Dance Advantage » sytycd

Some Dreams Are Worth Fighting For

Guest Contributors — Tue, 29 Nov 2011 14:32:10 +0000

…even when the going gets really rough. And Melanie Doskocil is definitely one of the tough that gets going, as you’ll see in this installment of Ballet’s Un-X-pected Lesson Files. Her story about a very unique work experience will have you asking “What am I willing to fight for?”

I was really fortunate that the last dance work I did was as a dancer for Mia Michaels’ RAW.

I had been dancing for Odyssey Dance Theatre in Utah and Mia had come to choreograph a few works for us. This was before SYTYCD. She was a quickly rising star in the contemporary dance world, was very talented and gaining fame as a choreographer. Her company had recently disbanded and she needed a group of dancers to represent her on a European tour.

From my earlier experience with her, I knew she was a tough customer.

Her vision for the dances she created was brilliant and she knew with absolute clarity what she wanted her dancers to do. Sometimes what she wanted was nigh on impossible to produce; sometimes it forced us dancers to push through our self-imposed limitations. I knew she would replace a dancer in a choreographic work faster than a petit battement if she didn’t see a dancer breaking through their own boundaries. But even when what she saw in her choreographic mind was impossible to achieve in reality, she would give you a chance, if you asked for it. She was brutally honest about what she saw or didn’t see in a dancer, and if a dancer thought too highly of their abilities, she would quickly challenge the ego with a series of intricate complicated movements that she could execute flawlessly.

I knew that I had done some of my best work under her critical eye and sharp tongue. The 10 of us newly recruited dancers had all worked with her before and thought we could handle her ecentricty, her intensity, and the brutal harshness of her wit.

What I did not know was that my limits for just about everything were about to be tested.(...)

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Talking Fusion, SYTYCD, and Futures with Dwight Rhoden

Nichelle (admin) — Thu, 13 Oct 2011 13:24:52 +0000

Did you know, dear Reader, that in addition to Dance Advantage I write about dance happening in Houston? If you follow me on Twitter or perhaps Facebook, you may.

This Friday, October 14 Houston’s Society for the Performing Arts will present Complexions Contemporary Ballet, the 17-year-old company founded by former Ailey dancers Desmond Richardson and Dwight Rhoden.

You may also know their work from So You Think You Can Dance:

I previewed the event for Dance Source Houston. The interview with Dwight Rhoden below… ahem, rocks! And I wanted to share it with you. Enjoy!

Rise. Photo by Jae Man Joo.

Complexions Contemporary Ballet Ready to Rock Houston

What does a dance company have in common with U2, one of rock music’s biggest acts?

With a big smile on his face, Dwight Rhoden quips, “I think dancers are rockstars”.

Rhoden’s New York City company, Complexions Contemporary Ballet, is about to rock… and roll through Houston on October 14 with a program that includes musical accompaniment big and bold enough to blow off the Wortham’s roof: The Rolling Stones, Roy Buchanan, “The Hallelujah Chorus,” and, of course, U2. The evening will close with Rise, a work set entirely to tunes from the Irish rock band’s catalog.

Rhoden gets no argument here about the exceptional qualities of dancers. However, as I see it, the troupe he founded with dancer Desmond Richardson in 1994 is like U2 in other ways, too. Both have accessibility and wide appeal, traits which some in their respective fields dismiss as if it were harder to be obscure. Both groups resist being bound by or excluded from the circles of commercial and “high” art. Both even have a frontman (in Complexions’ case, Richardson) who can command a stage like few others.

Now in his 40’s, Richardson is retiring as a touring dancer at the conclusion of this season. Still at the top of his game, he’s been Dwight Rhoden’s muse since their days in the Ailey company. On Saturday, Richardson will perform CLICK, a solo choreographed by Rhoden about a man at a crossroads just before everything “clicks” into place.

Below, Rhoden sets the stage for this new work, gives his spin on So You Think You Can Dance, and illustrates why Complexions exemplifies the times.

Dance Source Houston: Tell us about CLICK and its significance in light of this being Desmond’s last year to tour.

Dwight Rhoden: Desmond is a dance legend and a national treasure. His artistry is on a continuous quest to find more. He has danced and I’ve created just about every type of work one can imagine for him. At this time in his journey I felt the dance icon, Desmond should play with the music icon, The Rolling Stones. The significance of CLICK for him is he’s playing a character that is a bit of a clown and has many contrasting qualities. Like Desmond, it’s all about fun now.

