Role Of A Lifetime: Returning To Dance As A Mom

“How can they already have an opinion about everything?” Sara Webb, a principal dancer for Houston Ballet wonders about her 2 year-old son. “I never thought I would argue with Josh over which shoes he would be wearing to school at this age.”.

Toni Leago Valle, a Houston contemporary dancer and choreographer has been there. However, her son Dante is about to turn six, a new phase of childhood. In addition to feeling as though she’s finally retrieved her mind (“Its amazing what constant sleep deprivation does to your brain.”), Toni feels a sense of relief as Dante goes out into the world to find his own likes, dislikes, and friends. “I am no longer the center of his universe, which makes me very sad, but relieved. I’m sad that he wants to leave me so soon, but proud that my son is well-rounded and ready to venture out into the world. And I no longer feel guilty that I do something for myself, like dance.”

Pregnancy Is The Rehearsal

It’s not uncommon for women expecting or considering motherhood to focus heavily on pregnancy (see the previous article, Pas de Deux, for more on that). All of the fears, anxieties, and even joys get hung up in that anticipatory period before a birth. However, as you know and have read above, pregnancy is really only the beginning. Remembering her childbirth experience, Sara puts her thoughts in dancer terms “Pregnancy is that rehearsal process. It can be hard some days and easy other days. But the performance is so much bigger.”

Pregnancy, though, is a little like rehearsing Swan Lake for a presentation of something by Elizabeth Streb. I joke but, speaking from experience, parenthood is in a completely different genre and has its own vocabulary of challenges.

What remains the same however is that post-pregnancy and after delivery, the adjustments, uncertainties, finangling, and felicities continue for dancing moms.

Body Image

Most mothers feel self-consciousness about their post-pregnancy figure, but constant analyzing and scrutinizing of the dancer’s instrument can make this transition especially hard on dancing moms. “Your body does change,” confirms Sara, “and my fear was that I wouldn’t be able to look or dance the way I did before pregnancy and birth.” It was a fear that Toni shared. When asked what concerns she had about pregnancy, Toni answers, “That my body would never be the same. Its true, my body has never been the same. So what.”

However, Toni concedes, “Like most dancers, I am hard on my body image, and that got worse after having a baby.” Sara remembers her return to dance, “The worst was having to be partnered again, especially when I didn’t feel my lightest. I apologized to all of my partners for having to lift my extra “baby pounds” and was really embarrassed. I was very self conscience about the way I looked when I had to put leotard and tights on again.” Sara says that eventually these feelings went away. Toni also has come to terms with her new body. “I’ve learned to ignore myself and just keep on dancing.”

Adjusting To Motherhood

As is the case for Toni, many dancers perform and earn an income via a number of sources. She admits this was difficult at first. “The first two years were rough because I refused to slow down. I did not dance as much, but having a baby is like taking on a whole new life in addition to your old one. I was adamant about not leaving the dance world and at the time there were no other dancers I knew with children. I felt like I was embarking on a solo journey; having to figure out the mess of dance, jobs, and family by myself. ”

Sara sometimes questioned if dance was the right place for her to be. She continues to battle with what she calls “Mommy guilt” at times. “This is such a personal decision for every mother, but for me I knew this chapter in my life wasn’t over yet. There are still ballets I would like to dance that I haven’t danced and ballets that I would love to dance again. I have been dancing since I was 8 years-old. I have put so much time and work into my career. I know that I won’t dance forever, but I am enjoying it while I can. When I tell Josh that I have to go to work, he says,’Mommy go dancing.’”

Managing Family Time

Sara and her husband Ryan found a way to make things work with a little one when Houston Ballet went on tour last April to Spain. “My husband took time off from school and work to join me and help take care of Joshua.” In fact, having family and friends who provide backup and encouragement has been important for both Sara and Toni. “[Fellow UH instructors], Karen Stokes or Becky Valls watched Dante while I taught class, students played with him, [fellow performer] Joe Modlin was holding Dante backstage, [choreographer] Jane Weiner allowed Dante in rehearsals, [Dance Source founder] Christina Giannelli came to my house for meetings to make it easier,” says Toni, “the list goes on and on.”

“I have an amazingly supportive husband,” says Sara. “My work schedule can be pretty inconsistent at times. Every night we plan for the next day and how to make it all work logistically. Our goal always being to maximize our time together as a family.” Toni agrees that family time is important. “I knew Dante would be my only child and I have made a point not missing out on any of his life. I love dance, but I never want to look back and regret that I danced his childhood away. When I’m with him, I’m really with him.”

Change For The Better

There is no doubt that being a mom is tough, whether dancing, working, or not. No matter the age of the child, as it is with dance, there are always new trials to face. Reflecting on this, Toni adds, “Motherhood is challenging, but everything in life worth having is challenging.”

