We had a quick conversation with choreographer, Josie Moseley about her beautiful work, ‘When I Close My Eyes,’ which will be performed along with three other pieces this Memorial Day Weekend. Josie spoke of working with TPB dancers, as well as how the piece changed from a solo to an ensemble piece set on students.

Josie Moseley with TPB dancers

How many times has ‘When I Close My Eyes’ been performed?

It was performed once as a solo and then three times as an ensemble: twice with Oregon Ballet Theatre students and then once with The Portland Ballet in 2003. This Memorial Day will mark the fifth time it has been performed.

What initially inspired you to choreograph this piece?

The dance made itself. Sometimes a piece knocks on your door and you answer. While taking a choreographic workshop, I was given excerpts from a diary of nun who had hidden children during Hitler’s reign of power. The diary spoke about the children and their silent lives in hiding. I performed what is now the last half of ‘When I Close My Eyes’ as a solo for the Bay Area Dance Series.

When I set the piece on OBT students, the dance knocked in a different way. Most of the students had only performed classical ballets like ‘The Nutcracker;’ roles with Princesses and Fairies, nothing grounded in reality. ‘When I Close My Eyes’ was based on reality not fantasy and it was ugly and beautiful and authentic. I had the pleasure of setting it initially on an incredible group of students- Jessica Wyatt, Katarina Svetlova, Rachel Tess…dancers whose work I admire and who are still performing today. They built the piece as much as I did. Haydee Gutierrez, who was director of the school at that time, escaped from Cuba as a child and the dance really resonated with her. She was very supportive and honored to have this territory explored. Allowing these classically trained dancers to work in different ways helped them to realize the possibilities for their careers in dance. Going outside the box keeps you from being stuck.

How has it been working with TPB dancers in this version of ‘When I Close My Eyes?’

I love the students. Love them. I learn more from them than they do from me. The dance is only as good as your dancers.

‘When I Close My Eyes’ is really a simple dance but it’s their choice how to perform it and it’s different every time. The dancers must be present with each other, develop a real group sensitivity. It’s a pulse, not a count; it’s not about being exact. It’s really an exercise- how to talk, how to listen to each other. You can see every dancer in the piece as an individual. They all step forward and are seen. That is what’s powerful.

With their intent, you can see the power the kids bring. After all, the Holocaust survivors left today are the kids who survived. At the end, there is a silent scream. For students -teenagers- everyone is holding something in and it’s nice to let it out. They are all invested in the piece as a growing force together, wanting the dance to succeed. There’s a love of what they are doing and the dancers all take care of each other and look at each other’s beauty and value and recognize what that is.

After learning more about the source material, there is a gravity to the piece: compassion, empathy…the dancers are compelled to give the work as much as they can. For themselves and for the future. The piece ends up having its own life.

Thank you Josie! To see ‘When I Close My Eyes,’ click here to buy tickets to TPB’s Memorial Weekend production. This beautifully poignant work is not one to miss.

Gavin Larsen’s guest post of ‘How I Got My First Job’ was so popular that she very graciously wrote two more installments: one you are about to read about her rather painful realization of the difference between a ballet professional and ballet student and an upcoming post about her first performances with the company. Thanks so much to Gavin for sharing her experiences with us!

Gavin Larsen at the barre, photo by Ashby Baldock

By Gavin Larsen

Once I’d gotten over the delirious thrill of receiving my contract with PNB, and past the period of disbelief when I kept pinching myself to make sure I wasn’t dreaming, it was nearly time to actually pack up my things and move to Seattle. Once I arrived, I settled in with friends I had made during my summers there: a principal dancer in the company and her husband, another former principal dancer, who had become like surrogate parents to me. We were really like a family. I had my own bedroom in their house, and although I now had a paycheck and autonomy, we ate dinner together every night (they cooked wonderful meals) and hung out together on weekends. Their stories of life in the company were alternately hilarious and terrifying, but mostly they taught me so much about being a professional dancer, living the life of one in and out of the studio, and how to balance being a dancer with being a whole person.

Even with their guidance, my introduction into professional dancing life was much, much harder than I ever would have imagined it could be. I truly had no idea what I was getting into. As an SAB student, my daily schedule consisted of no more than two classes (one technique and one pointe, variations, or a rehearsal), plus academic school. The most intense period of dancing was during Nutcracker when I and several other students were hired by a small youth company to be their corps de ballet.

So when I arrived in Seattle in the summer of 1992, I was unprepared for the schedule I would face. The company did an annual outdoor performance at a winery in nearby Woodinville (Chateau Ste. Michelle), and the July rehearsal period was devoted to preparing for that as well as getting started on rep for the fall season. There were four ballets that I was cast to learn:  Swan Lake, Who Cares?, a ballet by Kent Stowell called Over the Waves, and a new ballet that
he was choreographing (the name of which I cannot recall…).

