed how important it is to be constantly thinking about engaging muscles. It was clear that the dancers were always using their muscles in their rotation, extension, and generally all of their movements. They were so committed to the movement and the performance that their confidence really helped make the dance such a success.

Lately I have struggling with putting all of my energy into my dance in class. I find myself putting a lot of thought into each movement, but somewhere between all of that thought and its execution seems to be a disconnect. I truly appreciate this class and the way it makes me want to dance to my fullest potential all the time, not just in ballet. Therefore, my goal for the last half of the quarter is to find a way to constantly push myself to dance full out at all times in all of my classes.

Hurts So Good

You know those things you do to yourself that are painful, but make you feel better afterwards? Maybe not so much painful, but uncomfortable? Like getting pressure point massage therapy, where it feels like the masseuse's hands are knifes, but once you get off the table it's like you've been transported into a new body. Or like cracking our necks, backs, hips, toes, everything, anything, just to get a little bit of pain relief. The good pain, that's the stuff I'm talking about. Welcome to Ballet II with Jessica Zeller. I don't think I've ever worked harder in my life. That frappe combination...are you kidding me Jessica? You're killing me. I love it. I work so hard in this class that my entire body is literally aching in every combination, my muscles are actually screaming, and I'm dripping sweat like an overweight man in a sauna. But it all feels so good. After class each day I feel rejuvenated, more awake, and happier.

When I think back to my old studio and my former teachers, I wonder if I had been lazy compared to today. Would I be better now if I had worked this hard then? Of course I would be. Maybe I needed other teachers using different analogies, and awesome Michael freaking Wall on piano and whatever the hell else he's playing to get myself in gear. (Shout out to all you amazing musicians- it's a blessing to have you all in class.) I know how hard I'm capable of working now, because Jessica pushed me there. That's something that will stick with me for the rest of my dancing career.

I love that in class Jessica tells us to go farther than we think we can, to keep reaching for that something extra. I've found this to be especially helpful, and it's something that I think about a lot now even in other technique classes. Whenever she says it, it reminds me of a quote that I like to refer to on the days where I feel defeated, or feel like I can't try any harder:

"Much good work is lost for the lack of a little more." -Edward H. Harriman

Thanks for kicking me in the ass Jessica, I needed it.

Another Radio and Juliet Post

While I hate to be the third person to comment on this performance, I thought it was so inspiring that I have to talk about it. I, like Liz, have not had the opportunity to see many ballets, and this one was very different than any I have ever seen. Although it was contemporary ballet, it was clear how much classical ballet training these dancers had.

One of the things I found so inspiring about this performance was how strong the female dancer was. Whenever you see a ballerina depicted, they are always beautiful and graceful, and insanely thin and frail. This ballerina was so strong, and every movement was done with strength. This made me think about what we talk about every ballet class, about all of the muscles that we are engaging and strengthening. Previous to coming to ohio state, i really didn't think about this-- it wasn't something my teachers talked about. We learned the steps, and the artistry, and were told to "pull up," but never discussed at length what this actually means. The fact that I have taken ballet for over ten years and am just now figuring out how to engage my hamstrings is not good. Watching this dancer has shown me just how strong ballet dancers are when they are working correctly, and has inspired me to work that much harder in my dance classes, as well as in strengthening outside of class.

I Just Wanna Dance

I think one of the most frustrating battles I constantly seem to fight in ballet class, aside from those of alignment, extension, flow, port de bras, and every other number of issues, is the battle of "performance" versus "just going through the steps." I feel like a huge hurdle, especially for me, comes in translating all the ideas we always have to be thinking about, embodying them, and then actually "dancing" through the movement.

I think on one hand, this idea is sort of related to that of putting flow in movement. On the other hand, I don't think flow of movement is the kicker in dance. I think the performative aspect might come from that flow, in addition to the total commitment to the movement, as well as breath, a connection to the music, and some sort of outward emotional quality (not melodramatic acting, just some sort of indication that there is a soul in that body). I believe all these qualities are part of ballet; they're part of "dance."

So why is it so difficult to "dance" in ballet class, when I feel like I can do it much more easily in modern class? Why do I just try to hit each position, shaking and trembling, hold it for as long as need be, and then move to the next one thinking, "I'm dying, I'm dying"? Why do I just stop breathing?