While the challenges might easily become the focus of discussion in regard to dancing moms, Sara and Toni are quick to point out the ways in which their lives have improved since becoming a parent. Sara continues her dancer analogy, “I remember after having Josh and holding him for the first time feeling like I had just had my best performance. This performance though, doesn’t end. Every day that I am with him and I get to be his mom, even on the tough days, is a great performance. And it is one that will last forever.”

Reflecting on how motherhood has positively affected her work on stage, Toni says, “My choreography has become so enriched since the birth of my son. I produced and performed CRACKED when Dante was 2 years old. The show was based on the realization that I am a good parent and my son sees me a a wonderful person.” Personally, she states, “My self-worth tripled when I saw myself through my son’s eyes.”

On May 7, 8, and 9, 2010 at 8:00 p.m. Sara Webb will perform with Houston Ballet at Miller Outdoor Theatre in Hermann Park. The free performances will feature three diverse works by three of today’s most sought-after choreographers. Call 281.FREE.FUN (281-373-3386) for further ticket information or visit www.milleroutdoortheatre.com.

On May 13-15 and 20-22 at 8:00 p.m. Toni Leago Valle will premiere her company 6º in a joint performance with Amy Ell’s Vault at DiverseWorks, 1117 East Freeway, Houston, TX, 77002. For more information, visit www.amyell.com or www.6degreesdance.org.

Have a wonderful Mother’s Day!

---

First of All — A Chat with Prix de Lausanne Winner Emanuel Amuchastegui

Anyone that has followed the careers of ballet dancers for the last 30 years recognizes that the annual Prix de Lausanne is a big deal. Since 1972 the international ballet competition has helped launch the careers of many of ballet’s brightest stars including Ethan Stiefel, Julie Kent, Leanne Benjamin, Carlos Acosta, Alessandra Ferri, Alina Cojocaru, and Christopher Wheeldon. Since its inception the goal of PDL has been to identify, promote and support young talent. Over 60 prestigious schools from around the world are associated with the event which accepts video entries from dancers aged 15-18 who are not yet professionals. From these applicants only a few are selected to convene during the snowy month of January in Laussanne, Switzerland to be judged during a dance class and stage performances of selected variations. Though all participants have the opportunity to audition and be seen by companies and school directors, the candidates are whittled down to a small group of finalists from which individuals are selected to receive scholarship for one of PDL’s partner schools or companies.

Receiving a record 226 applications from 36 countries, 2010 was a year of firsts for those involved in the Prix. Of the 81 chosen to travel to Lausanne, 43 young men were in the majority – something that has never before occurred in the competition’s history. Houston Ballet’s Ben Stevenson Academy sent three students. Liao Xiang was among the twenty finalists, Aaron Sharratt placed 5th, and for the first time the Academy had a first-prize winner in 18-year-old, Emanuel Amuchastegui.

Amachastegui was fourteen when he began his training on scholarship with teacher Sandra Racedo at Villa Carlos Paz, Córdoba, Argentina. In 2006 he went to the big city, Buenos Aires, to join the Teatro Colón school and Julio Bocca‘s school. That same year he became part of Bocca’s Company and toured all over Europe and Argentina. Then in 2008 he arrived in Texas to study at Houston Ballet’s Academy, becoming part of the pre-professional company, Houston Ballet II, in 2009. At the Prix de Lausanne, he performed a classical variation from August Bournonville’s La Sylphide and a contemporary solo, Caliban, from Cathy Marston’s The Tempest. In addition to winning PDL’s top prize, Amuchasetgui also brought home the “Audience Favorite” award. In the wake of his win, Amachastegui was kind enough to answer a few questions about his experience at the prestigious competition, his training, and his life outside of dance.

Congratulations, Emanuel. I’m sure you are still riding a current of excitement since your win at Prix de Lausanne. Can you describe what it has been like for you?

It has been an incredible experience! I learned so much from all the teachers and also from the other competitors.

You were one of three PDL finalists from Houston Ballet’s Academy. Obviously they are doing something right. If you could choose only one attribute of the school that accounts for your success (and the success of your peers), what would it be?

I will say “passion” because that’s what all the teachers put every single day into classes and rehearsals. Also the students have to give every day in order to improve and get results.

Were you nervous in the preparation for or during the competition?

Actually I wasn’t nervous at all. I was very comfortable. I think it’s because I wasn’t there to win, it was more like a window for me to show myself and to meet different teachers, experience different cultures and strengthen my technique.

It must have been incredibly rewarding to have your parents present in Switzerland. I read that you had not seen your father in over a year. How important has his support of your ballet career been?

He always supports me in everything, same as my mom. They both were there for me and respect the decisions I have made. I’m very glad because I know that there are some people that don’t have such support from family and it’s really important. It makes me happy knowing that they are there and that gives me the strength to keep pushing and follow my dreams.

It’s been said over and over what a gracious competitor you are. This, in addition to your performance, was likely a factor in your selection as Audience Favorite. What would you say to those who feel intensity in competition means having a ruthless attitude toward others?