Needless to say, I was overwhelmed. Now, instead of 3 or 4 hours a day in pointe shoes, I was facing 7 or 8. Class in the morning, followed by 6 hours of rehearsal?? I had never been on my feet for so long, and never experienced such pain! The other corps girls seemed fine—and I subtly tried to inquire whether this schedule, which to me seemed inhumane and unsustainable, was normal. I didn’t want to look like a wimp, but in reality, I was dying—I had the worst blisters I’d ever had and my feet just couldn’t stand the pressure of being in pointe shoes all day. I discovered the bliss of kneeling—when one of the ballets had a moment of kneeling in the choreography, I was in momentary heaven to get off my feet for even a brief second!

Clearly, I survived. I learned tricks, like soaking my feet in ice water at the end of each day, and elevating them by lying flat on my back with my legs up against a wall to let the pressure and redness drain away. I went through every Dr. Scholl’s product in the drugstore and found the gel-filled corn pads that saved me for years. And I became part of the team, the gang of corps ladies who soldiered on each day in the studio, learning each other’s every move so we could stay in perfect Swan Lake lines, giggling together at the crazy choreography of a new “modern” ballet, pulling each other through each hour until our AGMA-mandated five minute break. And at the end of each day, relishing in the satisfaction and relief of having made it and done a good job. The laughter and howls of giddiness when the last rehearsal ended and we dragged ourselves to the dressing room made me feel proud of what I’d danced that day, and like I could make it through another one. The bonding experience of that first summer lasted a lifetime. It’s true that being in the corps de ballet is not unlike being in the military. You go through such trials, exertion, your toughness is tested, but you’re all doing it together—and quite often, in tight formation.

Next up, trial by fire in my very first performance….

Thanks again, Gavin! Dancers, teachers, parents, please leave any comments or questions for Gavin! We’d love to hear your thoughts!

It requires more than just attending class and working hard to improve your technique.  And so often, it takes an injury for a dancer to realize that there’s more she could be doing to hone her skills. We spoke to Melissa Framiglio, TPB instructor, professional dancer, and certified GYROTONIC® instructor, about her own experience with cross-training and how an injury helped her to become a stronger dancer.

Melissa at her Gyrotonic studio, photo by Michael Dahlstrom

I have a deeply embedded memory of a ballet class I took on a typical fall day my sophomore year of high school. The teacher really was fabulous, but very much what we would refer to as “old school.” During our stretch break before adagio at the barre, several of us were stretching our quads out by holding our foot behind us with our leg bent in parallel. The teacher stopped the piano in a tizzy and a long lecture ensued, “Why would you stretch you body in parallel when in ballet we are working to turn out? You are undoing all of your hard work. I don’t want to see you stretch that way ever again!” Well needless to say, in her class none of us ever did a stretch that was anything less than supremely turned out. I should mention that this teacher had a spaghetti body, so flexible and contrasting greatly to my own naturally tight body.

Fast forward four and a half years. We were about to start what would be my third season with Louisville Ballet. During my lay-offs I worked at a summer dance camp as a counselor and ballet mistress, as well as a dancer. This meant rigorous, ballet-filled 12 hour days. In short, too much of a good thing. I had blown out my calves with what was diagnosed as “micro-tears” and could barely walk let alone dance. I was in a total panic as my contract was to start back up in 4 weeks and Sleeping Beauty was the first ballet of the season. I didn’t want to miss the opportunity for a meaty role and wasn’t sure how to stay in shape. I had pilates mat classes every summer since I was 12 and was fairly competent with the material, so I gave myself a mat class every day. But I knew that alone wasn’t enough. I decided I would try my hand at swimming. I had never tried to swimming a lap in my life let alone 32, so I was not sure what to expect. Well……………it kicked me in the pants.

I would get across the pool and have to stop and pant (and I didn’t yet know how to flip in the water yet to turn around). But I went back 5 times a week and by the third week I was up to a mile! It wasn’t a fast mile, but it was rhythmical, calming and yet demanding. And once my calves healed and I was able to dance again, I realized I had the best stamina of my life. I had developed better cardiovascular  and core strength and I was much better at using my breath. (Like many dancers, I have a habit of holding my breath.) And from this point on, a revelation had ensued. I made cross-training a priority moving forward and had a remarkably injury-free 10 year full-time professional career.

Melissa Framiglio with Milan Valko, in ‘The Sleeping Beauty,’ Louisville Ballet; photo by Wade Bell

Thanks Melissa! Stay tuned for future posts by Melissa about her experiences with exercise. And with cross-training in mind, TPB is happy to announce a new open class:

Floor Barre with Michelle, Fridays 12pm – 1pm, starting May 3rd!