The reason I think this might be a key issue to figure out is because I wonder if maybe trying to "dance" in ballet class might actually help the positions come. Maybe I'll embody the movement more, and get the flow down. Maybe those other concepts, like alignment and extension might come more naturally. I feel like this is an issue for many of us in ballet class (though I definitely can't speak for anyone else). I think sometimes there's an unconscious distinction between "ballet" and "dance" that some of us tend to make, failing to realize that ballet is dance, and can possibly be treated so: not as some kind of inaccessible entity above us, but another form of technique we are trying to put in our bodies and master the best we can in order to take what we need and want from it for our dancing selves.

I would like to end with a very short and simple quote from "Friends," just because this thinking brought it screaming into my mind: "You dance a dance class." That is all.

Radio and Juliet

Last Thursday I had the opportunity to see Ballet Maribor's Radio and Juliet at the Palace theatre downtown and it was absolutely stunning. I will admit I haven't seen that many professional ballet performances but this was certainly one of the most unique that I have experienced (along with Les Trockaderos). The cast consisted of one fabulous female dancer playing Juliet of course and six beastly male dancers. The story itself was really interesting because it was so interpretive and unlike the original play that so many people are familiar with. As the title suggests, the music was entirely Radiohead songs which I really enjoyed. There were gorgeous projections and symbolism from the costumes and props like the lemon which could have been interpreted as the poison or just bitterness itself within the story. I found the choreography in the contemporary ballet by Edward Clug to be truly inspiring. The angles, quick isolations and incredible technical demand was inspiring to me as an audience member and a dancer. My only complaint was that at around 45 minutes in length it was far too short! Below I've posted a couple of my favorite parts. Hopefully they're not super illegal...
Anyway, after seeing wonderful shows such as Radio and Juliet I always feel compelled to push myself harder than ever in ballet or any technique class. I obviously do not have a future as a ballerina, nor do I want to have one, but I realize that it is vital to any dance career to put in ridiculous amounts of work in ballet class everyday. I love what Jessica said the other day in class about pushing your body farther than you think it can go whether or not anyone is looking. That's what shapes a successful career!
fight scene:
http://www.youtube.com/watch?v=w3hG1JvFVN8&feature=feedrec_grec_index

pas de deux:
http://www.youtube.com/watch?v=6uMINkADw5A&feature=related

Radio and Juliet a must see contemporary Ballet

So for this week’s blog we were given the freedom to blog about whatever we wanted! I just wanted to take the time to thank our teacher this quarter, Jessica for using this blog as a way for us to talk about ballet in a way that most of us have not in the past. I feel like I have learned a great deal just by reading my fellow classmate’s posts and responses and I also feel that I am not the only one anymore still working on principles of alignment and rotation.

But with this freedom of subject this week I would love to share with everyone a new found love of mine from Ballet Maribor, the national ballet of Slovenia. This past week they had a tour stop here in Columbus to perform one of their most famous and popular works, “Radio and Juliet.” I dragged myself to the performance, because even though I was really sick, Ballet Maribor hardly ever tours throughout the United States so there was no way I was going to miss it. It was so worth leaving my comfy warm bed. I have never enjoyed a contemporary ballet as much as I did this. The idea for it was based on using what the choreographer felt were the most crucial points of the original story of Romeo and Juliet (the ballroom/party scene, fight scene, secret marriage) and combining them with the amazing music of Radiohead. Characters were not given specific roles or titles and were able to change parts with each other so there was never just one man playing “Romeo” or “Mercutio.” I found the work to be very sensory and emotionally compelling. I had goose bumps throughout the entire performance and my eyes were completely glued to the stage and the dancer’s bodies. They moved with such strength and precision and at speeds that I could never see myself being able to perfect. One thing why I really loved this performance was their inclusion of video dance in combination with the actual live performance. I have a real interest in video dance and this is the first ballet that I have ever seen to include it. I was pleased on how cohesive each part of the piece molded together, each part from music, lighting, movement, costumes and film was a reflection on each other. I really wish that everyone from our class could have gone to see it. Its minimalism was very refreshing in comparison to other story Ballets that usually have huge scenery and over the top costuming. It reminded me how Ballet has progressed, like Modern dance to be a part of our contemporary culture.

Here are a couple clips that I think that everyone should take a look at. Both are some of my favorite parts of the piece. But of course you can find more on youtube! Happy Halloween everyone!

http://www.youtube.com/watch?v=XSD7nKIVavU

Sound quality isn’t the best on this clip but I still love this duet.

http://www.youtube.com/watch?v=6uMINkADw5A&feature=related