I don’t know.. that’s a hard question. I think I am always myself, that’s the way I’m am and I think that always brings the best out. I never felt competitive with the other dancers, overall it was very nice energy at the Prix. Maybe the answer is to be yourself and learn from others and from your own errors.

You are known, among other things, for your ballon in jumping. This was evident in the classical variation you performed in competition. You seem to have a natural talent for achieving “hang-time” in a jump, but we all know even natural abilities must be refined. Has there been an image or instruction given to you along the way that made a big difference in your jumps?

Well, I never knew that I could jump that much! [laughs] My teachers were always there and they just know what to say or what to do in order for me to give 100% every rehearsal. But I think that when I dance with my heart, everything else disappears and I am able to do things I never thought I could.

Do you have a preference for either classical or contemporary?

The Bournonville style goes well with my body. I focus a lot more on my contemporary because it has always been my weakest style. Since it’s something I have to work hard at I always enjoy it and try to do my best. When I started ballet it was because the magic of dance (that moment when I’m on stage and it’s just me dancing, it’s magical). Dance makes me forget everything else and be in the moment. I try to express that to the audience and I think when I achieve that, when the audience receives all that I am feeling in that moment on stage, it is beautiful. The classical is easier for my body and I really love it too, but with the contemporary I can show myself.

During the probably very limited time you have when you are not studying at HB’s Ben Stevenson Academy or dancing with HBII, what do you enjoy doing?

I love cooking with my roommates! Watching a movie and having fun. Going out with my friends it’s something that on the weekend is always a goal. Also I spend a lot of time talking to my family and friends in Argentina.

What is next for you now that the competition has ended and you have emerged a prizewinner?

Well, I don’t know yet. But I know how hard I’ll work and how much passion I’ll put towards dance. Of course dancing abroad means missing my family, but dancing is what I love to do and they are all supportive of me and I’m the happiest person knowing that.

---

Prix de Lausanne broadcast much of its competition online this year, including a behind-the-scenes video blog. You can view Emanuel Amachastegui and other participants at prixdelausanne.tv. Houston Ballet’s blog also provided an insider’s peek at the competition via guest-writer, Shelly Power who serves as associate director of Houston Ballet’s Ben Stevenson Academy and was selected as one of nine judges for this year’s Prix. You can find her six-post series here and don’t miss her heartfelt final wrap-up of the competition.

Watch Amachastegui’s Classical Variation on YouTube: Part 5 – 0:12

Contemporary Variation on YouTube: Part 9 – 1:15

The timestamps for Houston Ballet Academy’s other finalists can be found here.

From Page to Screen to Classroom

Mao’s Last Dancer

Watch on YouTube

At age eleven Li Cunxin’s life was changed when a delegation from Madame Mao’s Beijing Dance Academy selected him to be taken from his home, a village near the city of Qingdao in northern China, and brought to Beijing to study ballet. In 1979 at age 18 he was selected to perform with the Houston Ballet as part of a cultural exchange. After falling in love with both America and an American woman, Li defected to the United States, and rose to fame as one of the world’s ballet stars.

Li Cunxin (pronounced Lee Schwin Sing), performed with Houston Ballet for sixteen years and in 1995 became a principal artist with the Australian Ballet. In 1999 he retired from ballet, supporting his wife and their three children as a stockbroker. In 2003 his autobiography, Mao’s Last Dancer, was published and became an instant success, remaining on Australia’s bestseller list for over a year and a half.

In 2004, Houston Dance Critic Molly Glentzer in her review of the book for Dance Magazine stated, “Li’s tenacity is an inspiring lesson to any reader, dancer or not. It’s the stuff of which great movies are made. Expect this one soon, and bring Kleenex. But read the book first.” A handful of years later, Li’s story is now a motion picture. It has already done well in Australia but unfortunately distribution in the U.S. is still speculative. The film is directed by Bruce Beresford (Driving Miss Daisy), written by Jan Sardi (Shine, The Notebook), and choreographed by Graeme Murphy and his creative associate and partner, Janet Vernon.

See also the book review at Ballet.co

Stars of the Film

Though the production team is largely Australian, the filmmakers of course had to look worldwide for the right cast. The movie’s plot spans several years, requiring not one but three actors to play Li Cuxnin as a boy, a teen, and as an adult. The Birmingham Royal Ballet’s Chi Cao was selected to play the adult Cuxnin. His shared history of having trained at the Beijing Dance Academy and known for his virtuoso performances, Cao was an natural choice for the role.

Cao appeared last month as a guest artist with the Houston Ballet, playing the Nutcracker Prince for four performances in their annual production. HB blogged about it here and Cao talked with Molly Glentzer for the Houston Chronicle about his film debut.

Other notable actors in the film include Amanda Schull (Center Stage) and Bruce Greenwood as Ben Stevenson (Captain Christopher Pike in last year’s Star Trek). You can see interviews with more of the cast and crew at the film’s website and YouTube channel. Read a review of Mao’s Last Dancer via the Hollywood Reporter [link].