The Portland Ballet launches a new open class — Floor Barre — taught by former San Francisco Ballet dancer and TPB instructor Michelle Davis. The Noon – 1 PM Friday class guides participants through a gentle ballet workout…on the floor! This exercise technique works well for core strengthening, alignment, injury prevention, and sustaining a healthy body.

We’ll see you all there! Dancers &  teachers, comment and let us know your experiences with cross-training and how it has affected your technique.

Caroline Yamada in ‘Une Danse Schubert’, photo by Blaine Covert

Caroline has been such a lovely addition and breath of fresh air here at TPB. She joined our Masters Program last summer and then continued on with us in the fall after attending OBT for many years. Caroline has a delicate, but also energetic look to her dancing and she was wonderful as one of the Moths in our holiday production of “A Midsummer Night’s Dream.” Her brother, Tatsuya, was a student at our school for several years so her family is no stranger to us. I always love having siblings at our school and we seem to be a magnet for them- even twins! Caroline is not only quick on her feet but is a quick learner, always has a lovely disposition and way about her, and is very well liked at TPB. She has been such a pleasure to teach. I wish her the best in her new endeavors in the fall. Whatever Caroline ends up doing, she is destined for success!  - Nancy Davis, Artistic Director

I have really enjoyed teaching Caroline. She is a hard working, dedicated, and caring dancer. Caroline is an excellent example for students of all ages. I have enjoyed watching her grow and develop over the last two seasons.  It is a joy to work with students of her talent and work ethic.  – Jason Davis, Academy Principal

But sometimes, as bittersweet as it is, we meet a dancer for only one or two years as an advanced student. We have the privilege of assisting their final years of study, fine-tuning their technique and performance skills. And we become attached- just as if they have been here at TPB all along, as a tiny student in Pre-Ballet.

Caroline as a Moth in ‘A Midsummer Night’s Dream’, photo by Carol Isaak

Caroline with Josie Moseley, photo by Blaine Covert

Caroline rehearsing the role of Titania in ‘A Midsummer Night’s Dream’, photo by Blaine Covert

Check out this great article from the blog, Reflections in Verse and Prose by Sheri Leblanc! And a big thank you to Sheri for allowing us to re-post!

Pros and Cons of Being a Freelance Dancer
by Sheri Leblanc

Many dancers want to be professionals in a top company, but only some will ever make it into the competitive world of professional dance. However, even if a dancer is not accepted into a company or needs more flexibility than dance companies typically provide, career options still exist. Freelance dancing is one way to earn a living doing what you love.

 

 

DUTIES

A freelance dancer usually specializes in one particular style of dance, which can be anything from classical ballet to modern dance to jazz and beyond. She is responsible for keeping herself in training, whether it is by taking classes at an established institution or dance school, or by practicing on her own each day. When she works for a dance company, she will usually sign on for one particular show, rather than a whole season, though sometimes well-known dancers work as “guest stars” for an established company.

 

FINDING WORK

Because freelance dancers are not tied down to one particular company, they have more geographical freedom about where they can dance and may choose to travel to find work, or to go on tour with a company for a limited amount of time. Finding work can be difficult; dancers may do so by searching advertisements and listings for freelance dancers in trade periodicals, although some have agents who arrange temporary placements for them.

 

PAY

Because freelance dancers work when and where they are needed, they are not always guaranteed a steady paycheck, making the need to save money while they are working all the more important. Additionally, in contrast with those dancers who work under contract for a company, freelance dancers are responsible for withholding their own income tax and self-employment tax due to the IRS each year. Freelance dancers may be paid by the performance or for the entire run of the show in which they are participating; payment varies by company.

 

 

OTHER OPPORTUNITIES

Because of the irregular nature of freelance dance opportunities, freelance dancers often take on other jobs and short-term gigs to make ends meet between performances. One common opportunity is teaching dance at established dance schools. Because dance classes often run over the course of several weeks or months, freelance dancers can create a schedule that allows them to continue to perform during part of the year and earn money while they are not on-stage.  Many freelancers know what their end goal of freelancing is. It can be anything from getting experience to joining a company to spending the final years of their career doing what they want to do. For others,  it isn’t that simple. Some dancers aren’t sure if they want to continue freelancing forever or if they want to eventually join a company again. A lot of freelancers use their time on the fly as a period of self-exploration.

 

DIFFICULT BUT REWARDING

Freelancing is as difficult as it is rewarding. Having any type of commitment in one place can be a challenge. Finances can be hard. On the other hand, dancers are living their dream. They may dance roles that they likely would not have been offered with a big company, traveling the world, and making endless friends and connections along the way. And being your own boss may sound daunting, but it helps to develop independence, the ability to deal with change, to take control over your own self esteem instead of relying on a company’s praise to validate you as a good dancer. That might be the best lesson anyone can learn, in dance and in life.

