Modern Ballet Studio Melodies Volume 6
Christopher Hobson’s Modern Ballet Studio Melodies Volume 6 is an eclectic mix that combines “melodies from classical, contemporary, pop, jazz and musical theatre”. The album is intended for all levels of ballet and features 30 tracks. Some of my favorite selections include:
Stranger in Paradise
This song from the 1950s musical “Kismet” borrows the melody of Alexander Borodin’s “Dance of the Maidens” from the ballet scene in the opera Prince Igor. Naturally, it’s good fit for fondu.
Ludovico Einaudi’s cinematic music often brings to mind images of dancing, so I was delighted to see that Hobson included one of the composer’s best-known works in an arrangement for port de bras.
Livin’ on Prayer
Bon Jovi meets ballet? Yes, it actually works quite well. Without obscuring the melody, Hobson adapts this signature song into a piece for petit allegro.
The CD also offers arrangements of tunes like “Someone Like You” and “Happy”, as well as works like “Have I Told You Lately That I Love You?”, “Autumn Leaves”, “Seventy Six Trombones”, and the World War II-era hit “Don’t Sit Under The Apple Tree”.
by Alessa Rogers
That is what people think of when they think of ballet. And that is what we strive to be, with our tutus and tiaras and sweat and…wait what? Yes, dancers sweat, and we also curse sometimes too. Ballet is hard work after all!
But–back to effortless grace.
Yes, that is what we are. At least- that is–until halfway through Tharp’s In the Upper Room or maybe David Parson’s Caught or the Don Quixote third act pas de deux, when we are gasping for air like a fish out of water, with a variation and a coda left to go (and don’t forget those pesky bows that are next to impossible after a three hour long ballet).
No one wants to be that dancer that is visibly out of breath and increasingly out of control, making the audience worry if they need to call a doctor. But dancers for the most part tend to forget about stamina, focusing instead on technique and shape and choreography and musicality–and even injury prevention. These are all very important to consider, of course, but if a dancer is too exhausted to get through a piece then technique just isn’t going to be useful. Actually, as a dancer gets more tired, technique gets sloppy, choreography becomes harder to learn, and it’s definitely the time when injuries happen.
So a few years ago I set out to consciously improve my stamina. It was mostly out of necessity; a high-profile world premiere was looming where I would be onstage for all but four minutes of the entire full-length, no intermissions, ballet (and those off-stage minutes were for stressful costume changes!). A lot of the work was running and jumping. The first time I ran through the full ballet in the studio I went home and passed out at about 7 o’clock. I knew I had to get myself in shape.
Wouldn’t it be nice if dancers had trainers the way professional sports stars and Olympics athletes do–with scientists, analysts, nutritionists and trainers at our disposal? But we don’t. We only have ourselves, and our acute sensitivity to our bodies, to decide what works for us individually and what doesn’t. We have only ourselves to maintain accountability, to customize a plan that works for us and turn our bodies into fine-tuned machines.
Fast forward a few years and I’d say my stamina is now one of my strengths as a dancer. Other dancers often note how when they are bent over and panting I am still standing up and smiling. None of what I do now is scientifically proven–but they are the practices I’ve discovered that work for me.
See for yourself if some of these work for you:
by Karen Musey
It is amazing how fast the end of the dance season has arrived! Just when the challenges of the year are met, suddenly Nationals season arrives. For many studios it is just the beginning of a fast paced, intense week that will live on in studios’ and families’ memories for years to come.
A few tips on getting the most out of your week(s):
Rest. Make sure dancers/teachers/parents take some time out to recuperate from the year, before rehearsals and preparation for Nationals begin. After the intensity of the dance and school year and other personal challenges everyone faces, a little time off beforehand recharges students, faculty and families for the thrilling and energetic week that is Nationals. This is especially important if your studio registers for more than one Nationals. A little rest will recharge everyone’s body and spirit to be able to refocus on goals for the end of the season.