Classroom Applications

Li Cuxnin’s story is available in multiple formats. The picture book version “focuses on two stories from Li’s childhood that hold a particular appeal to young children – tying wishes to a kite and a fable told to a young Li by his father of a frog in a well. Both stories illustrate how as a child Li longed for a life away from the hardship of his village.”

[Read more at Suite101: The Autobiography of Li Cunxin: Book Review of Mao’s Last Dancer and The Peasant Prince].

Cuxnin’s autobiography Mao’s Last Dancer is also available in a Young Reader edition for teens. Teachers might use any of this literature to explore movement or develop choreography with students. Below are a few of the major themes presented in these stories about Cuxnin’s life. They might be summed up and explored as follows:

• Overcoming Hardship
  • Challenge students with a difficult phrase or combination. Reflect on Li’s perseverance despite hardship and ask students to come up with a plan (see this post on goal-setting with dance students) for improving or learning this combination in a way that addresses both the physical and mental (or emotional) battles that must be overcome.
• Oppression vs. Freedom
  • Improv or create a movement study of bound versus free flow in movement.
• Chinese Culture and History
  • Research Chinese Dance and the influence of ballet on the art form. View video or read about the Chinese Cultural Revolution. You may find these teacher’s notes from Penguin Books helpful [download the pdf]. Choose movement or music that reflects your findings.
• Adapting to Change
  • Coming to Texas in the United States from China was a big transition. Have students create two lists of adjectives – one describing Li’s life in China, the other his life in America. Have them improvise or develop movement or actions that build upon these lists.

What are some other ways you might tie-in the books or movie in your classes?

Have you seen the movie? What did you think?

Sweet Exchange with a Sugar Plum Fairy

Houston Ballet unveiled Ben Stevenson’s production of The Nutcracker over 20 years ago. Since then it has become an audience favorite in Houston and beyond. Scores of ballerinas have made their Act II appearance as the Sugar Plum Fairy. This year, corps de ballet member Elise Judson will have her opportunity to shine in the role.

A native of Sacramento, California, Elise joined Houston Ballet in November of 2007. The 20-year-old has been featured in Stanton Welch’s Falling, the first pas de deux in Antony Tudor’s The Leaves are Fading, and recently performed as a member Twyla Tharp’s “bomb squad,” the red-pointe-shoe clad dancers from In The Upper Room. She took a moment to chat with me about her upcoming performance in The Nutcracker.

Dance Advantage: Elise, you’ve danced the role of Clara with Houston Ballet but this is your first turn as the Sugar Plum Fairy. What do you find most exciting about dancing this role?

Elise Judson: It is every little girl’s dream as a dancer to perform as the Sugar Plum Fairy and I am so excited to take on this role. I love the technical challenge that it poses for me as a dancer. This will also be the first full length, classical pas de deux that I have performed on stage, which is another milestone for me in my career. There are so many new and exciting things to look forward to performing this role. I can’t wait!

DA: Like most ballet dancers, I’m sure your training provided many opportunities to perform The Nutcracker. Do you remember your first time dancing in this holiday staple?

EJ: The Nutcracker is the first ballet that I remember watching as a child, which makes it a meaningful ballet to me. It was also the first production I performed in as a child with a professional company. My first role was one of Mother Ginger’s Children in Act II at age seven with the Sacramento Ballet. Later in my training, I also got the chance to perform the Lead Flower Pas de Deux and the Snow Pas de Deux in my first two summer intensive programs here at Houston Ballet.

DA: Were those experiences influential in your pursuit of dance?

EJ: Performing at such a young age in a huge theater with professional dancers helped to start my love of performing, as well as making me more comfortable on stage early on in my training. Also, it was after participating in those two summer programs in Houston that I realized I wanted to pursue dance professionally.

DA: How does it feel, knowing that your performance could inspire the next generation of dancers?

EJ: Incredible and surreal! I never dreamed that I would get the opportunity to perform the role of the Sugar Plum Fairy so early in my career. I know how much The Nutcracker inspired me to pursue dancing, so to know that I could have the same effect on children in the audience is truly incredible.

DA: The are so many renderings of the holiday classic. Each company puts its own spin on the tale. What is special about this version of the ballet?

EJ: In this production, there is something magical and joyous for every age. Magic tricks, flying cooks, and snow fill the stage with excitement and wonder. There is also the beautiful music played by the Houston Ballet Orchestra, as well as the incredible sets that bring the show to life. Not to mention beautiful dancing in a wide range of styles by the members of the company. It is an incredible show.

DA: Your older sister Carolyn is a dancer with Texas Ballet Theater (the North Texas ballet company helmed by Ben Stevenson). Both companies perform this particular Nutcracker, have you both danced in this production?