 

Original post found here at Reflections in Verse and Prose blog. Thanks again to Sheri! Dancers, what do you think? Have you ever worked as a freelance dancer? What was your experience like? Students, is this something that you have considered before or are hoping to do for your first job? Let us know!Above photos of TPB students by Blaine Covert

After the dust settles from all the Summer Ballet Intensive auditions, we get to ask our dancers the fun questions: what are you doing this summer? Where are you going? Which company are you going to study with?

TPB Level Six technique class, photo by Blaine Covert

We asked our TPB Youth Company members to tell us all about their summer plans. (And we included not only the programs they plan to attend but where they were accepted as well- just so we can brag a little!) Here’s what they said:

Samantha Baybado: Pittsburgh Ballet Theatre

Julia Bullard: attending Ballet West (also accepted at Boston Ballet)

Amelia Carroll: Ballet West

Delphine Chang: The Portland Ballet

Brigit Cheshire: attending Pittsburgh Ballet Theatre (also accepted at Boston Ballet; invited to attend University of North Carolina School of the Arts & Pittsburgh Ballet Theatre Graduate Program next year)

Medea Cullumbine-Robertson: School of American Ballet in New York

Marina DiCorcia: Pittsburgh Ballet Theatre

Cleo Forman: Westside Ballet

Juliet Forman: Westside Ballet

Annie Garcia: The Portland Ballet

Hope Garcia: college

Finn Henell: attending Pittsburgh Ballet Theatre (also accepted at San Francisco Ballet and Pacific Northwest Ballet)

Madison Jones: The Portland Ballet

Michael Jurica: attending Pittsburgh Ballet Theatre on scholarship (also accepted at Arizona Ballet with a scholarship; invited to attend University of North Carolina School of the Arts and Boston Conservatory next year)

Nick Jurica: attending San Francisco Ballet on scholarship (also accepted at Houston Ballet, Boston Ballet, Pittsburgh Ballet Theatre with a scholarship, and Arizona Ballet)

Aleksa Kostur: Paris Opera Ballet

Charlotte Logeais: attending San Francisco Ballet (also accepted at American Ballet Theatre, Paris Opera Ballet and Boston Ballet)

Zach Lyski: attending The Rock School on scholarship (also accepted at Boston Ballet with a scholarship)

Devin Packard: Pittsburgh Ballet Theatre on scholarship

Alexandra Pitman: still deciding (but was accepted at Alonzo King LINES Ballet)

Lucas Pitts: attending Alonzo King LINES Ballet (also accepted at San Francisco Conservatory)

Dori Pollard: attending both Ballet West and The Portland Ballet

Merritt Rosen: Skidmore College

Kerridwyn Schanck: School of American Ballet (also accepted at San Francisco Ballet)

Cydney Simpson: The Portland Ballet

Sarah Whitehead: attending Ballet West (also accepted at Ballet Austin, Boston Ballet, Orlando Ballet, Joffrey Ballet, The Rock School, & The Nutmeg Conservatory of the Arts)

Caroline Yamada: still deciding (but was accepted to California Institute of the Arts for next year)

We’ll update our list as our dancers make their final decisions. We are so proud of them all. Don’t forget to comment and let our dancers know your well-wishes for the summer!

A career in dance begins with a simple trajectory: you take class. You work hard, cross-train, audition, go to summer ballet intensives, perform in your school’s productions and gradually climb the ranks until you are a senior dancer in the highest level of technique class your studio offers. And then…

Then it depends.

We’re excited to announce a new blog series regarding the transition from student to professional. TPB asked professional dancers, in Portland and beyond, just one question: how did you get your first job? And to kick off our premier post, we are thrilled and so honored to present Gavin Larsen, former principal dancer with Oregon Ballet Theatre. We’ll let her take it from here!

Gavin Larsen at 16, ‘Raymonda’
SAB Workshop Performance, photo by Paul Kolnik

Growing up in New York City, I was extremely fortunate but didn’t realize exactly why until much later. When the “ballet bug” bit me (at about age 10) and I became increasingly obsessed with anything and everything related to it— watching it, reading about it, poring over photos, and of course taking as many classes as I could. I was going to a fairly small dance studio in my neighborhood. Little did I realize that it had a huge history behind it:  it housed NYCB in the 1950s, and Balanchine made several masterpieces the very studio I took class in each week, including Agon. Those cool old photos of Balanchine and Stravinsky at the piano, and Mr. B coaching Diana Adams and Arthur Mitchell? That’s the room where I learned tendu!