Update your goal. At the end of the season, sometimes dancers find themselves having already achieved their goals, and sometimes challenges come up that force dancers to rethink their goals. Maybe the achieved goal was to complete a clean triple pirouette. The new goal could be to make sure the movement before, during and after the triple stays emotionally connected to the piece. Make sure every team player knows what the overall team goal is, and recommit energy and focus to it. Share with each other specific, measurable goals that will feel like great achievements regardless of marks or placement.0
Luckily, there’s a fairly simple way you can ballpark portions without too much trouble, and it involves something you always have with you—your hand! Use the following to keep an eye on how much you are eating—it works quite well. (Sizes are approximate.)
- 1 serving of meat = the palm of your hand
- 1 tablespoon = your thumb, from the second knuckle to the tip
- 1 teaspoon = the tip of your index finger, second knuckle to the tip
- 1 cup = the size of your fist
- 1 ounce = your thumb, from the first knuckle to the tip
- 1⁄2 cup = loosely cupped hand
These simple measurements can help you estimate how much you are eating and keep you from overdoing it. Keep them in mind when you head out to a restaurant, or when you are preparing meals or snacks.
Dance Advantage and 4dancers have written a guide for healthy eating, studying smart, navigating dance coursework, roommate relations and more–designed specifically for college freshmen going off to a dance program. This post is an excerpt from that e-book.
Learn more about this resource and get it for yourself or someone you know here:
“What scares me, actually, is being too calm and not having enough nervousness to be on stage” – Daniil Simkin
Born in Russia, raised in Germany, Daniil Simkin comes from a ballet family. His mother and father were professional dancers and his older brother, Anton Alexandrov, is a member of The Hamburg Ballet.
Simkin fell in love with performing at a young age when he joined his father onstage in small parts. His dance serious training, however, did not begin until age 10 when mother started teaching him ballet in private lessons. Her regime featured two hour classes per day, six days a week. Her syllabus drew upon Russian, French, and Cuban training techniques.
Simkin continued his academic studies at a regular school and never attended a formal ballet school. He told the New York Times, “I didn’t grow up with the clichés about ballet school, the competitiveness or aggressiveness, because I was the only one. I never saw it as a mission to be a ballet dancer or make it my life.”
Simkin started competing at age 12 and went on to win prizes at on the international circuit. A tech enthusiast ahead of his time, he began sharing videos of his competition solos online before it was common for dancers to do so. As a result, he became an internet sensation in the dance world. Despite his success, he wasn’t certain he wanted to become a dancer until he won grand prix at the International Ballet Competition in 2005 at age 16.
In 2006, he joined the Vienna State Opera Ballet as a demi-soloist. In 2008, he left to become a soloist at American Ballet Theatre, one of his dream companies. Company life presented certain challenges for Simkin. Since he was privately-trained, he initially lacked partnering experience. In addition, learning many different roles at once was a stark change from his mother’s more singularly-focused lessons. Yet, Simkin adapted to the new work environment and has no regrets about his upbringing. In 2012, he was promoted to principal dancer at ABT.
One of Simkin’s goals is to use the internet and social media to try to remove the mystique surrounding ballet dancers. He says, “I am not a “special breed” of a human or some super-natural, royal person. I am a simple person, who is a dancer.”
- He keeps cookies in the dance bag for a sugar-high.
- His favorite choreographers are Jiri Kylian, Alexei Ratmansky. and Mats Ek.
- If he could be a superhero, he said he would be “HappyMan”, a character possessing the ability to make people instantly happy.
Follow Simkin On:
Simkin Dancing in 2001 at Age 13 Alongside his Father:
Simkin dancing at the Helsinki International Ballet Competition in 2005:
Montage of Simkin Dancing as a Child and Today:
Simkin in the City (Humor, 2013):
New York Times Article on Simkin
Simkin’s Interview With Rogue Ballerina
MEN IN TIGHTS: Daniil Simkin!
Simkin’s Interview with Madame B NYC Blog
Simkin’s Interview with The Ballet Bag, Plus a List of What’s in His Ballet Bag
Simkin’s Interview with Gramilano0
by Janet Rothwell
As a high school dance educator I am responsible for choreographing four or five dances each year for various performances. Although choreography is my favorite aspect of dance, it can be challenging to come up with new ideas, movement, spatial designs, beginnings, endings, and themes each year. As someone who values originality and the creative process, I have realized there are certain things I do to help me stay organized and creative in my work.