EJ: Yes, we’ve actually performed most of the same roles! My sister trained at Houston Ballet’s academy as a teenager and performed in Houston Ballet’s Nutcracker, as well as now performing the same production at Texas Ballet Theater. It would be fun to get to dance in it together!

DA: Houston Ballet is celebrating its 40th birthday this year but you are celebrating an anniversary as well. You joined the company two years ago. Which experiences have inspired the most growth for you personally during this time?

EJ: It is amazing that it has already been two years since I joined the company. I have been very lucky to perform so much already in my career with Houston Ballet. I think I have grown the most when I’ve been involved with the creation of a new work. Being in this company, I am lucky to get to perform in several world premieres each season. Our artistic director Stanton Welch is great about letting the dancers develop our own characters and have input when he is creating new works. I think that it is this creative process that has helped me to know who I am as a dancer as well as push myself to find new styles and personalities in my dancing.

DA: What are you most looking forward to in 2010?

EJ: I am most looking forward to working on and performing Stanton Welch’s new production of La Bayadere. Performing in new works is one of my favorite parts of being a dancer at Houston Ballet. La Bayadere is also a new production for me, in that I have never performed in the full length version of it. It is an extremely challenging production and I can’t wait to work on it.

DA: I’m sure you dreamed of dancing in a professional company long before it happened. If you could offer one piece of advice to young students with visions of Sugar Plum Fairies dancing in their heads, what would it be?

EJ: Love every minute of it. Ballet is a difficult, but very rewarding art form. Years of classes and rehearsals can be tedious and strenuous, but when you get the opportunity to take your bow on stage in front of an audience and hear their applause for you, there is nothing more rewarding. It is all worth it!

---

Houston Ballet will give 35 performances of The Nutcracker in the Brown Theater at Wortham Theater Center in downtown Houston. Tickets may be purchased by calling 713-227-2787 or logging on to www.houstonballet.org.

Gracing the Stage — My Interview with Houston Ballet’s Joseph Walsh

I do a bit of writing and reviewing in Houston and it has been my pleasure to have the opportunity to interview some of the area’s finest dance talent. I don’t always cross-post my stuff here but when I get to talk with someone about their training and experiences, I like to share that with Dance Advantage readers. Last season I interviewed graduating HBII dancer Garrett Smith. This season I was fortunate to speak with one of Houston Ballet’s rising stars. Enjoy!

Houston Ballet corps de ballet member Joseph Walsh is having a great season so far.

This summer it was announced that he had been recognized as an emerging talent in dance with a Princess Grace Award. As a recipient he’ll be joining the esteemed company of past winners such as Ethan Steifel, Robert Battle, Gillian Murphy, as well as five previous winners from Houston Ballet (Yin Le, Carlos Acosta, Tiekka Schofield, Li Cunxin, and Martha Butler).

Now, hot on the heels of a performance in Manon which kicked off Houston Ballet’s 40th Anniversary season,  Walsh will perform this weekend as the company unveils Without Boundaries. The program features three works that traverse that sometimes tenuous line between classical ballet and modern dance and will include the world premiere of Artistic Director Stanton Welch’s Elements, as well as company premieres of Twyla Tharp’s In The Upper Room and Jiří Kylián’s Falling Angels. Despite his busy schedule, Walsh took a moment to speak with me about developing as an artist, performing classical versus contemporary works, and attracting young audiences to ballet.

Dance Advantage: First of all, congratulations on being honored with a Princess Grace Award.

Joseph Walsh: Thank you so much! This has been quite the whirlwind start to the season. I cannot say enough about how honored I feel to have even been nominated for this award by our artistic director, much less how amazing it feels to receive it! I will be attending the award ceremony in New York City next month, which is extremely exciting.

DA: I read your essay which was part of the application process for this award and was impressed with your candor. You describe the feeling that the stage sometimes feels safer than the studio. It is said that we are our own worst critics, do you think that is particularly true for dancers?

JW: Absolutely!  Dancing professionally, there is not as much instruction or coaching on a daily basis as there might be in the school in terms of really showing the dancers exactly what to do.  In that respect, self-critique is important because there are so many company members and our instructors can’t possibly focus on every individual as much as they would like. As a student we become accustomed to getting critique in class, but in a company you are in charge of your development; it is up to the dancer to understand how their body is working, what he or she needs to work on.  The mirror is sometimes the tool that helps us to understand that.

“The lesson for me to learn is how to bring the stage to the studio. It is finding the same level of confidence that I have on stage even with all of those “faces” in the studio standing before me, including the one I see in the mirror.” — To view Walsh’s essay visit Houston Ballet’s blog.

DA: You give examples of lessons you are working to internalize so that you can more fully trust your instincts as an artist. Are there steps you take or things you say to yourself to stay focused and confident when doubts creep in?

JW: Although I am still figuring out better ways to keep my focus throughout the process of rehearsing and performing in roles, something like the Princess Grace Award has really shown me that I can have confidence in myself and in the choices I make in classical or contemporary roles, so long as I deliver them in a way that I understand. Also trying to really open myself up to feedback from the artistic staff and other dancers from Houston Ballet has helped tremendously.

