The Fox Theatre, Atlanta.
Saturday Oct 16 2010

By Deborah Searle.

Dreamgirls is a dream.
It is a production that celebrates the exceptional vocal talents of African American performers. The cast is strong, and the performances are flawless. Dreamgirls is the story of vocal group, The Dreams’ rise to the top, giving us a glimpse into the lives of three 1960’s performers and the men behind them. Dreamgirls has an explosive energy fueled by jealousy, ego, ambition, love and betrayal.

Choreographed by Shane Sparks with Director Robert Longbottom, most of the dancing is reminiscent of the go-go era with touches of Fosse arms and hips. There is a large hip hop number involving suits, vinyl records and brief cases that shows Sparks’ work at its best. High energy crisp movement with fun patterning, the piece to Step Into the Bad Side is a highlight of the show.

The set is simple, but brilliant, without need for anything else. The backdrop consists of huge screens that change colors and display moving imagery depending on the scene.  As much of the show is set on a stage, these screens cleverly rotate to give us the illusion of watching the stage from the wings when The Dreams, or other characters, are on side of stage. In perfect unison the choreography also rotates to gives us the side of stage view.

The three leading ladies of Effie White, Deena Jones and Lorrell Robinson played by Moya Angela, Syesha Mercado and Adrienne Warren respectively, are perfect for their roles. Moya Angela as Effie steals the show and blows us away with her powerful, roof lifting rendition of “And I Am Telling You I’m Not Going” to close the first act.  In the second act Syesha Mercado shows her talents with a beautiful, emotional rendition to “Listen” that gives us tingles. Chester Gregory as the sleazy and explosive James “Thunder” Early is comical, entertaining and an audience favorite.

I commend Broadway Across America for bringing the country’s best talent out of New York theaters and into our cities for all to enjoy. Dreamgirls is a mature and hard hitting musical that will touch your emotions and take a piece of your heart.

Photos: Joan Marcus

The New York Dance and Performance Awards or “Bessie Awards” (in honor of dancer and teacher Bessie Schonberg) acknowledge outstanding creative work by independent artists in the fields of dance and related performance in New York City.

After a two year wait the Bessies were back this October, now produced under the umbrella of DanceNYC.  The Bessies were held at Symphony Space on Oct 18^th and attended by the who’s who of dance in NYC.

 For the full list of winners visit http://www.dancenyc.org

Catch the highlights in this video.

By Emily Yewell Volin.

I had the pleasure of speaking with Matthew Rushing, 19 year veteran performer of the Alvin Ailey American Dance Theater, early on a Friday morning in September.  His humility, humor, passion for dance and well rounded talents were apparent during our conversation as we spoke about his transition from principal performer to Rehearsal Director at AAADT. 

What qualities do you have that make you so well suited for the transition from performing dancer to Rehearsal Director? 
My undying love for the AAADT organization and my desire to share it are the qualities that make me suited for this transition. When I was young, it was a dream of mine to join the Ailey company.  My dream has come true and I feel my love and passion for AAADT has matured.   I will take this with me in my new position as Rehearsal Director.

During  my 19 years in the AAADT Company, I’ve learned a great deal about the company’s repertoire and the function of the organization.  I was able to play an important principal dancer role at AAADT and learned ballets that were created on me.  That learning of the ins and outs of the ballets and of the Company  structure have prepared me to fit right into a leadership role for AAADT. I have also already had experience working under Ms. Jamison to assist ballets and have helped run rehearsals for Assistant Artistic Director, Masazumi Chaya.

How are you finding balance between the artistic and technical demands of performing Company member and Rehearsal Director as you prepare for this season?
At the beginning of summer it was understood by myself and management that I would dance and be Rehearsal Director this year and I was up for the challenge.  After taking some time to really think about it, I spoke with Ms. Jamison and we agreed  I would benefit from a little time to transition.  I will be performing in AAADT’s 5 week NY City Center Season but will not be dancing during this year’s Fall UK tour. 

What are your most important goals as you make this career transition?
I look forward to learning about the work on a deeper level and gaining a broader perspective of the repertoire.  I aim to preserve the work while ensuring the dancers stay true to the work.  I want to be another eye for the dancers and help them grow as artists and dancers, guiding and aiding them both artistically and with their technical work within the repertoire.

Matthew Rushing in Maurice Bejart's 'Firebird'. Photo Paul Kolnik

Describe your work load this year. 
The beginning of the rehearsal season was very interesting.  Geoffrey Holder was reviving The Prodical Prince and I assisted him during those rehearsals.  Holder personally coached me when I danced the role in 1998 so I knew that ballet very well. 