DSH: Rise looks like a lot of fun. Was there ever any doubt that movement could compete with the anthemic sounds, lyrics, and familiarity of U2′s music?

DR: My inspiration for Rise was the anthemic qualities of the music. I never once had any reservations about creating to it. U2′s music rocks and it dances to me. I had a visual movement vibe in my head every time I listened to their music.

DSH: You’ve choreographed over 80 ballets for Complexions, not to mention works set on other companies. You must occasionally stumble into familiar territory during your artistic process. What do you do when you find that you’re repeating yourself?

DR: I have developed a signature style to my work over the years but I always try and look for new possibilities and a fresh take on things. However, when I feel I need to stretch more, I look to my dancers to help influence the work, as well as using basic tools of the craft of choreography and composition.

DSH: Your company dancers come from many different countries. How does this fusion of languages and diverse cultural backgrounds affect the rehearsal process?

DR: It’s always fun to watch the dancers at first as they communicate and try to understand each other with various accents. Our Associate Artistic Director,

Jae Man Joo runs rehearsal with his thick Korean accent, meanwhile the dancers are speaking Spanish, Italian, Russian, French. That diversity lends itself to a very interesting creative process. Everyone has such a different back-story, as well as cultural differences that can only bring dimension to what is being created. I’ve been around the world but feel I’ve learned so much from my dancers.

DSH: The work you do is also a fusion. Though billed as a contemporary ballet company you blend many dance forms. Is this the future of dance?

DR: I think it has to be the future. We have to keep pushing the form and continue to make dance relevant to the time we live in. The classics will always be around. They are still beautiful, necessary and are a part of our history that is the basis for how we stretch the form.

Artists have always made work that reflects the world around them. Desmond and I feel we’ve taken it a step further with the creation of a company like Complexions. We celebrate the differences that make us individually interesting, putting them all together and thereby creating that hybrid that is like our world today.

DSH: Speaking of cultural relevance, you’ve choreographed and appeared on So You Think You Can Dance for three seasons. What will those familiar only with your work on that show find different about your work for Complexions?

DR: I think audiences will find a greater level of diversity in the choreography, music, as well as being able to see an idea be developed a lot further. There is a depth that can be developed with more time. On SYTYCD you usually have only 1-2 minutes. And choreographing for the camera is very different than creating for a live audience.

DSH: I imagine that you sometimes encounter those who know your work on the show but are surprised to learn you have a 17-year-old dance company. Critics of SYTYCD see a failure on the part of producers and guest artists to leverage the popularity of the show for support of dance elsewhere. How do you respond to the naysayers?

DR: In my opinion SYTYCD….

READ ON at Dance Source Houston!!

© Nichelle Strzepek for Dance Advantage, 2011. | Permalink | Category: Beyond the Bubble, Blog, Dance Companies, Dance Styles, Dancethropology, Featured, Interviews, Modern/Contemporary, News and Events | Who's talking about this article?

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Fatigue and Injury: Making room for rest

Lauren Warnecke — Thu, 18 Aug 2011 13:33:39 +0000

"Exhausted Dancer" by Edgar Degas - Wikimedia Commons

Muscular fatigue is something all dancers will experience from time to time.

Fatigue is characterized by a decline in the body’s ability to produce force in muscular contractions. In other words, you have to work harder to produce the same results, which further fatigues the muscles.

Fatigue is good.

If you ask an exercise physiologist, fatigue is not only good, it’s an essential component to making adaptations to muscle. The formula for building strength is fairly simple:

Work to the point of fatigue

Rest and recover

Work to the point of fatigue

Rest and recover

… and so on, and so forth. The idea is that each time you are working it takes a little longer to get to the point of fatigue, giving you increased endurance in whatever activity you are doing.

When fatigue is not so good.

Because of the body’s inability to produce as much force during a state of fatigue, each movement is going to require more effort and “oomph”, for lack of a better term.

This often creates a situation where you are compromising technique and placement to try and recreate the same level of performance as when you are not fatigued. As I mentioned in my checklist for knee injury prevention, performing when you’re fatigued puts you at a higher risk for incurring an injury.