DA: In your essay you also mentioned overcoming a fear of leaving home to attend a boarding school for the arts in Massachusetts. I’m a Pennsylvania native and to my younger self, I might well have gone to school on the moon as to leave home for Boston. How old were you?

JW: I was 15 at the time.  I knew ballet was what I wanted to do.  I also knew I had to leave home to achieve my goals in dance by getting exposure to the best training I could. The initial fear was really a perceived fear.  Once I became fully involved in the program there was no time for fear, only hard but exciting work and a chance to perform in a significant way.

DA: Where did your interest in ballet originate?

JW: I have been attached to ballet for virtually my whole life, starting at age three when I was exposed to it while my sister was dancing.  It is actually hard for me to think that there was a time in my life when I did not dance. My interest in dance flourished over the years through intense training and exposure to amazing instructors and great people in the profession.

DA: You are certainly flourishing at Houston Ballet, this weekend you’ll be dancing in two of the three works on the Without Boundaries program; Stanton Welch’s world premiere of Elements and Twyla Tharp’s acclaimed In the Upper Room. Can you tell me a bit about your role in Elements and how it differs from the more classical works you’ve performed?

JW: I am the Element “Air.”  As Stanton Welch recently explained to us, Elements is a minimalist ballet piece, where character is not conveyed so much through acting, but through dancing.  When I contrast that to classical ballet pieces where there is a story line, the dancer thinks of giving more in terms of acting. In Elements we are trying to give exactly what the choreographer wants.  If we give any less or any more, it will lessen the integrity of the piece.

Elements — Choreography by Stanton Welch

Dancer: Ian Casady // Photo: Pam Francis

Dancer: Jonathan Davidsson // Photo: Pam Francis

Dancer: Peter Franc // Photo: Pam Francis

DA: In the Upper Room originally premiered in 1986 and is one of Tharp’s signature works. Why is it significant for Houston Ballet to finally have a Tharp piece in the repertory? And how is this opportunity significant for you personally?

JW: In my view, the introduction of Tharp’s work continues the efforts to bring to Houston Ballet world-class choreography.  Tharp is in that category and it is great to have her work as part of the resume of the company. For the same reason, it is just as important for a dancer personally, to dance in pieces of as many great choreographers as possible.

DA: The work can be pretty fast and furious, driven by the Philip Glass score. What has been the biggest challenge in learning and executing the choreography?

JW: As in most Philip Glass scores it is minimalist, but with much repetition.  Tharp also went along those lines In the Upper Room by introducing a lot of repetition and speed to go along with the score. There are many moments throughout when I will almost lose my place in either the choreography or the music purely because of the repetition in both. It can be a little disconcerting at points, but as we have started to put the piece on stage it has become much easier to handle.  It is an exciting and challenging piece.

DA: Do you think works like those being premiered in Without Boundaries can serve as a gateway for younger audiences to discover and delve deeper into the art of ballet?

I think what you are saying is really the basis of our company at this point; keeping the integrity of the art form while improving on it by bringing new life and energy through these types of pieces.

DA: Offering a little incentive doesn’t hurt either. In fact, Houston Ballet has been trying some new things lately to reach out to a younger audience. They recently launched their Young Professionals program for the “under 40″ crowd. And they have Under 25 Friday night performances for which 18 to 25 year-olds get a steal on tickets – $15 for one or $25 for two. I don’t think it is a secret that patrons of ballet and often dance in general are a more “mature” crowd. Why do you think it is harder to get younger “butts in the seats?”

JW: Young people are simply not as exposed to ballet as they are to popular sports and other forms of entertainment.  There is not the same level of cultural awareness of ballet.  Many younger people still see ballet as a stale art form. This is one reason Houston Ballet is doing exciting and fast paced ballet pieces like the triple bill next weekend.  And of course, approaches like the Under 25 program are helping to make it much more affordable.

---

Originally from Pennsylvania, Joseph Walsh trained at Walnut Hill School for the Performing Arts near Boston, American Ballet Theatre and Houston Ballet’s Ben Stevenson Academy. He was a member of Houston Ballet II prior to joining the professional company in 2007, and since then has been featured in a variety of contemporary and classical roles including Lensky in John Cranko’s Onegin, Charles d’Artoise in Stanton Welch’s Marie, and William Forsythe’s The Vertiginous Thrill of Exactitude.

Houston Ballet will give six performances of Without Boundaries at Wortham Theater Center in downtown Houston. Tickets may be purchased by calling 713 227 2787 or by visiting www.houstonballet.org

Way More Than Dance: Anaheim Ballet on YouTube

Video sharing has become a massive part of online culture. YouTube is ranked as the third most visited site on the internet behind Google and Yahoo. In addition to the thousands millions of amateur dance videos posted on YouTube, many professional dancers, dance studios, and dance companies have joined the fray, adding their own videos to YouTube.