However, I find that during most weeks, I do a lot of Rehearsal Director homework at night so I also have time to concentrate on staying in shape for my final season dancing with AAADT. 

I find one of the most incredible experiences as Rehearsal Director is to be working so closely with Ms. Jamison.  She’s been directing the Company since 1989 and I’ve previously assisted her on rehearsing ballets.   The way I am working with her now, in my role of Rehearsal Director, is much different because I am hearing her thoughts as I sit right next to her during rehearsals.  I hear her likes, her dislikes, and what she wants to see more of.  It’s really amazing getting more inside her head.

When and how did you realize you were ready to transition from 19 year performer with AAADT to AAADT rehearsal director?   
I remember first mentioning the idea to Rehearsal Director, Masazumi Chaya, when I was about 24 years old and had only been dancing with the Company for 5 or 6 years.  I was so young and he very generously began teaching me the basics of casting and directing.  Then, I let the idea go a bit to concentrate on my dancing. All these years later I spoke with Ms. Jamison, mentioning that soon I’d be retiring from the stage and that I want to retire at a certain high level.  I want to hang up my dancing shoes while I’m not on the way down.  (he chuckles)  These conversations with Ms. Jamison led to an invitation for me to become Rehearsal Director.  I had known it was time to transition but I wasn’t ready to leave the company.  I dabble in choreography, and love working with young people.  Yet, the complete vision for my future with the Company became clear with Ms. Jamison’s invitation to step into the role of Rehearsal Director.  I feel really good about my last performance season happening during the same season that honors Ms. Jamison in her final year as Artistic Director.  That’s very special for me.

What are your favorite responsibilities as performer and rehearsal director?
My favorite responsibility as a performer is sharing.  I really enjoy just totally exposing myself on stage.  It’s funny, because I’m not that way off stage.  I love tearing myself wide open and sharing – touching people’s hearts, as Ms. Jamison says.  Changing peoples’ lives and leaving people on a higher level than when they entered the theater…that’s my favorite responsibility as a performer.

As a Rehearsal Director, my favorite responsibility is assisting dancers as they grow into better artists. I don’t think I’m yet working at the capacity I want and I think that’s a good thing.  There are so many things I want to learn and I’m slowly gaining responsibilities.  Step by step, day by day learning.  I’m taking every little responsibility I get and doing the best I can with it.  And, I’m looking forward.

There is much excitement regarding Robert Battle’s appointment as Artistic Director of AAADT upon Judith Jamison’s retirement from the position in June 2011.  How do your 19 years of performance experience with the Company and this year’s dual role of performer and Rehearsal Director shape your perspective during this transitional year in Artistic Direction of AAADT?
My perspective has been shaped because I know the strengths of the organization and I know that in this kind of transition that everything will be alright.  If anything, things will continue to progress.  Believe it or not, I believe the Company will get better and better and reach more lives; new perspectives.  Yes!  And, that’s what Ms. Jamison wants.  She feels the focus and dedication will still be Mr. Ailey’s vision as seen through different eyes.  Because I’ve been with the Company for so long I understand what goes into the marketing, the financing, the assurance of physical therapy for the dancers…the WHOLE Alvin Ailey American Dance Theater organization is dedicated to preserving Mr. Ailey’s vision. Robert Battle has strong support from the organization and is part of a very capable team.

Matthew Rushing, Briana Reed & Rosalyn Deshauteurs in Alvin Ailey's Revelations. Photo Andrew Eccles.

What accomplishments have given you the most satisfaction in life? 
I think touching the lives of young people.  I just recently received a couple of emails expressing thanks from two students with whom I worked closely at the Ailey School.  Both have gone along to work in dance Companies in both the US and Europe.  I received the emails at a very important time.  Right now I am an unseen worker and am getting accustomed to life behind the scenes.  It was so good to hear from these students and to be reminded that whatever I give I receive; in sharing it I have positively impacted people’s  lives. It made me feel so good.  These young people will be good to others in turn, by continuing to share the power of art and by touching lives.  Being reminded that what you have done has touched people’s lives and is important to them is very special to me. 