So You Think You Can Dance fans have been eagerly anticipating the return of Alex Wong to the show as an “All-Star” cast member following his withdrawal from the show due to a ruptured Achilles tendon.

If anything good came out of that situation, it was this tribute rendition of his “Nappy Tabs” hip-hop routine with Twitch and a “genuine dance super-star”….

http://www.youtube.com/watch?v=tvGg1PNKtx0

A couple weeks ago, Executive Producer Nigel Lythgoe announced that Alex would, in fact, not be returning to the show this season due to the fact that he has now ruptured the OTHER Achilles tendon during an audition for a different reality dance show.

Mr. Lythgoe went on to say that “this just goes to show what you have to put your body through in order to be a dancer.”

That’s where I start to have a problem with this whole situation….

Dancers work long hours. Depending on your personal level of endurance, you may be put into a situation where a performance or rehearsal comes at a time of the day when your muscles are already at the point of fatigue.

Ask any dancer if s/he feels comfortable telling their director “I’m sorry, I can’t perform tonight, because my muscles are at the point of fatigue, placing me at a greater risk for injury.”

Yeah… that’s not going to happen.

A dancer friend of mine once told me that she was cast in a very exhausting, athletic piece, and was required to perform a dress rehearsal full-out one hour before the performance began.

I would imagine that the reality TV dance craze of SYTYCD, America’s Best Dance Crew, Dancing With the Stars, etc. follows approximately the same model, by having rehearsals a short time before taping to save the celebrity guest judges from having to come on two separate days.

My friend said to me, “…it’s like asking a football team to play an entire game right before the game starts.” How can we possibly ask dancers to perform at the same level when their bodies are physically exhausted, and not expect them to eventually become injured?

Is this really, truly, what dancers have to put their bodies through in order to be successful?

Make Room For Rest

One possible answer to this conundrum is training dancers to have increased endurance by following the fatigue – rest – fatigue – rest model that I’ve mentioned above, but this, of course, requires that we actually adhere to the REST.

In dance, the body is our instrument. Unlike guitar strings, you can’t buy Achilles tendons every time they break – you only get two.

It’s our responsibility as teachers, choreographers, directors, (and executive producers) to create an environment that respects the rest required to protect our bodies and maximize performance…during performances.

Now it’s your turn:

Dancers: How do you monitor signs of fatigue?

Teachers/ Directors/ Choreographers: What advice can you offer dancers about protecting their bodies from fatigue and injury?

© Lauren Warnecke for Dance Advantage, 2011. | Permalink | Category: Blog, Career, Dancing, Health and Wellness, Performing, Understanding the Body | Who's talking about this article?

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What Do They Mean By ‘Contemporary’ On SYTYCD?

Nichelle (admin) — Tue, 19 Jul 2011 13:28:44 +0000

What is contemporary dance?

How is it different from modern dance, or jazz dance?

Nicola Ayoub - Fete de la Danse 2010 | Photo by pixieduc.

Good questions that get asked a lot! And not just by newcomers to dance.

It seems the entire dance community is trying to sort it all out…

Four months ago, I got an e-mail from a reader who e-mailed me wondering if I had written anything on the topic. Seems she had been to some workshops and asked around, hoping for some clarification on the term. She came up empty.

Our new columnist, Heather Vaughan-Southard recently called describing contemporary dance ‘The Next Verbal Challenge‘ on her EducatingDancers blog.

And that was expounding on a conversation happening on Twitter (in 140 characters) and mentioned by Jordon Cloud on her blog about the differences between contemporary and modern dance.

And fellow dance writer and Houstonian, Nancy Wozny, penned The Contemporary Conundrum for Dance Spirit Magazine. It’s not a new article but the questions sure are familiar.

The point is, this is an ongoing conversation. I’m sure none of us were the first and we are obviously not the last thinking, processing, and scribbling about it.

EDITOR’S UPDATE: More scribblings

So you think you can tell me… what contemporary dance is? (Sarah Linstra)

How do you define Contemporary Dance? (Dance Studio Life)

What Is “Contemporary” Dance? (Dance Doc’s Think Tank)

What Is Contemporary, According To Nigel Lythgoe (Wet Paint – SYTYCD)

‘Contemporary’ Dance, My Take On It (MaryJane O’Reilly)

What is the difference between “Modern Dance” and ” Contemporary Dance”?

I’ll add more interesting articles as I find them.

