I spent a lot of time thinking about how I want this blog to evolve in the coming year. Up until this point I have just let it grow slowly, without spending a lot of time on the “plan” for where it is going next. But, with 4dancers turning 2, I thought it might be time to define a few long-term goals for 2012. One of them was to develop an editorial calendar, which I am still in the process of finishing, and the other was to begin the process of focusing the content so that it is a solid resource for dancers and dance professionals. That goal will evolve over time.

Setting a couple dance goals for yourself can be very helpful. Just the act of writing out what it is that you want to do helps solidify it in your mind. You don’t have to do anything fancy…just jot them down.

Of course, after you set the goal you’ll want to create a plan for achieving it. Try to be as specific as you can in terms of the steps you need to take to get there. Map out ways to measure your progress along the way so you don’t get discouraged. And be ready to adjust the plan on the fly if need by. After all, life has a way of shifting things…

Do you have any dance goals for 2012? I’d love to hear them!

Lisa Harris is known for her musical work in the ballet classroom, both as a pianist and as an artist who releases CDs for ballet class (as well as digital music). “Artistry in Motion” is an excellent example of why she is so well-regarded in the field.

Selections here include favorites such as an adagio from Swan Lake, slow tendu music from Bach and a minuet from Mozart. Harris has a knack for selecting composers that mesh well with a particular exercise, and her command of the piano insures that they are played flawlessly. This makes for a CD that is wonderful for both the teacher and the students in the classroom.

This album has 26 (repeated) tracks for the barre and 16 for the centre. Other composers that are included in the mix here include: Schubert, Beethoven, Vivaldi, Handel, Verdi and Adam.

Interested in this album, or in seeing more of what Lisa Harris has to offer for the ballet classroom? Visit her site. For those who are making the switch to digital music–she has options for you as well.

The Nutcracker

There’s an extremely Christmassy privilege heading to the UK on 22^nd December, in the form of New York City Ballet’s brand new production of George Balanchine’s The Nutcracker, with tickets priced at just ten pounds. This multi-million dollar production includes a forty foot Christmas tree which weighs a staggering one tonne, seventy ballet dancers, fifty children from the School of American Ballet – the official school of NYCB – and a sixty-two piece orchestra. It is ultimately described by the New York Post as “the Christmas show of all Christmas shows”.

NYCB has an unparalleled active repertory of more than 150 works, many of which are considered modern masterpieces. The Company was established in 1948 by choreographer Balanchine and Lincoln Kirstein, joined by Jerome Robbins in 1949 as associate artistic director.  Now under the artistic direction of Ballet Master in Chief Peter Martins, the company performs an impressive annual 21-week season in New York, the longest home season of any dance company in the world.

The production’s defining feature is its vast scale, described as a ‘virtually live performance’ to be screened in cinemas all over the UK. This will ultimately provide mass audiences with the chance to view such an iconic and prestigious work by Balanchine, who is generally argued to be the father of modern ballet. This great accessibility is proved unhindered by the extremely limited run, due to the fact it is the ‘golden ticket’ of ballets for all dance lovers, available nationally.

Too often Balanchine’s work is described at length throughout literature, with the ability to view his work in a modern context sometimes denied. The screenings of the ballet clearly indicate the importance of preserving the history of dance, not only to continually appreciate and enjoy it, but also for today’s dance generations to build the future of the sector. Balanchine’s inspirational work will become further influential to dance practitioners of all ages, techniques and standards, due to the universal subject nature of the production.

The live performance will be filmed at the Lincoln Centre in New York on 13^th December, which will be beamed over to the UK using fibre optic satellite technology. The film will be edited and produced then distributed by Omniverse Vision, following the phenomenal success of the Phantom of the Opera 25^th Anniversary Concert and Les Miserables 25^th Anniversary Concert in more than 1500 cinemas. The production will be featured in around forty screens in selected cinemas including Odeon, Showcase, Vue and other independents, giving the UK an immeasurable festive treat.

It is arguable that this truly is the ultimate production of The Nutcracker; with unbelievable value for money, the chance for UK ballet and Balanchine fans to witness a hugely talented company perform a classic Christmas work during the holiday season is priceless. The New York Times calls the New York City Ballet’s production of this festive ballet “the unique, original and inimitable Nutcracker”, with Tchaikovsky’s incomparable score, hundreds of dazzling costumes… and a million watts of illuminated excitement.