How would your colleagues in the Company describe you?
I’m very blessed to say I have a really good working relationship with the dancers.  I’ve been there so long and have close relationships with the senior dancers.  We’ve really grown up together and know each other like family.  As far as the newer company dancers, I’m intrigued by them.  The new dancers bring such an energy to the Company and their newness is a breath of fresh air for me.  I’m attracted to them and we immediately build relationships.  I tell them, ‘If you need anything, you know I’m here’.  Overall, I have a great working relationship with all the Alvin Ailey American Dance Theater dancers.  They’d say I’m supportive and they’d say I’m a hard worker.  They’ve seen my work ethic and they know what I expect from them as Rehearsal Director.  They know me as a choreographer and how I expect excellence.  They also know they can talk to me, share things, ask questions and approach me about challenges they are facing relating to or outside of the Company.  They are comfortable confiding in me and that means the world to me.

What advice do you have for dancers considering or experiencing a career transition from performing to directing?
Make sure that whatever you transition into creates as much passion in you as your old job.  A transition is not a step down; it is a step UP.  A lot of people feel ‘oh, okay, my performing career is over, let me settle for another job, the best time is over’.  That does not have to be the case!  Your transition should be upward.  Use the opportunity to become physically less active but emotionally more active.  Enjoy finding ways to utilize the different aspects of yourself and your talents.

Matthew Rushing will be performing during  Alvin Ailey American Dance Theater’s 5 week New York City Center Season (December 1-January 2)
AAADT 2010-2011 International and National Tour Schedule 

For more information about Matthew Rushing visit www.alvinailey.org

Top photo: AAADT’s Matthew Rushing. Photo by Andrew Eccles

Published by www.danceinforma.com

Paula Abdul is teaming up with Reveille Productions to produce an all new dance show on CBS – Live to Dance. They are currently searching across America to find dancers that not only have talent, but the drive and passion to push themselves to the top. Paula is looking for talented, creative, diverse and unique dancers. The competition is open to Solos, Duos, Trios and Groups of all styles and all ages.

Have you got what it takes to win the ultimate prize of $500,000?
Get your group, trio, duo, or solo ready with a 1:30 routine and show them what you’ve got! Visit www.paulaabduldanceshow.com for audition dates and information.

Live to Dance is based on the hit British series Got to Dance.  Choreographer Travis Payne, who worked on Michael Jackson’s This Is It, and former Pussycat Doll Kimberly Wyatt will join Abdul as the show’s trio of experts, with host Andrew Gunsberg. Gunsberg previously served as co-host of Australian Idol and host of the syndicated countdown show, Take 40 Australia.Abdul is an executive producer of Live to Dance after having served as a judge on American Idol for several years. Live to Dance will premiere on CBS in January.

It’s a matter of environment.

Advice for High School Seniors deciding on their college choice for 2011.

By Professor Vincas Greene.

“How do I choose the best school?” resounds as one of the most common questions asked by dancers choosing to pursue their training at a university.  I advise students to refine the question by adding “for me” at the end of their question. There are many wonderful universities with many different aims and opportunities available to students, but not every dance department fits every student.

The goal is to find the right university and dance department for you. Think independently about your desires, goals, interests and talents. Let your friends find their own personal best programs. Finding the right fit for you is rewarding and exciting. Remember, a good dance program in the right environment spells success for you as a student and as a dancer. If the environment isn’t right for you, even the most highly regarded dance department can be a personal disaster.

So let’s find the dance department for you. 
Do you want to study mostly ballet, modern, jazz… or a combination of techniques?
Do you want the chance to choreograph?
Would you like to perform right from the start?
Do you want to learn to teach or become certified as a public school teacher?
What are your short term goals while in school and your longer term goals after your graduate?

Now let’s think about the university. 
Would you like a large or small size for your non-dance classes? (At a major university classes can be several hundred large and at some private universities they can be as small as 8 people in a class.)
Do you want lots of extra-curricular activities to be involved in or do you want to be focused on your dancing with maybe one or two outside organizations in which to be involved?
Do you like to have major athletic teams to follow and root for?
Do you want a college that you can disappear into, find your own small set of friends and be semi anonymous or do you want a college where everyone knows you and you know most of the other students?
Do you want to minor in another subject and is that subject available?

Now it’s time to hit the internet for the first go-round. There are several great sites for searching dance departments, but you might want to try the National Association of Schools of Dance (NASD) first. Visit http://nasd.arts-accredit.org/index.jsp NASD is a voluntary accrediting agency for the U.S. with a database of members that have met the requirements to be accredited by this nationally recognized association. If the school is not on the NASD list, don’t discount it, there are many reasons it may not be a part of the organization.

After visiting the university dance site and seeing if it appears to match your answers or piques your interest, look at the broader university website. Once again, if this appears to be a match, you may be on to something. Email the dance and university admissions contacts and ask them to send you further information. Make sure to properly address the recipient (never use “hey”), use correct grammar, and supply your name and contact information.