I’ve been sitting on this post really, picking at it until I felt like I’d nailed it. Problem is, it refuses to be nailed. The subject really should be (and probably is) somebody’s Master’s thesis.

BUT it deserves to be talked about among undergrads and younger students as well. Students need to hear the perspectives and some of the history and experiences behind them.

And so I throw my thoughts into the fray. A scholar I am not, but let’s see where they go and what you do with them, shall we?

I’ll start with my Bottom Line first…

(you’ll forgive the language, I hope)

Labels suck but we kind of need them.

Can ‘contemporary’ be taught?(...)

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© Nichelle Strzepek for Dance Advantage, 2011. | Permalink | Category: Beyond the Bubble, Blog, Community, Dance Styles, Dancethropology, History of Dance, Modern/Contemporary | Who's talking about this article?

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Fall Planning With Philosophy and TV Dance in Mind

Heather Vaughan-Southard — Thu, 09 Jun 2011 13:37:17 +0000

Please join me in welcoming Heather Vaughan-Southard to Dance Advantage. Heather is a K-12 dance educator and though she’ll be writing regularly with this as her focus, I know studio teachers and dance academics from all realms will learn from and make use of the ideas, advice, and pointers she’s eager to share with you, starting with this jump start on curriculum planning using televised dance shows like SYTYCD as a jumping off point.

Whew!

We made it. Another year down with plenty to mull over before the heat of August hits. And yet, it isn’t too soon to start thinking about your approach for the coming year. I know….this is the last thing you feel like doing, but taking a casual approach now will save you plenty of precious minutes as the school year nears. I approach writing curriculum much like writing a paper; start with an outline and fill in the gaps with supporting information. Here is my advice:

The Big Ideas: Framing Your Philosophies

Whenever writing or re-writing curriculum, I take some time to list my priorities in teaching (much like Nichelle discussed in Class Planning Part One: Developing a Curriculum Outline). I take inventory of my overall views and opinions of dance, what about dance truly needs to be taught, and how I can be intentional in my teaching with these criteria in mind. I start by re-evaluating my philosophy.

• A Dance Philosophy:

What do you feel is important? What do you feel is the purpose of dance as an art form, a discipline, and perhaps genres?

I personally feel dance should be functional. This means that dance, both as a process and a performance, needs to be meaningful, expressive, and thought-provoking for all involved. Dance is social and, thus, creating art that is true to your intent and inclusive for audiences (rather than alienating) is key.

I love seeing highly-trained dancers perform exciting movement vocabulary with brilliant athleticism, yet for me, this is nowhere near enough. If there is no articulate meaning driving the choices of movement, I am unsatisfied- as a performer and a viewer. I want my dance experiences to be rich in culture and not just physical feat.

• A Dance Education Philosophy:

How do you prioritize information? What is the driving force behind your lesson plans? Are you striving to produce top-notch technicians? Choreographers? Well-rounded dance enthusiasts that understand the history and theory as they relate to movement? What sets you apart from Tammy at Tammy’s Toe, Tap, and Twirl or the severe-looking bunhead at the nearest conservatory?

Establishing an honest and objective view of your strengths as well as your goals will help you align your curriculum so that your students have the best chance at real success. Clarity in this arena really saves you time in the long run. After making these assessments and establishing your direction, (...)

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ICON of Hope Project: Submit Your Drawing

Nichelle (admin) — Mon, 15 Nov 2010 13:45:03 +0000

Do you like dance?

Silly question, you’re here aren’t you!?

Do you like to draw?

I didn’t ask if you were a da Vinci, Dali, or Degas. I’m not, but I still love to draw.

Artist or doodler, I want to encourage you to channel a dash of that ‘Eddie’ Degas style, and do some good. Enter your dance drawing for The ICON of Hope Project, a nationwide drawing contest.

The ICON of Hope Project

A fundraiser for St. Jude Children’s Research Hospital, The ICON of Hope Project is an initiative of ICON Dance Complex, a New Jersey dance studio owned and operated by siblings GEO and Beth Hubela, and their ICON of The Year, Katie Fasbach. (More on Katie, in just a moment)

Want to involve your students? Click here to download the drawing contest flyer

First, your masterpiece:

Create a dance portrait of any kind, genre, or setting on 8 1/2 X 11 sheet of paper with the title ICON of HOPE. No other words please, as this message is important.

