In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email email@example.com a chance to be featured!
I can't find the pointe shoe that's right for me! I've been on pointe for almost three years now, and I've tried all kinds of brands and styles, but nothing feels perfect. Do you have any advice?
You rehearse your group routine to perfection, but when the big performance rolls around, everyone turns into speed demons. It's the runaway-train effect—and it only takes one loud tapper, or zippy turner, to throw the whole group off the music.
While nerves and excitement are partly to blame, the ability to keep to tempo begins in the studio. A well-developed sense of musicality is your best defense against the dreaded speed trap. "When you understand how the steps fit with the music, going too fast won't just feel like rushing," says Jeremy Arnold, lecturer of tap at the University of Texas at Austin. "It'll feel wrong." How can dancers develop that musicality? It all starts with learning to listen.
After most dancers graduate from The School of American Ballet they have lots of "firsts": first company contract, first performance with that company, and maybe even first solo role. But 2017 SAB grad Gianna Reisen is experiencing a different kind of "first" during her inaugural year in the professional ballet world: She's making her first choreographic debut at Lincoln Center. At just 18, Gianna Reisen is the youngest person ever to create a piece for the renowned New York City Ballet (NBD!). Her new work, Composer's Holiday, set to music by Lukas Foss, will premiere at the company's fall gala on September 28th.
Reisen impressed NYCB ballet master in chief Peter Martins with the ballets she made for SAB's Student Choreography Workshop and The New York Choreographic Institute, prompting Martins to invite her to create a piece for the main company. And though the pressure of such a proposal would intimidate even the most seasoned choreographer, Reisen's pragmatic poise about the whole thing assures us that she's up to the task.
You probably know Ava Cota as the lovely, leggy dancer who was rejected from the Abby Lee Dance Company, on "Dance Moms," because she was "too tall." Now, that lanky frame is propelling her career as a model. Ava just made her New York Fashion Week runway debut, and we're guessing it won't be the last time the six-foot beauty graces NYC's catwalks.
Travis Wall has taken the contemporary world by storm with his Emmy-winning creations for "So You Think You Can Dance" and mesmerizing works for his own company, Shaping Sound. But this month, he'll dip his toe into the ballet world with a new work for Cincinnati Ballet. (Wall also choreographed a piece for Los Angeles Ballet back in 2010.)
When former ballet dancer Kayci Treu first joined the ballroom team at Brigham Young University, her coaches would often reprimand her for "backleading," or performing steps without waiting for cues from her partner. The Vaganova-trained dancer had done her fair share of ballet pas de deux—but, as she explains, "that's about a ballerina being supported by her cavalier or prince. Ballroom is more symbiotic. The heart of ballroom is the two-person connection—a man and a woman working together."
In the ballroom world, the role of "leader" typically falls to the male partner, while the female dancer is the "follower." But if you're a woman trained in a style like ballet or jazz, where you're in command of your performance at all times—or if you're just a type-A person—it can be challenging to relinquish control. We asked Treu and veteran "Dancing With the Stars" pro Ashly DelGrosso-Costa to offer tips to help you get out of your head and move in sync with your partner.
In an audition or onstage, knowing how to use eye contact appropriately is a total game changer. Dancers who aren't afraid to meet the eyes of judges or audience members exude a special confidence that allows them to be seen as capable, talented performers. When dancers look at the floor or around the room, though, they telegraph insecurity. Don't send your critics looking for flaws! Avoid these three no-no's and become a true master of eye contact.