Read over all the information carefully (you are expected to know the information provided for you). Make notes of questions that you have concerning the university and the dance program. Also, make notes about admissions processes and deadlines for paperwork and auditions. Now you are ready to contact them again. You may call or email the admissions contacts with your questions. They will be able to answer your questions or have the appropriate people contact you with a response.

It’s time to schedule a visit. Check the audition schedules and procedures for the universities you would like to visit. 

Does the dance department require acceptance to the university prior to auditioning?
Do you need to submit dance applications prior to attending the audition?
Are pictures and résumés required prior to or at the audition?
Does the dance department have multiple auditions, a few set dates, or individually scheduled auditions?

Once you have this information in hand, decide which college/s you’d like to audition for and get yourself ready….

About Vincas Greene
Vincas Greene is an award winning professor at Brenau University where he is the Chair for the Department of Dance (NASD accredited) and Director of Bighouse Dance Theater.  Vincas has taught throughout the Southeast, in Washington and California and was recently a guest teacher at Nanyang University in China. His choreography has been set on the Brenau Dance Ensemble, the Gainesville Ballet Company, Theatre Ballet of Spokane, Room to Move, Santa Clarita Repertory Theatre, Pebblebrook Performing Arts High School, the Avondale High School of Performing Arts and others.  He received his MFA from California Institute of the Arts where he was invited to dance in the CalArts Dance Ensemble.  In his home state of Washington, he performed the choreography of several artists including Mark Morris, Erin Matthiessen, and Long Nguyen.  In New York, Mr. Greene danced with Pat Catterson and Dancers and Peter Healey’s Mesopotamian Opera Company and received scholarships to study at the Merce Cunningham Studio.  After moving to Atlanta, he danced with the Carl Ratcliff Dance Theatre and several other companies including Robin Williams, the Gainesville Ballet Company and Susan Eldridge’s Red Clay. www2009.brenau.edu

Top photo: © Olga Galkina | Dreamstime.com

Published by www.danceinforma.com

By Emily Yewell Volin.

It’s job hunting time and you’re ready.  You’ve spent countless hours training with the best teachers you can find, coiffed your image, and know the type of position for which you are qualified.  You’ve accumulated a dancer’s artillery of audition essentials including a bag stocked with every type of shoe and attire you might need, as well as knee pads and emergency hair accessories. Problem is; you may never have the opportunity to showcase your talents and incredible style if you haven’t developed an eye catching résumé.  The audition is a dancer’s job interview.  Here are some tips for writing a résumé that will get you booked for an audition appointment (interview) or get your information (and you!) noticed during an open call.

1.  Keep It Short and Simple
Many of us had teachers or advisors who encouraged the popular KISS (Keep it Short and Simple) mantra for written work and project management. The same principle is beneficial when applied to the creation of your résumé.  The best résumés are a single page in length with easily read font selection and size and clearly articulated sections.  The use of wildly colored or patterned papers and other attention grabbing tactics are not advised. These devices typecast you before you are ever seen. Personalization of your résumé is best accomplished by including a small thumbnail of your headshot (typically at the top), within the document.

2.  Know Your Audience
How do you keep a résumé to a single page?  Consider drafting several versions of your résumé so you may highlight information relevant for a particular position. Your teaching résumé will be different from your performance résumé, which will be different from a résumé highlighting your choreographic experience or administrative background. There are positions for which you will need to compile all information about your professional experiences. Consider creating a maximum 2 page résumé for positions of this sort. 

3.  What’s Unique About You?
Don’t be bashful, you know your strengths and they are exactly what an audition director wants to know about you. Technical and performance proficiency will only get you through a first cut and maybe as far as a call back.  Once you’ve made it to that point, it’s your responsibility to clearly articulate and showcase your strengths. Including a ‘strengths’ section on your résumé helps spark interest in you and initiates conversation or showcases your competencies.  That said, your résumé is not the place to address political or religious views.  Inclusion of information regarding these affiliations should be kept vague.  For example; ‘President:  Local Membership for a Major Political Party’ and the accompanying responsibilities of that position are enough information to prove the breadth of your service within an organization.  Employers are not legally allowed to discriminate on the basis of these and other issues of free speech.  Nonetheless, your résumé is no place to discuss politics or religion.

4.  Honesty is the Best Policy
Be honest about your experiences and physical attributes, and focus on the positive. An audition is often about filling a role that has already been created. It is essential for directors to have accurate information about your dance experiences as well as your actual height, weight, hair color, eye color, and other relevant information unique to the job. Many positions are cast according to a pre-made costume or staging into which a new cast member must fit without complication. Other positions are cast by finding someone who has a breadth of professional experience and is a quick study. Or at times directors search for someone who is a raw talent that can be molded to a particular technical style or look.  Do not waste anyone’s time by misrepresenting yourself.

5.  Keep it Current
It is preferable to update your résumé before every audition you attend. Be sure your contact information is current and that there is a way to contact you if the résumé is placed into a file and pulled out at a later date. Many auditions that do not result in immediate hire do result in fantastic networking opportunities. It’s the familiar “don’t call us, we’ll call you” line.  Don’t let a disconnected mobile phone number or an out of service email keep you from future opportunities. It is also advisable to maintain a simple and low cost résumé website. There are many hosting companies that offer easy to manage templates.  Include your web address on your paper résumé alongside your phone number and email. Maintain your website to include current contact information and résumés. A helpful tip is to be sure you only post your résumé in .pdf format so it may not be modified (intentionally or accidentally) by those who download it.

6.  Treat Your Résumé Like a Ticket
Your résumé is your entry ticket to the future you desire.  Keep a few copies of it ready to mail at a moment’s notice.  Many positions open suddenly and require quick casting.  If you are attending an open audition, be sure to arrive with a clean and unwrinkled version in hand.  If you must fold your résumé in order to mail it to a prospective employer, keep the folds crisp.

A thoughtfully scripted and well presented résumé will work for you.  Take the time to present yourself well on paper. A great résumé will result in more opportunities for you to realize your goals and the occasion to show off that fabulous new audition ensemble. 

About Emily Yewell Volin
Emily Yewell Volin has been teaching in university and college programs since 1998.  She earned her MFA from the University of Arizona and also holds a BS in Education from Loyola University Chicago.  Yewell Volin currently resides in the Atlanta area where she is an Instructor in Dance in the  Agnes Scott College Dance Studies Program.  She is also scheduled as a visiting Teaching Specialist at The Emory University Dance Program during the Fall 2010 semester.  Emily served as faculty member of the prestigious USA International Ballet Competition Dance School that convened in Jackson, Mississippi, this June and recently completed the creation of a commissioned K-6 dance assembly program in collaboration with Young Audiences Woodruff Arts Center.  She is an active board member to The D.A.I.R. Project, the Jazz Dance World Congress, and the Young Audiences Woodruff Arts Center Program Committee. www.emilyyewellvolin.com

Photo: © Kostyantine Pankin | Dreamstime.com

Home Night Club, Sydney Australia
October 7 2010

By Chris Bamford.

Picture this: Home Night Club, hundreds of aspiring dancers and hundreds of performers – this is a carnival! The Choreographer’s Ball, held across the world, has been running in Australia for only a few years and is now more popular than ever.

The night is a celebration of dance and creativity. It’s an industry event showcasing some of the hottest up-and-coming choreographers next to established names and their crews.  What an opportunity for choreographers to display their work and for dancers to work with the industry’s best – and an awesome night of entertainment!

The only criticism of the night is that it starts so late. This show started at 10:30 pm and had 28 different pieces performed in three acts – equalling a very late night, particularly for a week night! 

MC Candice Rose did a great job of keeping our attention and getting the crowd revved in between acts. The first piece of the night was a highlight. From the guys at Ookina Management, this high energy piece involved some aerial stunts and a very talented 12 year old dancer. Detour presented an amazing hip hop routine that was precise, clean and crisp, and F8tion Crew also gave us an entertaining hip hop routine that ended with a high energy house section to Usher’s “DJ’s Got Us Falling in Love”. These two crews are definitely ones to watch.

Although there was a lot of hip hop, it was an eclectic night of styles. Tiana provided us with a very ‘bootylicious’ Dance Hall routine that had us all shaking our ‘tooshes’ and Juliet Vern’s contemporary number was beautifully pieced together and well received. Brad Green and Natasha Crane’s numbers showcased very clever choreography.

The night wasn’t without controversy, with a very sensual piece by Andre Fuentes that got people talking. I could hear mutters in the audience, but in my opinion it was done in good taste and was very entertaining. 

I have to make special mention of the Janet Jackson tribute number choreographed by three very talented artists: Daryl ‘Dmo’ Morante, Blake Waterhouse, and Melanie Hitchcock. A tribute to everything ‘Janet’, this show blew me away with the precision of the choreography and the dancers.

There has been talk of a Kids Carnival at the beginning of next year, so keep an eye on the Carnival website. www.thechoreographerscarnival.com

Spotlight on Atlanta’s Cherrise Wakeham

By Deborah Searle. 

Cherrise Wakeham is making waves in the Atlanta dance scene. After seeing her unique and inspired choreography, I had to speak with Cherrise and uncover her magic for movement. The Artistic Director of Project 7 Dance Company and Associate Director for Roswell City Dance, Cherrise has received several choreographic and entertainment awards on both the regional and national level. Cherrise has a keen following in the south, teaching numerous masterclasses throughout the year, and her strong choreographic voice has taken her dancers to perform across the country to rapturous applause. Cherrise and Project 7 are on the stage and very soon they may be center, spotlight…

You have won many awards for your choreography. What motivates you to dance and create?
The layers in a song. The texture of a piece of fabric.  The position of the sun at a certain time of day.  Anything that lends a fresh perspective and offers the basis for a story.  I think life is constantly inviting us to see the possibilities in things.  If we’re open to it, there are endless opportunities to pull from and be moved by.

Tell us about Project 7. What is your vision? What are your upcoming projects?
Project 7 is a non-profit professional contemporary company I began in February of 2007 to use the power of contemporary dance to inspire audiences of all types in a positive and accessible way. I wanted to create a company that would use our energies and talents to appeal to dancers and non-dancers alike in a way that makes dance understandable, authentic and inviting. As complex and magical as dance can be, I think it’s important for choreographers, directors and dancers to make our craft something everyone can relate to, be moved by, and feel a part of.

Project 7 perform The Land, The Sea & The Creationist

What are your upcoming projects?
Upcoming projects include The Movement Gallery: Midnight in the Garden, commissioned by Flux Projects, our 2011 Winter Showcase on January 23rd at 7 Stages Theater, our second annual summer production, The Land, the Sea and the Creationist in July, as well as several guest performances throughout the season including ugaMiracle, DanceATHENS and the Roswell City Dance Annual Winter Concert.

When choosing dancers for Project 7, what do you look for?
When choosing dancers for Project 7, I look for a pure quality of movement, a humble, professional, respectful attitude and a sense of initiative.  I’ve had group auditions in the past, but have found it to be no more telling about the true character of the dancer than a video submission.  Fortunately, having worked in Atlanta with so many dancers over the past 10 years, I’ve had the opportunity to pull dancers by invitation and then conduct interviews to learn more about their goals as an artist and who they are as a person.

Your recent work, The Land, The Sea and the Creationist was whimsical and dream-like. Where did the concept come from?
This concept has been a work in progress for about two years beginning with three solos I choreographed in 2008. First the Land, then the Sea, then the Creationist. What began as a desire to tap into the natural roots of the artistic process grew into the story of a little girl’s dream about a whimsical journey through various phases of the earth’s inspiration and how it equips the creative process. I’ve always been a nature-lover and believe that the source of creation is just as alive within us as it is within the sun, the rain or the soil. In tapping into this truth, I began listening to music while sitting quietly on the beach and taking in the colors around me to come up with costume designs, lighting and choreography that would tie into the three main sections. I sat and watched how bugs moved and how the waves oscillated. I watched the sun go down in its perfect pink form against a misty pier. In rehearsals, I tried to remember the combination of these elements as the creative process evolved and from there, the entire production took on an even greater sense of chemistry than I could ever have imagined.

As you are based in Georgia and well immersed in both studio and company life, tell us about the Atlanta dance scene. What’s ‘hot’ right now in Atlanta?
So many things, it’s hard to pinpoint! I think this city embraces so many styles of music and movement, and is so culturally diverse in terms of what is appreciated, that Atlanta’s wide range of dance, whether it’s Contemporary, African, Modern, Ballet or Jazz, is the very thing that appeals to audiences and motivates artists to grow here. From the abstract to the well-defined, from flesh-toned leotards to elaborate costumes, from the stage to the streets, dance is taking all forms throughout Atlanta and, in turn, enabling dancers, choreographers and dance instructors to share a language that is uniquely their own.  

Project 7 perform 'Why'

What advice would you give to dancers in the ‘South’ who want to make their mark in the industry?
First, understand the goals of the company, agency or organization with which you want to connect.  Make it a point to take initiative in that direction and go above and beyond in your own unique way to let them know you are committed to those goals. Secondly, be authentically you in everything you do. Let your craft come from the purest place within you and everything else will follow. Thirdly, prove yourself through working hard until the job is thoroughly complete. In other words, don’t give up! Not in the middle of a dance. Not before the moment you bow your head at the end of a show. Not even in the midst of rejection. Perseverance builds character.

Where will we see your work next?
Our newest project, The Movement Gallery: Midnight in the Garden, commissioned by Flux Projects, debuted this week on October 1st in Castleberry Hill, downtown Atlanta.  In a black-lit plexiglass greenhouse, dancers transform into mystical glowing creatures as they transition between stillness and movement throughout the misty terrarium.  With electronic music, nature sounds, floral aromas and an intriguing display of movement and design, viewers become a part of the scene by enjoying a multi-sensory experience of contemporary dance in a whole new light!

What are your future dreams/goals?
When the funding is available, I want to take our summer production, The Land, the Sea and the Creationist on tour. I want to build on an environment where truly committed dancers receive the compensation they deserve for the mental and physical commitment they make to their craft and to the work created. I want to reach a 4-year old and an 83-year old simultaneously with one performance.  I want to generate enough profit from one performance to pay off the debt of an Autistic child’s medical bills. I want to hold a master class in Time Square. I want someone to walk away from our summer production and see all the earth’s wonders in a whole new way. And finally, my goal is to keep an open mind and always be motivated rather than satisfied by my accomplishments. I hope anything I’ve achieved thus far simply feeds my desire to learn and become a better student of life.

For more information on Project 7 visit www.project7dance.com

Published by www.danceinforma.com

Lyric Theatre, Queensland Performing Arts Centre, Australia
September 30^th 2010

By Dolce Fisher

To be honest, I am completely biased when it comes to Don Quixote, as it is my favorite ballet. The last production I saw of the ballet classic was performed by the Australian Ballet with guest artist Ethan Steifel, so the benchmark was set high when I entered the Lyric Theatre to watch the National Ballet of Cuba’s rendition.

QPAC were a fabulous host for the company, getting into the Cuban vibe and offering a special Cuban bar outside the theatre complete with a live band and plenty of space to salsa. The venue worked well to set the scene even before the show began.

The ballet has a rich history, as does the National Ballet of Cuba, founded by the famous Alicia Alonso. This Don Quixote was choreographed by Alonso in collaboration with Maria Elena Llorente and Marta Garcia, after Petipa’s original version. The choreography felt like it had been adapted to show off the dancer’s Cuban flare and virtuosity, rather than the work being re-choreographed. I did, however, find the loss of the trademark fan in ‘Kitri’s’ Act 3 solo puzzling.

The dancers are some of the world’s best. Viengsay Valdés, playing the role of ‘Kitri’, stole the show. She performed with joy and vibrancy, truly bringing ‘Kitri’ to life, whilst displaying superb control and performing balances with almost super human strength. The dancers in the company seem to turn differently to us, executing multiple turns with such ease and control and truly finishing their pirouettes on balance. I want to know their secret! Valdés whizzed through her fouettés in Act 3 with triple pirouettes on every fourth turn with such ease.

‘Basilio’ was performed by Elier Bourzac. He danced the role well but lacked a little charisma for his character. The partnership created some amazing moments, particularly in the Act 3 pas de deux, where Bourzac let go of Valdés after a series of assisted pirouettes and continued unassisted for another four or so turns. The male dancers gave a praiseworthy performance in the bullfighters dance, showcasing their strength and agility. Amaya Rodriguez as ‘Mercedes’ and Yonah Acosta as the young gypsy in Act 2 were flawless.

Unfortunately I felt that the costumes and sets by Salvador Fernandez lowered the quality of the production. The set in Act 1 was too big for the stage and it encroached on the dancers, however, the sets in Acts 2 and 3 opened the stage and allowed the dancers to make the most of the space. The costuming, although it kept to the Spanish heritage of Don Quixote, at times was unflattering, particularly for the male dancers. The headdresses and the over abundance of lace were distracting and just too much for the eye. It would have been nice to see a more modern twist on the costume designs.

Overall, the National Ballet of Cuba’s Don Quixote was delightful. The company rightfully received many curtain calls, standing ovations and bravos from the packed audience.

So did the Cubans match my expectations? Yes, but for different reasons than I had anticipated. The dancers exuded an energy that just seemed to come deep from their Cuban culture, magnified by an ideal choice of ballet. Don Quixote is a perfect story to show their energy. The Spanish heritage of the ballet encapsulates the essence of the company itself and shows off dancers for who they really are. The virtuosity displayed, the steps and the execution were something we don’t see every day in Australia. Hopefully their next visit will take the company to more cities, so their Cuban energy can rub off on all of us.