Good news for me; stick figures are acceptable! So are markers, glitter, and crayon.

Make sure your name, age, email and phone number are on the back.

Then, check this page for where and how to mail it in.

More good news; submit as often as you like. Please send a $5 donation with each drawing. Your donation, says Beth Hubela, “will go directly towards our annual St. Jude Children’s Research Hospital holiday check.” She adds, “We invite you to help make a collaborative and positive impact by sending us your best dance scene.”

Really important: You have until December 2nd to get your drawings in. So hurry!

An Interactive Vision of Hope

Way cooler, even, than supporting a great cause is that your drawings will be presented in a video montage to the patients of St. Jude during the holidays to convey an interactive vision of hope. The video, which will include a heartfelt solo by SYTYCD Season 5 finalist, Karla Garcia and songs by ICON recording artists, will also be featured online where it can be shared across social networks.

The drawings will also be on display at the ICON Holiday Gala in December and at the Monmouth County Library, Marlboro, NJ in January. ONE lucky winner’s design will become the 2010 promotional holiday card for ICON Dance Complex.

I know you’ve probably heard of St. Jude Children’s Research Hospital and the incredible work they do for children facing and fighting cancer and other threatening diseases. You may not know that Danny Thomas, the late entertainer, founded the hospital in the 1960′s because of a promise. Read his powerful story of faith and hope, or visit StJude.org and take in just a few of the inspirational stories of young people fighting incredible battles. Then, go put pen, markers, glitter, crayons and whatever else you have at your disposal to paper, and make your dance masterpiece!

Dance. Draw. Donate.

Behind the request of dance fans to draw and donate for The ICON of Hope Project is eleven-year-old, Katie Fasbach. She’s the reigning ICON of The Year, a very special title bestowed upon her by her teachers and mentors at ICON Dance Complex. But, as you’ll see in my interview with Katie, the honor is way more than just a title.

Dance Advantage: First of all, a belated congratulations on being named Icon of the Year, Katie! What makes this honor so special to you?

Katie Fasbach: I am so honored to be named ICON of the Year. Geo and Beth Hubela are the most amazing dancers ever, and I’m so thankful that they awarded me with such an honor. Knowing that Geo, Beth, and their family felt that I had the qualities in me to represent ICON truly means the world to me. I have so much for respect for all of them. Anyone who meets them totally feels the same. To be chosen by them, out of over 600 students, is truly heartfelt.

DA: I’m sure you’ve been busy in the last few months. So far, what kind of opportunities and events have you been able to participate in as a result of being named Icon of The Year?

KF: As ICON of the Year, I have had the amazing opportunity to have my first ever blog. We have so many cool events and opportunities from ICON, that it is quite easy to write about. For example, we did a “flash mob” at the Freehold Mall to help support the less fortunate in our neighborhood. Everyone brought a pair of new or slightly used jeans to the mall as a donation. I donated 27 pairs! Overall, we accumulated over 500 pairs of jeans. Then we all danced a flash mob and it was awesome. We took tons of pictures, and I even got to sign some autographs! I had sooo much fun. This is just one of the many amazing opportunities that Geo and Beth offer to their students at ICON. I loved being a part of this!

DA: As ICON of The Year, what other projects or duties will you have throughout the year?

KF: Being ICON of the Year, I am looking forward to a few fundraisers that I have brainstormed with Geo and Beth. I am hoping to run ICON’s First Annual Golf Tournament this spring, with the hope that some of the proceeds go to St. Jude Children’s Hospital. I also have a few other unique ideas, but I don’t want to give away any of the surprises!

DA: Do you like to draw?

KF: I LOVE to draw! For the past two years, I participated in the Talented and Gifted program for Art at school. I truly enjoy it, and always have. I’m so excited to see the entries for the ICON of Hope project!

DA: In addition to raising funds, the drawings are also an opportunity to bring some Holiday cheer to the children of St. Jude’s. What’s your favorite part of the holidays?

KF: I am looking forward to this holiday season. I have a very close family, and we make so many memories during the holidays. I love having off from school, and hanging with my friends; shopping, dancing, sleep-overs. I can’t wait!

For the past few years, my friends and I have visited the nursing homes in the area and sang holiday songs for them. The senior citizens loved it. Maybe this year I can set it up, and we can dance for them. That would be so much fun! The seniors don’t get to get out much, so visiting them means so much to them. We have some amazing routines, I’m sure they would be delighted.