Balanchine and Stravinsky in a rehearsal for ‘Agon’ with dancers Diana Adams and Arthur Mitchell
photo by Martha Swope, 1957

Sadly, the New York School of Ballet (which is what it became after NYCB moved to Lincoln Center), closed in 1986 due to rising rent costs. My teacher told my parents that if I really wanted to keep dancing, I should go to the School of American Ballet. We’d never heard of it, but I auditioned one chilly fall afternoon in front of a terrifying group of angry-seeming Russian ladies barking out commands. For some reason, despite having no idea what they were asking me to do, I got in. I started classes the very next day (in a black leotard instead of the required dusty mauve for my level, because there wasn’t time to go to Capezio and buy one!).

I spent the next seven years training at SAB, and like most of my peers, thought that the most amazing thing in the world would be to dance with New York City Ballet. But during the summers, many of us year-round students went away to study at different schools and broaden our horizons, so to speak. The New York State Summer School for the Arts in Saratoga Springs, NY, gave me the chance to take classes from NYCB dancers every day and watch them perform every night, but my world really changed when I was accepted to the Pacific Northwest Ballet summer course at 14. For three summers in a row I went to Seattle for the PNB summer program, each time loving it more and more—the teachers were similar to my own at SAB in many ways (because PNB was considered a “Balanchine company”, they taught with that aesthetic), but their approach was broader, and my own technique improved by leaps. The classes were smaller than at SAB and the teachers more focused on helping each student figure out what their own particular strengths were, and then developing them to their maximal potential. I’d never thought of myself as an individual dancer—I was just an SAB student. Suddenly, I felt the power of my own individuality as a ballet dancer, and that was thrilling.

Gavin Larsen at 16, ‘Raymonda’
SAB Workshop Performance, photo by Paul Kolnik

At the end of my first summer, Francia Russell, the director of the PNB school and co-artistic director (with her husband Kent Stowell) expressed how pleased the teachers were with my energy, enthusiasm, and hard work, and asked if I would be interested in coming to PNB’s year-round school. Although I was flattered, I wasn’t ready to leave home, especially since I had the rare luxury of being able to stay with my parents while going high school and training seriously in ballet. (For academics, I attended the Professional Children’s School, which catered to kids with unusual schedules). Luckily, Ms. Russell valued family as much as I did, and agreed that was the best choice. I attended the PNB summer course for the next two years, each time becoming more and more aware that the environment of a “smaller” company (my only other frame of reference had been NYCB) was a much better fit for me, and becoming hopeful that I might be able to join PNB someday.

In the spring of my senior year of high school, I went to PNB’s open audition in New York, which was held at SAB— lucky for me to be able to audition in a familiar studio. At the end of the audition class, (which was taught by Kent Stowell and was tricky but not too hard, as I recall), they thanked us all and said they’d call out the numbers of those dancers they would like to speak with. I was number 4, and held my breath– they skipped right from 1, 2, to 7, 9, 14…. And on and on. I froze, not even disappointed yet, just kind of paralyzed. And then, after reading off a long list of numbers, the registrar called my name and said to wait until they’d spoken with everyone else.

Gavin Larsen at 17, ‘Who Cares?’
SAB Workshop Performance, photo by Paul Kolnik

Ms. Russell and Mr. Stowell told me they thought I was dancing well, looked strong, and they wanted to offer me a contract with their company! Again, I was frozen, but this time from shock—I think I could barely even say “thank you”—and then overwhelming joy. There must have been more to our conversation, but I don’t remember more than them telling me I’d be hearing from the company manager about the details, when I’d receive my contract, how to join AGMA, stuff like that. Only later, when someone asked me if I’d be an apprentice or a corps member, did I realize that I hadn’t even asked what kind of contract they were offering me. So I summoned up some courage, went back into the studio, and asked. Ms. Russell said they would consider either position and would let me know in a few weeks.

So I called my parents immediately (from a pay phone in the lobby, no cell phones then!), raced home, and we went out for dinner to celebrate. I was 17 and had landed my first job!

Gavin Larsen at 17, ‘Who Cares?’
SAB Worksop Performance, photo by Paul Kolnik[

My transition into a professional ballet career was not seamless, but it wasn’t as hard as some people’s can be. Certain things were on my side, like the luck of PNB having a contract available, but I also had built my relationship with them over three summers of hard work, showing my commitment to PNB and eagerness to learn from their school. Moving to Seattle at 17 on my own also wasn’t totally easy, but I’d made friends and developed relationships with other dancers there already because of my time in the summer school, so I had a network to rely on. The move into professionalism was a bit rocky—I learned more, and learned it faster, than anything I’d ever done before—and I shudder now to think of some of the silly mistakes I made early on! But that’s the nature of transitions, especially major life changes like this. And the bottom line is that no matter where you are, what really matters is dancing, pouring your heart and soul into your work and your art. There will be ups and downs, but they are all worth it!
-Gavin Larsen

Gavin Larsen, originally from New York, received her dance training from Dick Andros, Francis Patrelle, the School of American Ballet and the Pacific Northwest Ballet School. Her professional career began as a member of Pacific Northwest Ballet, and she subsequently went on to perform as a soloist with Alberta Ballet, the Suzanne Farrell Ballet, and was a principal dancer with Oregon Ballet Theatre before retiring in 2010. She has danced leading roles in works by George Balanchine, Jerome Robbins, Christopher and Kent Stowell, Christopher Wheeldon, James Kudelka, and Yuri Possokhov, among others. Gavin is currently on the faculty of the School of Oregon Ballet Theatre and has published articles and essays on dance in Dance Magazine, Dance Teacher, Dance Spirit, Pointe, and the Threepenny Review.