Photo: Sadaise Arencibia. Photo by Jacques Moatti

Hey kids, clear the dancefloor; the older dancers aren’t ready to sit down yet.

By Paul Ransom.

It’s like that old disco song: I haven’t stopped dancin’ yet …

Dance, like sport, is reckoned to be a young person’s pursuit. And like sport, if you haven’t cracked the elite level by the time you hit twenty you are most likely to ‘retire’. Trained dancers move into teaching or other careers and recreational shakers give up clubbing and settle into more sedate pursuits. How often do you hear someone say: ‘oh, I used to love dancing’?

And who ever heard of dancers over forty?

Luckily, those of us no longer in the first flush of youth don’t have to be Margot Fonteyn in order to keep dancing. Indeed, there is evidence of a groundswell of ‘mature movement’, of people wanting to age with a little more … well, grace.

Sherry Zunker, founder and CEO of BeMoved Dance, a Chicago based ‘school’ for the older mover, is just one of those pushing the dance envelope for adults. “So many aspects of your well being are improved,” she states emphatically. “Physically, you gain more strength, more flexibility and more coordination. You will be challenged mentally, having to use parts of your brain to learn and remember new movements. Emotionally, you will feel better and relieve stress. You will also realise how much you can still learn and do.”

On the other side of the world in Melbourne, Australia Dianne Harrison heads up the Elance Adult Ballet School. Forced to abandon her own professional dance career at a young age, (“my body was not perfectly designed for ballet”), she drifted outside the scene for many years until she chanced upon an adult class above a suburban video store. Six months later she had started her own school and now has students as old as seventy getting to grips with the technique and discipline of ballet.

“We are not attempting to turn people into professional dancers; we are looking to help them be the best dancers that they can be with the body that they have right now,” she declares.

In addition to a steady stream of ‘returning’ dancers, Harrison also takes on novices. “From a teaching perspective, I cannot tell you how rewarding it is to see someone who has stepped into the studio never having done ballet before grow to become what I would confidently describe as a competent dancer. That is just magnificent to see.” 

Apart from the obvious body benefits, there is the undeniable ‘high’ and massive self esteem boost you get from good dancing. “There is also a sense of camaraderie and community that develops between the class participants, regardless of their past dance experience,” adds Sherry Zunker. 

Whereas you might expect novices to love the buzz of new skills and new friends, for former professionals and other trained dancers the rewards take on a slightly different complexion. Perhaps this is what drove a group of ‘Broadway gypsies’ in the mid-90s to create Dancers Over 40, a group that has now spread well beyond its NYC origins and boasts members in the UK, Europe and Australia.

As DO40’s president John Sefakis notes, “There’s a saying we love to use: ‘once a dancer, always a dancer’. You never stop being a dancer because your extension or your turns are not what they used to be. They still call a doctor a doctor no matter if they’re 28 or 88.  Why should being a dancer be any different?”

With a membership made up entirely of former working dancers, DO40 actively celebrate and promote the experience and skill base of mature artists. With their YouTube channels and Facebook pages blaring at full volume, they work tirelessly to create job opportunities, produce shows and put on social events.

“At DO40 we are very conscious of our responsibility to continue recording the history, legacy and lives of mature dancers; and to reach out to those dancers about to begin their journey,” Sefakis explains.

The idea that dance is a lifelong odyssey, whether for artistic, social or fitness reasons is enshrined in the core philosophy of Move Through Life, a dance company based in Adelaide, Australia. Since its inception in 2004, the company has mounted five full productions and branched out into public classes and a choreographic programme called Expand; and all by engaging dancers from beyond the narrow professional mainstream. 

Says Artistic Director Jo McDonald, “I don’t think it’s too much to say that dance has a profound emotional impact on the dancer. It’s liberating in a way that’s maybe hard to put into words but very easy to understand through movement; and I can’t think of a single reason other than serious injury to ever retire.”

Back in the USA, Sherry Zunker picks up this thread. Of the returning dancers who attend BeMoved sessions she observes, “they get a part of their core identity back. It can truly feel like returning to your homeland tribe; and as they experience it again they can’t believe they’ve robbed themselves of dance for so long. They get to redefine their relationship with dance and go back to just loving the feeling of it without self criticism.”

After all, if aging rock bands are allowed to get away with it, surely dancers should be applauded for keeping the pointes pointy, the tutus terrific and moves bustin’.

Think I’m gonna dance now … 

Photo: © Shiningcolors | Dreamstime.com

Published by www.danceinforma.com