DA: As a blogger myself, I’m excited that you are given the opportunity to blog and write about your experiences throughout the year. What do you think of blogging?

I love doing the blog and always want to spend a lot of time on it. Unfortunately, my schoolwork had interfered. For some reason, my teachers this year feel the need to give our class tons of homework. Between homework and dance, it is often hard to find the extra time to keep up blogging.

I love updating and organizing pictures for the blog. I wish I could just blog all day, but unfortunately, it is not possible.

See what Katie and ICON Dance Complex are up to on the ICON of the Year blog.

Thanks Katie, and ICON Dance Complex, for a great initiative.

I hope you’ll support a fabulous cause, share your creativity with some super special kids, and submit your dance drawing today!

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | Category: Beyond the Bubble, Blog, Dancethropology, Interviews, News and Events | Who's talking about this article?

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

Nichelle (admin) — Sat, 16 May 2009 14:00:32 +0000

Garrett Smith; photo by Trent Nelson

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.

Garrett Smith; photo by Trent Nelson

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.

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | Category: Asides, Beyond the Bubble, Blog, Career, Dance Companies, Dancing | Who's talking about this article?

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Dance Advantage » sytycd

Some Dreams Are Worth Fighting For

I was really fortunate that the last dance work I did was as a dancer for Mia Michaels’ RAW.

Talking Fusion, SYTYCD, and Futures with Dwight Rhoden

Complexions Contemporary Ballet Ready to Rock Houston

Fatigue and Injury: Making room for rest

Fatigue is good.

When fatigue is not so good.

That’s where I start to have a problem with this whole situation….

Yeah… that’s not going to happen.

Is this really, truly, what dancers have to put their bodies through in order to be successful?

Make Room For Rest

Now it’s your turn:

Dancers: How do you monitor signs of fatigue?

Teachers/ Directors/ Choreographers: What advice can you offer dancers about protecting their bodies from fatigue and injury?

What Do They Mean By ‘Contemporary’ On SYTYCD?

What is contemporary dance?

How is it different from modern dance, or jazz dance?

I’ll start with my Bottom Line first…

Labels suck but we kind of need them.

Fall Planning With Philosophy and TV Dance in Mind

Whew!

The Big Ideas: Framing Your Philosophies

• A Dance Philosophy:

• A Dance Education Philosophy:

ICON of Hope Project: Submit Your Drawing

Do you like dance?

Do you like to draw?

The ICON of Hope Project

Want to involve your students? Click here to download the drawing contest flyer

First, your masterpiece:

Really important: You have until December 2nd to get your drawings in. So hurry!

An Interactive Vision of Hope

Dance. Draw. Donate.

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

Dance Advantage » sytycd

Some Dreams Are Worth Fighting For

I was really fortunate that the last dance work I did was as a dancer for Mia Michaels’ RAW.

Talking Fusion, SYTYCD, and Futures with Dwight Rhoden

Complexions Contemporary Ballet Ready to Rock Houston

Fatigue and Injury: Making room for rest

Fatigue is good.

When fatigue is not so good.

That’s where I start to have a problem with this whole situation….

Yeah… that’s not going to happen.

Is this really, truly, what dancers have to put their bodies through in order to be successful?

Make Room For Rest

Now it’s your turn:

Dancers: How do you monitor signs of fatigue?

Teachers/ Directors/ Choreographers: What advice can you offer dancers about protecting their bodies from fatigue and injury?

What Do They Mean By ‘Contemporary’ On SYTYCD?

What is contemporary dance?

How is it different from modern dance, or jazz dance?

I’ll start with my Bottom Line first…

Labels suck but we kind of need them.

Fall Planning With Philosophy and TV Dance in Mind

Whew!

The Big Ideas: Framing Your Philosophies

• A Dance Philosophy:

• A Dance Education Philosophy:

ICON of Hope Project: Submit Your Drawing

Do you like dance?

Do you like to draw?

The ICON of Hope Project

Want to involve your students? Click here to download the drawing contest flyer First, your masterpiece:

Really important: You have until December 2nd to get your drawings in. So hurry!

An Interactive Vision of Hope

Dance. Draw. Donate.

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

Want to involve your students? Click here to download the drawing contest flyer

First, your masterpiece: