What We Learned from "city.ballet." Season 2, Episode 12
Over the course of "city.ballet.," we've seen all the insanely hard work that goes into a professional ballet career. But in the final episode of the series' second season, we get a look at the end product: the performance. Those few minutes onstage, the New York City Ballet dancers make clear, more than justify the countless hours they spend in the studio. Here are five things we learned from the ep.
NYCB dancers backstage before a performance (still from "city.ballet.")
1. Choreographers have control over every aspect of their ballets—until they don't. The minute their work hits the stage, it's totally out of their hands (and feet), which is a disorienting feeling. "At this point, I'm still thinking, 'How can this piece be better?' " says choreographer and NYCB corps member Troy Schumacher just before the debut of his ballet Clearing Dawn. "But now I don't have any part in it. I have to just sit back and enjoy all that the dancers are giving to the piece."
2. In fact, once any ballet is onstage, the only thing to do is relax and be in the moment. "Sometimes you don't know what's going to happen out there," says principal Maria Kowroski—especially the first time you perform a ballet. "But that's the time to trust your partner, to just look at him and think, 'Oh, I'm so happy I'm dancing with you!' It's that freedom and abandonment that make it special."
3. Schumacher's playful choreography for Clearing Dawn is so winning. "Have a good day at dance school," he jokes to principal Andrew Veyette just before the curtain goes up, referring to the piece's school-uniform-esque costumes. And those costumes match the ballet's youthful spirit perfectly. "It feels like playing a game onstage—like a game of tag," says soloist Georgina Pazcoguin.
4. Before a show, some NYCBers lick for luck...? Yes, we all know about "merde," but apparently a few of the older company dancers have a tradition of touching each other with licked fingers before a performance. Uh, we need to hear the story behind that.
5. Performing is basically the best rush ever. Well, you probably already knew that, but still! The episode closes with the dancers' tributes to the joy of being onstage, and it's the perfect ending to the season—because that rush is the whole reason these artists do what they do. As Kowroski says: "When you're really in the moment onstage, when you feel all the blood rushing in your legs and your feet and your arms—it's something so pure and raw. You're just living."
Click the image below to watch the full episode!
Harper Watters is a ballet dancer for today's generation. A social media maestro and a charismatic performer, the Houston Ballet soloist is equally at home in front of the camera hosting his hit YouTube series, "The Pre Show"; interacting with fans on his crazy-popular Instagram account; or showing off his beautiful classical technique onstage. It's a multifaceted identity that's proven to be invaluable to his career—and it's taking him to places he never even dreamed of.
The dancers who take our breath away are the risk-takers, the ones who appear completely fearless onstage. "When you see somebody trying to travel more, go farther, push the limits of their physical abilities, that's always going to be inspiring," says Ballet BC dancer Alexis Fletcher.
But dance training can feel like it's in conflict with that idea. We spend thousands of hours in the studio trying to do steps perfectly, and that pursuit of perfection can make us anxious about taking risks. What if we fail? What if we fall?
Luckily, fearlessness is a mental skill that you can work on, just as you work on your technique. Here's how you can learn to push yourself past your limits.
If you're in need of a piece that's both trendy and sophisticated, look no further than this Só Dança crop top. Featuring elegant long sleeves, a high neckline, and a delicate lace trim, it's both classic and contemporary—perfect for everything from that big audition to a long night in the studio. Enter below for your chance to win it!
Auditioning for summer intensives in person may be the ideal—but for Anna McDowell, a 16-year-old student at Juneau Dance Theatre in Juneau, AK, it's rarely possible. “Living in Alaska, it's difficult to travel to auditions," she says. “It gets way too expensive!" Instead, each year, with help from her teachers and a videographer, she puts together a well-crafted video and submits it to schools around the country. Last year, her high-quality video helped her earn acceptance to nearly every program she applied for. Most summer intensive programs, eager to attract students from far and wide, will accept video auditions from those who can't travel to take class. But major schools look at hundreds of submissions each year, which means video auditioners have just a few minutes—or even seconds—to make a great impression. If you're about to create an audition video, follow these tips from the professionals to put your best digital foot forward.
There are zillions of things to think about when choosing a summer program, but here's one you might not have considered: using an intensive as an opportunity to focus on a new style. Maybe you're a tap dancer who's ready to see where else your rhythm and quick feet can serve you, or a contemporary dancer curious about the more traditional roots of your genre. A summer program can be the perfect place to broaden your horizons, giving you the opportunity to make technical and artistic changes that stick throughout the year.
Happy birthday, George Balanchine! The great choreographer and founder of New York City Ballet would have been 114 years old today. Balanchine revolutionized ballet, especially American ballet—and he also had quite a way with words. To celebrate Mr. B's birthday, we rounded up some of our favorite iconic Balanchine quotes.
There's a common misconception that a dancer's body has to be thin. But the truth is that talent knows no body type, and the number on the scale never determines an artist's capabilities. Here are some extraordinary dancers fighting the stereotype of what a dancer "should" look like.