——-

Our special thanks to Gavin for her wonderful post and incredible kindness! Any questions or notes for Gavin? Please comment and let us know!

We’ll say it again and again. We’ll write it, announce it, post it, print it, press release it: Our dancers are amazing and we are all so proud of them. And Michael Jurica is at the top of our list.

Where do I begin…Michael is one of those people who brightens the room he is in. He has such a wonderful smile and polite manners and always sincerely wants to know how a person is doing. It has been such a pleasure working with Michael over the past 2 years. Because of his great focus and wonderful abilities (and good teachers and coaches at TPB) he has progressed so much. He is a natural performer and was a stand out in “A Midsummer Night’s Dream” as one of the “Rustics” and in his new part in the 2nd act divertissement this past year where he also showed off his great partnering skills. I know his future will be bright just like that wonderful smile of his and everyone at TPB wishes him much success in his new endeavors after he graduates in June. - Nancy Davis

Michael is a model student.  He is a very hard working and dedicated to learning. His work ethic has been an example to the younger students. The level of improvement and the growth in his dancing is a direct result of his desire and character. I have really enjoyed being one of Michael’s teachers as I am fortunate to teach him at ACMA as well as TPB.  - Jason Davis

If you follow this blog, you know that we have been interviewing and profiling each of our 2012/13 seniors. And each interview has revealed just a little more of a dancer’s life: what compels them to dance, what they do besides dance, how they got into the field. However, we’re also aware with each profile, we’re just barely scraping the surface of what really lies beneath. But one thing we know for certain- Michael Jurica is made of some incredible stuff and we have been honored to have him at our company and academy.

Michael Jurica (center) with Jason Davis teaching

Name, Age, Year in school?

Michael Jurica, 18, Senior in High school

When did you start dancing?
I started dancing in the sixth grade; there was a free ballroom class for boys because they had so many extra girls.

When did you start at TPB?
I went to the SBI at TPB in 2011 because multiple students from TPB who go to ACMA encouraged me to try the program. Following the SBI, I joined the year round program.

How has being a dance student affected your school life? Social life?
Although it is true that juggling dance and school can be difficult, I have always managed to get my schoolwork done on time. If anything, dance has taught me to be more efficient and productive with my time. As for my social life, I have made all the friends I could ask for at dance. And I am also fortunate enough to get to spend lots of quality time with all the people I have become friends with.

What are your other hobbies besides dance?
In addition to being a dancer, I am a visual artist. I started in middle school and continue to take classes now. I paint, draw and have worked with various sculpture media.

Influential master classes?
One of my most influential master classes was with Sean Rollofson, a member of PNB. He was a friend of my prior ballet teacher, Casey Davenport. This was really inspiring because prior to that class, I had never met or danced with a professional dancer. He was very encouraging during the whole class, gave a lot of unique exercises, and was part of the reason I decided I wanted to become a male ballet dancer.

Influential teacher?
All of my teachers have really shaped me as a dancer but the one who has affected me the most as a teacher would be Jason Davis. He is the teacher who teaches me the most at both ACMA and TPB; he teaches my mens technique, and my pas de deux class. He is always pushing me to do more, and always making sure I work my hardest.

Influential SBI?
A very influential SBI for me was my intensive at the Nashville Ballet. It was my first intensive away from TPB. It was a very unique experience for me; Besides new teachers and students, and I also got to work with several professional ballet dancers.

Why do you dance?
Dance is my body’s way for expressing my passion for music through movement and emotion. I have a deep respect for music and since I cannot play any instruments, I connect to the songs through my dancing. I also really appreciate that dance transcends both artistry and athletics. It is one of the few forms of expression that integrates so much athleticism.

Favorite role or ballet danced?
Since I have only been part of a ballet studio since last year, I have only ever done one ballet: A Midsummer Night’s Dream. It has been a wonderful experience both years. My favorite part would be the role I had this past Thanksgiving: Castor. It was an exciting role that I really enjoyed.

Michael as Castor in ‘A Midsummer Night’s Dream’

Favorite part of class? Barre? Center? Do you love to jump or turn or both? Adagio?
I think my favorite part of class would have to be jumps, grand allegro in particular. I enjoy grand allegro the most because it gives me the time to jump as high as I can and it typically includes my favorite steps.