One ballet company in particular, however, has taken YouTube dance videos to another level. While many organizations focus solely on the performance, Anaheim Ballet has been prolifically creating video podcasts which feature way more than dance. In the almost two and a half years they’ve been podcasting, nearly 100 videos have been posted. These include profiles of past and present company members, “Ask a Ballerina” sessions which answer viewer’s questions, rehearsal and class footage, unique montage videos, and every once in a while some excerpts from their repertory. They raise awareness of important issues, they display ballet as an artistic and athletic art form, and they do it all with flare and personality. It’s relevant, it’s entertaining, and it’s smart! Anaheim Ballet’s video sharing initiatives have certainly enhanced their presence online and the presence of ballet as well.

Here is just a sampling of what you’ll find at the Anaheim Ballet YouTube Channel:

A fun explosion of stop motion

Ask a Ballerina

Raising awareness about genocide in Rwanda

Alum Aria Alekzander – now with Houston Ballet (woot!) – her parents are the artistic directors of Anaheim Ballet. Read a little about Aria’s dancing family and her love of the Nutcracker at Houston Ballet’s blog.

The silly side of things… don’t miss the blooper reel for this one!

• You may see more videos and subscribe via Anaheim Ballet’s YouTube channel or view the videos at www.morethandance.com.
• Want to purchase the original music that accompanies the videos? Check out morethandancemusic.com or search iTunes® for Anaheim Ballet.
• If you’d like to learn more about Anaheim Ballet, visit the website. Or, connect with the company on MySpace for additional news, updates, and behind-the-scenes footage of podcast director, Evan Rosenberg in action.

A Young Man That Dances — Exclusive Interview with Garrett Smith, Houston Ballet’s Ben Stevenson Academy and HB II Graduate

At 20 years old, Garrett Smith is a recent graduate of Houston Ballet’s Ben Stevenson Academy and already an accomplished performer and choreographer. As a member of Houston Ballet II, Houston Ballet’s pre-professional company, he has toured internationally to places like Budapest and Japan. In addition, Garrett has set four works on HB II, often doing double duty as dancer and dance-maker.

Even before being awarded a scholarship to the Academy in 2006, Garrett’s ambition and dedication won him numerous honors. Originally from Riverton, Utah, he has performed off-Broadway and in the opening ceremonies of the 2002 Summer Olympics. Garrett is a national title winner of the New York City Dance Alliance competition, awarded in the Junior category at age 13 and selected as Teen Male Outstanding Dancer at 16. And, as an NFAA youngARTS winner, he was one of 20 students selected as a Presidential Scholar in the Arts in 2007. And those are just his dance achievements!

Clearly, on the fast-track to a bright future, Garrett took some time to talk with me about his early training as a young man in dance, his passion for choreography, and what lies ahead for him.

Dance Advantage: You began dancing at age 9 but you didn’t start with ballet. What prompted you to try dance in the first place and why did you decide later to give ballet a try?

Garrett Smith: Sports just weren’t doing it for me so I tried tap, jazz, and hip hop. I loved it. I was silly at age 9 wanting to be famous. I thought if you were a jazz dancer, it meant you were dancing on screen with the Utah Jazz [laughs]. I tried ballet because the studio I was attending was dying down and I switched to this great ballet school in Utah called Jacqueline’s School of Ballet. I changed so much there, as did my opinion of ballet. I guess I never knew what ballet really was until I was in a correct ballet academy.

DA: As a young man with an interest and passion for dance, have you ever experienced teasing or taunting by peers or pressure to not be involved?

GS: Ugh, yes! From 3rd grade until 9th, it was pretty bad. I came home crying some days. But, through the years I improved and realized that I was going far at a young age. I knew what I was doing with my life, unlike the boys who called me names.  The teasing made me work harder to prove them wrong and to be successful. When I went to Europe at age 13, I realized that they were so wrong because I was having so much fun dancing.

DA: In your opinion or experience, how important is it that boys have male teachers to inspire and encourage them?

GS: It is very important. In my training it made the world of difference. I had to leave my home to train in a place where boys were better than me. It was nice when I was the only boy getting all the attention but, at some point, you need competition to compare yourself to. And you need teachers that understand a male dancer’s body and how a man needs to dance on stage – jumps and partnering in particular.

DA: How did you balance school and other activities as your study of dance intensified?

GS: I was born into a religious family with great values. My mother taught me that I am a young man that dances, not one being raised to be a dancer. As my dance training became more serious throughout high school, I tested out of gym classes, left school early to drive down to rehearsals, and I did my whole senior year independently. I think that a normal upbringing in public schools, developing social skills, and being raised with values and good morals helped me balance my life as a young man and dancer.

DA: Do you feel you missed out on anything by making the choice to finish your high-school education from a distance?

GS: No, I don’t feel I missed out on anything really. I think that I was pretty normal for going to most all of my schooling, church activities, and doing drama and musical theater performances outside of school. My drive comes from my love of art and doing what I do best. Wanting to get better and better and seeing the improvement over the years, the amazing places I go and friendships I make, gives me the motivation to continue on this path to becoming a dancer.

DA: You’ve been an honored recipient of awards in nation-wide competitions and arts programs. As a result you’ve worked and taken instruction from some of the world’s most renowned professionals. Not every dancer reading is interested in pursuing dance at this level but many do participate in conventions and competitions. How might students at any level make the most of master classes or other experiences which take them beyond their home studio?

GS: When you are at any type of dance convention, it’s important to watch others and observe how the teachers move their bodies. Listen to what the teachers’ motives are behind the steps. Also, don’t be afraid to get in front of the group of dancers and show yourself. Be confident but be open to correction and adapt to change. The right way to dance a step might not always be what you learned at your local studio.

DA: What did you take away from your experiences at summer programs like School of American Ballet and Pacific Northwest Ballet?

GS: I was introduced to great dancers from all over the world. I learned a lot about myself. I learned that I was a little behind in my men’s technique and partnering. I was so skinny and weak but, I was more versatile than most any dancer I came across because I had opened myself to a wider vocabulary of movement. Maybe they could to a triple tour, but I could tap, sing, play the piano, choreograph a ballet, I knew hip hop, and was successful with most any contemporary ballet thrown at me.

DA: What advice would you give to a dancer that is seriously considering either a short-term or long-term continuation of their dance study away from family and friends?

GS: I think that when you are young, it’s scary to think of moving away and being alone, but now I wish I could have moved away to train earlier! Away from my family, I depended on myself to cook, do schooling, and it was all up to me in the end. Nobody but me was getting myself out of bed to class. That’s how I knew that I was really serious about ballet!

My advice to other young dancers is to just be honest with yourself. Don’t go for any other reason than for yourself. Friends should not be the reason you are going, you are not there to party, you are there to work. If you know you want this, then when you are mature enough and ready, go to the schools that will benefit you the most, even if it happens to be in another country.

DA: You were awarded a scholarship to attend the Houston Ballet Academy through Youth America Grand Prix and you’ve continued with your study there. What’s made the Academy a good fit for you?

GS: Over the past three years I have become a strong partner. I did the pas de deux in the Spring Showcase this year which means so much to me because I never thought of myself doing this kind of role before. I had other offers before Houston, such as PNB, and the Kirov, but I decided Houston Ballet’s Academy would be the best fit because of the diverse training that is offered. They have great men’s technique here, really good jazz and modern class, character, pilates, and a very well taught pas de deux class.

Most important for me has been the multiple choreographic opportunities that have come along, for which I am so grateful. It all started with the Houston Ballet’s summer program workshop, American Festival for the Arts (AFA). You have two weeks to work with dancers to set your own piece. You even get to costume it and light it on stage. It is really cool. This is what made me realize, “Wow, I love this!”

DA: Your work has become a fixture at the Academy’s Spring Showcase. Tell me a little bit your last piece, “Of Opposing Nature,” your creative process, and inspiration for the work.

GS: Jiri Kylian, David Dawson, and Stanton Welch are all great choreographers in this generation, and they all inspire me. For this piece I experimented a little bit more with lighting ideas. There are 7 movements in the ballet and I have used amazing music by Vivaldi. The work is for 5 men and 3 women. There is a conflict between the men and women, as well as connections, diversity, discovery, and subtle romance. After working long and hard for the piece this year, I was very excited for its premiere.

“..unique with an appealing unpredictability. The dancers slid and skidded along the floor, carving through the space with large, dynamic movements, and then a flick of the wrist, a moment of measured restraint or stillness, swiftly changed the mood. An unusual costume device utilized by the five male dancers featured fabric extended at the neck like a scarf. Whether stretched over the face or ferociously wiggled, its use illustrated Smith’s creativity and willingness to take risks.” – from my review of the 2009 Spring Showcase

DA: Okay, big question, I heard you may audition for So You Think You Can Dance? Is this still a possibility?

GS: I won’t be able to audition because I now have a contract for the 2009-2010 season with Houston Ballet!

DA: Assuming you’re a regular viewer, what do you think is different about watching dance on television as opposed to seeing live dance performance?

GS: I still always watch my friends dance on the show and never really miss an episode. That is the kind of dancing I grew up with. It is just disappointing that it has become so much about hip hop and sex appeal. I think ballet needs to be better respected and given some credit on the show, and done correctly. I guess that is what is different about America watching dance on TV rather than live.

DA: You’ve done so much for someone a mere 20 years old. Where do you see yourself in 5 years?

GS: I see myself in my dream company, dancing awesome parts in amazing ballets, working on new masterpieces, hopefully for Houston Ballet and other companies. Maybe getting married [laughs].

If there’s anyone that could do it all…! Thanks, Garrett.