Over the years I have adjusted my process to include some staple methods so as to not get burnt out with repeating the same movement or spatial pattern every time I choreograph a piece. I thought I would share these specific parts of my choreographic process that seem to aid me each year as I strive to maintain newness in my artistry.
1. Maintain a choreography journal
My choreography journal is my best friend in my creative process. Not only do I use it daily while choreographing works, but I use it year round to write down ideas that pop up at random times for future works too. I write down music I like or ideas I have for themes so that when I have to create a new dance and I feel uninspired or stuck trying to think of something, I can go to my journal and look at the running list of things I have written.
I find that my choreography journal is extremely helpful for me to remember what is happening in the dances I create with my students. When I’m juggling three or more pieces at once it’s difficult to remember what choreographic elements I have already used with other dances, and since I value being original and unique with my choreography I write everything down in my journal. I make drawings of spatial designs, describe movement ideas, brainstorm titles, take notes on my music, and write down costume ideas. I also make notes on what I want to do for the next day so that when I return to my students I can take a look at my journal and know where we are in the work and in the music.
A choreography journal does not have to be pen and paper either, although I find that’s what works for me. You could use a tablet, your phone, or whatever tool you like to work best in your process. However, I would say that staying consistent is best to keep organized. There is nothing worse than having written down great notes only to have misplaced loose papers or random receipts you wrote them on. I keep an actual journal so that all of my ideas are in one place and easy to find.
2. Pick clear themes and diverse music for each dance0
by Catherine L. Tully
Hubbard Street Dance Chicago’s Season 37 Summer Series takes place at the Harris Theater, featuring three works from resident choreographer Alejandro Cerrudo. This is only the second time the company has presented a program that focuses on a single artist, and taking in an entire evening of this gifted choreographer’s work is truly a luxury to experience.
White feathers cascade slowly to the stage floor in preparation for the beginning program piece, Extremely Close. One of Cerrudo’s earliest works for the company, it’s perfectly bookended with his more recent Little mortal jump, showing the evolution of his choreography from one piece to the other. Both make ample use of large sliding panels, which add intrigue and energy throughout. The cinematic quality that is so often a hallmark of Cerrudo’s work is present here, along with the poignant moments he creates using unusual imagery. Hubbard Street dancers were meant for this choreography and they execute it confidently with both vigor and ease.
The second item on the program is Cerrudo’s world premiere, Still in Motion, which offers a marked departure from his previous style. Even so, the highly edited and pared-down choreography still displays signature traits: a spectacular circular fluidity, moving from silence to sound, quick vignettes.
The set consists of a light-colored tarp that stretches long across the floor and up onto the back wall–with a strip of neon blue marking the top. Visually it resembles a strange sort of wave, something almost confirmed by two women stretching out on the ground undulating gently–as if floating under water. The set and lighting design by Michael Korsch offer a quiet, subtle compliment to the choreographer’s work.
While many of Cerrudo’s previous pieces display an urgency that tends to hold or build throughout, Still in Motion feels more relaxed, more refined. Movements here are simple, even at times, almost pedestrian. Three male dancers breathing deeply in unison. An exaggerated walk. Postures that are held. Slight gestures.
Rather than a watered-down version of his own work, however, Still in Motion instead has a clarity and streamlined sophistication previously unseen in Cerrudo’s choreography. It moves in a new direction without totally reinventing his style or abandoning the beauty of it. And the Hubbard Street dancers, chameleons to the core, adapt effortlessly to whatever they are asked to do.
Closing the program is Little mortal jump. This was Cerrudo’s tenth creation for the company, and it highlights the athletic skills of the dancers as well as the choreographer’s ability to amuse, entertain and evoke emotion. A lighthearted, fun approach at the beginning of the piece gives way to a swirling, thrilling duet–a riveting end to a triumphant program.
Hubbard Street’s Summer Series runs through June 14th at the Harris Theater. Tickets are still available.0