Favorite TPB moment?
All the conversations that the boys and I have had in the dressing room.

Do you have a favorite dancer- friend at TPB or professional dancer? Any favorite ballet companies?
Currently, my favorite dancers are Taras Domitro and Jeffrey Cirio. I think they are an excellent example of male dancing at its finest. They are a balance of technique and flare. Some of my favorite companies are SFB, PNB, NYCB, and LA dance project.

Plans for after graduation?/ Pursue dance professionally?
After I graduate high school I would like to go to college to get a B.F.A. in Dance. I would then like to go join a professional dance company.

Dream job- where do you see yourself in five, ten years?
My dream job is to be part of any one of the companies I listed above. Those are the places I would most like to dance. I see myself dancing for a smaller company in five years, graduated from college and ten years is a long time from now, a number of things could have changed; it is hard to look that far ahead.

Advice for young TPB dancers?
Don’t be afraid to fail, you can’t be good at everything on your first try, but if you continue
to work hard you will make the improvements.

We recently came across this fascinating article via the wonderful blog, My Son Can Dance where this post originally appeared. It is written by Catherine L. Tully and you can visit her blog at 4dancers.org. It definitely got us thinking about how we are all limited by our defined ‘roles’ in ballet. And how the future of dance holds exciting possibilities for breaking those limitations.

Challenging Gender Stereotypes in Ballet
by Catherine L. Tully

Much as I love Balanchine, I have come to a place in my life where I take issue with one of his more popular statements: “Ballet is Woman. In sports, it’s Mickey Mantle. In politics, it’s Eisenhower. In ballet, it’s woman. Women are lighter, more flexible. They move more beautifully. He is not the King, but she’s the Queen.”

Suzanne Farrell and George Balanchine dancing in a segment of “Don Quixote” at New York State Theater, 1965. Photo by Orlando Fernandez, World Telegram staff photographer

Is that really true? I think not.

Now, let me back-pedal a bit. I do think that to Balanchine—and for his ballets, this was true. He found inspiration in women. But much as Mickey Mantle is no longer the representative for sports, and Eisenhower is not the first name that springs to mind when politics come up, men no longer take the back seat in ballet. And it’s about time that it is changing.

Although some choreographers still use men as a foil for women on stage, this is not true across the board. Men are being showcased more often in their own right. They are being allowed to explore different ways of moving and being on stage. When I was coming up in the ballet world, the man was your partner, and he got a chance to showcase his skills somewhere in the ballet, but other than that, his job was to make you look beautiful. It was such a narrow view of what men are capable of, and a disappointing one, really.

Photo by Blaine Covert; The Portland Ballet alumni, Skye Stouber and Caroline MacDonald, performing ‘Sleeping Beauty, Act III Pas de Deux and Coda’

I have always hated gender roles in ballet. When I was dancing, I yearned to do some type of solo in technique shoes that wasn’t just “pretty.” I wanted to be able to show off the power and athleticism of ballet as a woman—to leap and to spin without being restricted by pointe shoes. I always wondered why women didn’t rebel against this narrow view of their talents. But now I realize that we, too, were stereotyped.

The very thing that elevated women to Balanchine’s coveted status also kept us from exploring our own possibilities. We were just as trapped as men under this system. We just didn’t realize it.

I have to again say that I love Balanchine. I do. His ballets are amazing and his choreography fascinates me. There is little doubt that there was pure genius operating there. Magic, really. Yet I love that there has been more exploration since then, more challenges to these long-held gender roles in dance. And I hope that it will continue.

My wish for both men and women in dance is that they have the freedom and the opportunity to explore both strength and softness. I hope the choreography will be dictated by the music and not some pre-conceived notion of what either sex is “supposed” to do. I see a future where we can take the stage as true partners, and bring out the best in one another—whatever that may be.

Photo credit: Sascha Vaughn; Les Ballet Trockadero de Monte Carlo, arguably the leader in gender-defying roles and equality in excellence