Katherine E. Brown, NYCB’s executive director, said “we are thrilled to bring this beloved holiday production to what we hope will be the first of many opportunities to present New York City Ballet’s extraordinary repertory in movie theatres throughout the world”, adding great anticipation to the company’s ‘visit’ to the UK. Elizabeth Scott, the Lincoln Centre’s Chief Media and Digital Officer, added “Lincoln Centre pioneered the use of broadcast media to bring the magic of live performance into households throughout the US. We’re pleased to take this next step and give movie goers across the globe access to this classic performance, emblematic of the superb offerings on our renowned stages.”

The award-winning Lincoln Centre provides millions of American television viewers with live performances every year, having collaborated with the Lincoln Centre for the Performing Arts to launch its newest distribution channel, Lincoln Centre Digital Productions. The Lincoln Centre’s sixteen-acre campus houses eleven prestigious cultural organizations, additionally the Juilliard School, the New York Public Library for the Performing Arts, and the School of American Ballet.

NYCB is widely acknowledged for its enduring contributions to dance, committed to promoting creative excellence and nurturing a new generation of dancers and choreographers. Through their anticipated cinematic connection with the UK, audiences will become privy to immense talent, both in terms of choreography and performance. For many, this opportunity will be the first of its kind, with the hope that there will be many similar ones to take advantage of, and develop dance further both internationally and inter-culturally.

Tickets are now on sale – please visit www.cinestage.co.uk

Jessica Wilson

Intern Jessica Wilson is a final year student at Middlesex university in London, studying Dance Performance. Jessica reviews London shows for the Society of London Theatre’s initiative for 16-25 year olds, TheatreFix, writes features for A Younger Theatre and blogs for Cloud Dance Festival, with additional press responsibilities. She has completed many marketing internships, the most recent at English National Ballet.

Jessica has also previously interned for SOLT, East London Dance and the ISTD dance examination board. Jessica is a National Youth Dance Ambassador for Youth Dance England, focusing on young people’s access to dance. She is extremely passionate about opportunites for young people enabling them to succeed and hopes to continue advocating this in the future through a variety of means.

Listen to her reminisce about her career here, and enjoy!

Interview with Trinette Singleton from the Joffrey

If you are interested in learning more about the Joffrey and its history, be sure and keep tabs on the new documentary, Joffrey: Mavericks of American Dance, slated for release in 2012. More on that soon….

I’m fascinated by the lives of dancers. Even though I was one, I can never seem to get past the fact that each of us has such a distinctly different path–and a totally unique perspective on what it is like to live this life.

Because of that, I was excited to read Every Step You Take, a memoir written by Jock Soto (with Leslie Marshall). After all, this is a man that I grew up watching in the ballet world. Soto was a principal dancer with NYCB when he retired at the age of 40, and this book begins with the end of his career on stage. A peek inside the thoughts and fears that swirl around one’s head when the final performance looms, I thought it was a great opener.

Where, I thought, will this book go from here?

Interestingly, Soto weaves the story of his life and his heritage together with his career in ballet. We see the influence his family and background had on him, and he is free with his inner thoughts, which was quite refreshing. It is obvious that he spent time thinking through how the person he is inside influenced the person he was on stage–and the man he has become on the other side of his life as a performer. This intimate look at his thoughts and feelings becomes the centerpiece of what draws the reader in to this memoir–an an opinion shared by my friend and colleague, Henrik Lamark in his review of Soto’s book on Tights and Tiaras.

There was a kind of unexpected twist in the book in that Soto includes a variety of recipes throughout. This was such a fun thing to do, and it added another dimension to the book that I really enjoyed. I just might have to try his “Grilled Skirt Steak with Arugula” or the “Paradise Valley Potato Salad”.

I don’t like to give too much away when writing a review of a book, so I won’t spoil the details. Suffice it to say that I enjoyed the memoir, the photos–and the recipes, and think it would make good reading for both ballet dancers and those interested in dance alike. Soto takes us on a rich trip through his career, whirls us back in time to see what shaped him and let’s us tag along with him as he processes those things that helped him find his way once he retired.

It’s a fun ride.

Learn more about Jock Soto’s book or purchase a copy.

Seasons/Elton John

History of Us/Indigo Girls

Save the Best for Last/Waldmen

‘Til There Was You/Willson

The Rose/Midler

Piano Man/Joel

And many others, including classical composers, Tchiakovsky and Delibes. Played expertly by Harris, there are tracks for both barre (19) and centre (20). If you are looking for a ballet class music CD with lots of variety, this is it.

The music here can be used for classes at all levels. I’m sure adults would appreciate the selections, but the music would work for any age group. If you haven’t heard Ms. Harris play before, know that she has plenty of experience–and many other CDs to choose from, as well as digital downloads available. Look for more reviews of her music on 4dancers soon.

Visit her site for more information and for samples of the music.

“Dancing Keys” has 28 tracks–all original works that were played and composed by Civil. I really do love the original ballet class music CDs. I think it adds another level of artistry to the class environment to use compositions that were created with this particular dance form in mind. Adapted pieces are fine–and many people like them. I just prefer original work.

I believe this would be a perfect CD for an adult ballet class or beginner/intermediate class. The music is clear and metered, and the selection is good. The reason I wouldn’t use it for an advanced ballet class is because the barre is on the short side. Other than that, it is appropriate. Tracks are of adequate length–neither too short, nor too long.

The centre music is plentiful, with tracks that include sautes, allegro, waltz, gavotte and adage. I found the music inspiring and beautiful. I think it is such a challenge to come up with tracks that have heart in them, and Civil is able to do so. She has quite a background in the field, having played for schools and companies in New Zealand, Canada and Australia–she’s no newbie to this type of music and it shows.

If you would like to hear samples of the music on “Dancing Keys” or if you want to purchase a CD to use for teaching, visit her website.

Ballet Studio Inspirations, Volume Two is a terrific CD, appropriate for more advanced classes in my opinion. The music is stunning, but a more expert ear is required to find the music here–it is perfect for honing musicality as a dancer at a higher level—something I believe is very important. While not every track is challenging this way, I do think that younger, more inexperienced dancers may find some of the music difficult to follow.

The other reason I would recommend this CD for higher level classes is the fact that there are plenty of choices for the instructor. There are 45 original compositions for barre and centre here, with some designed specifically with pointe in mind–although they can be used for other exercises as well.

There are 12 tracks for the regular barre and six more for the pointe barre. The centre features music for port de bras, petit allegro, grand allegro and more. The pointe section of the centre has an additional eight tracks.

This CD would make a fine addition to any ballet teacher/studio’s collection. Hear samples and more at Maddock’s website–and if you need digital downloads, he offers those as well.

Lucy Vurusic Riner

Being a high school dance teacher I typically choreograph anywhere between three to five full length dances each year for my student companies.  Back in the day, when I was super young and wet behind the ears I made dances about just about anything.  I might really enjoy a song and that would be my jumping off point.  Or I might have just gotten out of a bad relationship or had a family quarrel and that would be enough to conjure up a combination or two.  I was never at a loss for some idea and I was never afraid to try just about anything. I followed the basic rule that most high school dances (and I guess commercial dances as well) were typically three to five minutes in length and they may or may not have some sort of story line or underlying theme but they were always entertaining.  And let’s be honest, choreographing on high school students can be somewhat forgiving because they can appreciate where all the above ideas might come from.  Although they may have a limited movement vocabulary at such a young age they have plenty to dance about in their lives.  My early dances were fun but simple.  I know they were entertaining but they definitely weren’t masterpieces by any stretch of the imagination.  And so why did I choreograph?  Was it for me?  The audience?  Did I have a message or just some great moves I wanted people to see?

I know that’s a bit of a million dollar question and there is more than one right answer.  But it is a question I ask myself at the beginning of each year?  Do I want to choreograph some dances this year and if so, about what?  Do I make a dance with lots of pretty lines and port de bras that essentially is about pretty lines and port de bras or do I decide to delve deeper into other ideas or issues that might be part of my present world.  Do I choreograph a narrative, somewhat like a ballet and tell a story or do I work in the abstract and allow people to have to think about what they are seeing and what it might have meant for them?

I’m often jealous of college professors because they have such a fabulous educational opportunity to work on their craft.  Unlimited bodies, resources, space and time all allow for so much more experimenting during a choreographic process.  And college students are generally more open and understanding to the process that is involved in making dances.  There is definitely a learning curve coming from their high school backgrounds but by the time they are in their junior and senior years of college many dancers have been exposed to a variety of compositional processes and they have also began to slowly figure out their own.  When I look at the works of Bebe Miller, David Dorfman and Joe Goode, some of the most prolific and thoughtful choreographers I have ever seen, I know they have not only enriched the choreographic ideas of their college students but also strengthened their own skills through years of trial and error.

So as the years keep passing, choreographing has gotten a bit more challenging for me.  You would think that after all of these years I could whip out a well-structured dance with the best of them.  What has happened instead is that I’ve become much more deliberate about what I want to say and how I should do it and that can take some time.  Some seasons, it’s tremendously difficult to find any sort of inspiration or concept to motivate even a basic structure to a dance and I spend weeks trying to find clarity.  Other seasons all I need is to have a visceral reaction to a piece of music I’ve heard or develop a phrase that can manifest itself into a variety of different adaptations and a dance can unfold within two or three rehearsals.  I can still whip up a three to five minute crowd pleaser (and on occasion I do) but my interests are focused on making dances that need to develop over time.  I find that a lot of my current work with my high school dancers is anywhere between six and ten minutes long and while this is still not the even-length type of work that I am accustomed to doing with my own dance company it does challenge my dancers to not only fully embody who they are in the work they perform but also build the heck out of their stamina to keep moving!

And so this is where I find myself these days- I can cut to the chase and when appropriate make a dance that says what it needs to say in four minutes.  At other times, I can dissect and investigate my ideas and find myself saying what I need to say in ten minutes.  And yet with my dance company, I know I will never make a work that isn’t either a half or full evening length work.  I think the beauty of choreography is that it CAN have so many layers, adaptations and nuances.  So maybe I should stop asking myself whether or not I should be choreographing and just decide on how it’s going to unfold this time around.  How’s that for an answer?

Contributor Lucy Vurusic Riner is a native Chicagoan who has been supporting and contributing to the dance community for over twenty years. She received her BS Degree in dance and dance education from Illinois State University.  Lucy has been a member of Molly Shanahan/Mad Shak Dance Company, RTG Dance Company and Matthew Hollis’ “The Power of Cheer.”  She has also had the opportunity to be part of the community cast of White Oak Dance Project and David Dorfman Dance.

Lucy has taught modern, hip hop, and jazz at numerous studios and high schools in the Chicagoland area.  She has been the Director of Dance at Oak Park and River Forest High School since 1999. In 2005, Lucy completed her Masters Degree in Education from National Louis University and also received the Midwest Dance Teacher of the Year award and was the youngest of four finalists in the running for the National Dance Teacher of the Year award.  Lucy and artistic partner, Michael Estanich, formed RE|Dance in 2010.  This dancer theater company investigates humanity in movement through long distance collaboration.  Lucy has also begun work on a long-term project entitled, “The Moving Vessel” which explores the impact of motherhood on the professional dancer.  When Lucy is not working with independent choreographers and producing her own shows, she is at home with her two great kids, Margie and Luka, and her very supportive husband, Jim.

Lucy writes about Modern Dance and other subjects for 4dancers.

I always “test” CDs out on my adult ballet class. They are an eclectic group of students, and I received some nice comments on the music. The tracks were arranged well, and best of all, labeled well. As an instructor, I found the way he used the liner notes to be very helpful. They were broken down into categories that made sense for the way I teach: at the barre, centre practice, pirouettes, adage, petit allegro, batterie and grand allegro. It made it very easy to arrange my class, and it was a detail that was much appreciated.

The music itself is passionate and pretty, and there are plenty of tracks to choose from since the CD offers many selections. Since I have a fairly large class, some of the tracks in the centre were a bit short for my purposes, but I doubt that would be true for all teachers. There are 48 original selections in all for barre and centre practice. I listened to everything here and found each track to be well-suited to ballet class exercises.

It is obvious that Mr. Long has been involved with the dance community for a long time–his intuitive sense of planning the CD and its selections showcases this fact quite well. I’m looking forward to hearing more from him and using his music for class well into the future.

It’s worth noting that Mr. Long offers music on iTunes and Amazon as well, for those who prefer that format.

Visit Robert Long’s site for more information about him and his music.

Read more about this artist in the 4dancers “10 Questions With…” interview.