There will always be a place for Balanchine in my heart and in ballet, but rather than looking back, I choose instead to look forward. We are all capable of so much more.

~~~~

Original post found here at My Son Can Dance blog. Thanks so much to Catherine and Nina for allowing us to re-post! Dancers, parents, audience members: what do you think? Do you feel limited in classical roles? Or do you feel the opposite? Let us know!

Auditions, stress, anxiety…we have covered these subjects intensely over the last month. And now (hopefully with help from our hints and tips), you’ve gotten through your Summer Ballet Intensive auditions and feel that you performed -for every class IS a performance- to the best of your ability. And maybe you’ve even received a letter or email saying that you’ve been accepted into the very program you were hoping for! Congratulations!

But, what now?

What can you expect?

What is it going to be like away from home for two, three, or even four weeks?

We asked two of our alumni, Skye Stouber & Caroline MacDonald, about their experiences with Summer Ballet Intensives to help answer some of your questions. Skye & Caroline- take it from here!

Photo of auditioning dancer at School of American Ballet by Jesus Vallinas

How old were you when you first went away for a SBI?

Caroline: I actually went away for the first time relatively late for a ballet dancer. My first summer away from home was at Pittsburgh Ballet Theatre School the summer of 2011, when I was seventeen years old.
Skye: I left home when I was 15.

Photo: Rich Sofranko
Students of Pittsburgh Ballet Theatre School
Études Excerpts, Choreography by Harald Lander
Staged by Terrence S. Orr & Janet Popeleski

Had you left home before? For camp? School?

Caroline: I had left home for an Irish dance camp in California when I was much younger. We stayed in dorms at a university, but my mom came with me for the duration. I had also traveled all over the country as well as internationally but at least one of my parents was always with me.
Skye: I had only left home for a week before going to the School of American Ballet (SAB).

Did your parents go with you for the SBI?

Caroline: My mom came with me to Pittsburgh to help buy supplies, bedding, and any other things I might need through the intensive. Carrying everything to Pittsburgh would have been quite the task on an airplane!
Skye: My parents did not go with me to New York; I have a lot of family in the city.

If so, how long did they stay?

Caroline: She stayed with me the week before and in a hotel near the dorms one or two days into the intensive.
Skye: I stayed with my aunt and uncle for a couple days, then went to the dorms when the program started.

Did you have another chaperon?

Caroline: There were RAs in the dorms to make sure we didn’t get into any trouble.

Where did you stay?

Caroline: I stayed in the dorms at Chatham University. The campus was beautiful and the dorms were renovated mansions!

Did you have a roommate?

Caroline: I had one roommate my first summer and a single room my second summer away.
Skye: I had a roommate- his name was Henry Cotton. (Sounds familiar…)

Dorms at SAB; photo by Rosalie O’Connor

How supervised were you? Able to go out on your own? With friends? What was the protocol?

Caroline: We had to adhere to the buddy system when exploring campus. We were also allowed to go off campus with at least two other people, but were given boundaries for how far we could go. We weren’t allowed to use public transportation. We also had to sign in and out of the dorm whenever we left and check in every night by curfew. If you were over 18, the rules were a little more relaxed and the curfew was later.
Skye: We had to sign in and out and leave with groups of 3 only to the designated area of a certain number of blocks…a designated area is a little hard to enforce for 150 kids in New York City though.

What about food? Where did you eat?

Caroline: Breakfast and dinner were served in the cafeteria at the dorms and lunch was prepared by a chef and served at the studios, buffet-style. On Sundays, we had brunch and had to provide our own food for dinner. That became the day that we would go out and try all the restaurants in the area!
Skye: I ate in the cafeteria of the Rose Building at Lincoln Center.

What sort of down-time activities were there?

Caroline: There were usually dorm activities planned by the RAs including movie nights, jewelry, nail painting, mini-dances, etc. We also had weekend activities like going to an amusement park, water parks, the zoo, seeing a musical, and an end-of-intensive dinner cruise (my favorite activity).
Skye: We played pool, explored the city, stretched, and hung out.

How did you get around? Bus?

Caroline: We were driven on a school bus to and from the studios and walked everywhere else we needed to go.
Skye: We walked, took the bus, subway, taxi… everything really at one point or another.

Mens class at SAB; photo by Rosalie O’Connor

When did you hear back from schools?

Caroline: I officially heard back from Pittsburgh within a week or two but was told of my acceptance after the audition. I heard back from the other auditions I attended within a week or two, at average.
Skye: I heard back from schools after the audition.

Was there a performance at the end of the SBI? Did/could parents attend?

Skye: At SAB there was no end-of-intensive-show-but-parents were invited. There was a final show at Houston.

Any advice for dancers going away to their first Summer Ballet Intensive?

Caroline: Be adventurous and outgoing! The sooner you branch out and make new friends, the sooner you will feel comfortable in your new situation. You will no doubt be homesick at some point during the intensive, so having a support system of friends throughout the entire experience will make it much easier. Also, don’t be intimidated by the unfamiliar situation, new studios, new teachers, and new dancers around you. Going away from home is a great opportunity to see what is happening in the dance world outside of your studio. Dancing with a new group of people and taking from new teachers will give you a whole new perspective! Try to be a sponge and absorb as much as possible. Summer intensives can easily become some of the best times you’ve ever had if you make the most of them.
Skye: If I could give any advice to a first time intensive student it would be to stay safe and have fun.

Thanks Skye and Caroline! Dancers & parents, did we miss any questions? Anything else you want to know?