ballerina by day...

awestruck of the day

2011-04-29T13:59:00.000-07:00

i still remember my first time seeing the beautiful tamara rojo live; it wasn't until she had finished the coda that i realized i literally had small tears streaming down my face in shock and awe. she is without a doubt one of my biggest inspirations. check out the beautiful ms. rojo, along with her fantastic partner carlos acosta, in the black swan pas de deux:

ashley bouder

2011-04-15T14:00:00.000-07:00

i've recently been following the career of new york city ballet's ashley bouder closely, and the more i learn about her, the more i'm inspired. if you're not familiar with ms. bouder, i urge you get to know her; she's a seasoned vet, whose experience and talent is fantastically obvious, she's absolutely beautiful!

“The great thing about Ashley,” says principal dancer Joaquin De Luz, who has partnered her in a number of ballets, “is that she really shares her energy, and it makes you want to jump higher and dance better.”

“From the beginning she stood out onstage,” says Merrill Ashley. “Besides her technical strength, she really feels and expresses the movement and clearly she loves to dance.”

(Dance Magazine, April 2011)

i don't know what it is about her, but she just seems like one of those really genuine dancers, who works hard for everything and approaches each class/rehearsal/show with intense thought and care. she seems like the type of dancer who never stops pushing herself to make new goals, meet them, and then surpass them, which is such a fantastic and evident quality in a dancer, not the type to rely solely on natural talents.

i also love this video, in which ashley is joined by fellow nycb dancers tiler peck and kathryn morgan discuss dancing the role of aurora, from three different perspectives.

and if you're a twitter fiend like myself, be sure to follow her twitter. so fun to get to a little sneak peek into the daily life of a widely successful principle dancer!

a night at the ballet

2011-03-12T14:17:00.000-08:00

a few weeks ago i had the pleasure of attending San Francisco Ballet's Program 3, consisting of Yuri Possokhov's "Classical Symphony", Helgi Tomasson's "Nanna's Lied", and Forsythe's "Artifact Suite". while the evening itself was totally magical, some of the ballets were not.

the program starts off with "Classical Symphony", which i must say was amazing. from the music, to the costumes, to the superb and surprising choreography, possokhov choreographed a serious winner. vanessa zahorian danced the lead role, and while she is an incredibly strong and precise dancer, i felt her movements were a little jerky. sometimes you see those dancers who forget to connect every single one of the steps, pausing and breaking from the fluidity, which seemed to happen a few times. but her footwork and precision definitely made up for it. that small critique aside, it was absolutely stunning and inspiring.

Maria Kochetkova and Frances Chung; Classical Symphony

after a brief intermission we came back in for "Nanna's Lied", which i can without a doubt say is by far the worst ballet i've ever seen. ***warning, i'm about to rant.

the choreography was as literal as possible; i don't speak german, yet i know 100% that the choreography did nothing but directly act out the words to the song. it may just be my opinion, but there is no need for both choreography and music if they fail to tell the story in new or interesting ways. it was like watching the same boring television show twice in a row; as if it wasn't bad enough the first time, there was nothing new or exciting to hold my interest.

and it was all surprisingly erratic; after a series of weird poses and walking, the dancers would finally start dancing, and right when you're almost intrigued then the song would end, along with the dancing...and my interest in the piece. then the audience would wait, as the dancers blandly repositioned themselves on the stage, waiting for the next song to begin, accompanied by their obvious and predictable musical cues. adding to this was a ridiculous and frustrating set, composed of 3 large grey slates concrete walls, which had nothing to add to the story line. and with every pause of the music, they would dramatically switch the direction the walls were tilting, as if it had to be done in order for the audience to follow the ballet. in reality, all it did was distract me and cause me to spend more time wondering why they were necessary as opposed to trying to enjoy the ballet.

Sarah Van Patten and Anthony Spaulding, Nanna's Lied

the one bright spot in this ballet was the lovely sarah van patten. no matter how ridiculously predictable the choreography, it was impossible to take your eyes off her. every movement was rich and luxurious and i enjoyed every second she was dancing.

it was a shame to see the amazingly talented anthony spaulding dancing in a role where he wasn't actually dancing, rather just acting as a piece of scenery, occasionally lifting van patten (which of course he still did perfectly). i guess for me, spaulding is so incredible because even though he is not as technically skilled as some of the other principles, when he moves he has complete command of the stage. he has that special je ne sais quois that keeps the audience wanting more; so having him simply strolling across the stage was insanely frustrating. he never got the ability to actually dance, and a ballet that wastes men's talent is to me totally pointless.

overall, "Nanna's Lied" left a terrible taste in my mouth, and i was not the only one.

what better way to restore my faith in sf ballet then ending it with the amazing and fantastic Forsythe piece "Artifact". if i've said it once, i'll say it again; Forsythe on sfb is a match made in heaven. between the unmatchable perfection of the dancers and the stunning choreography of Forsythe, i could watch "Artifact" all day long. while many of my audience members found the dramatic dropping of the curtain, which happens sporadically through out the piece, to be a little overwhelming, if you keep an open mind you'll find that the intensity of the ballet is literally moving.

Artifact

for more info on Program 3, visit san francisco ballet's website here.

its been a while!

2011-02-25T16:23:00.000-08:00

wow did i ever disappear?! just when i feel like things are finally starting to get normal, you're thrown back into chaos.

when i made the decision to move to san francisco, i did it with a very clear plan (i'm definitely one of those people that plans out every second of every year of my life, so plans are important). but once i got here and got settled into my new company, i found myself hating dancing. every morning i didn't want to get out of bed, i didn't want to go to class, and i certainly didn't want to go to rehearsal. after a few months, i knew i wasn't in the right place, so i quit. it was a very drastic decision, and for a while i really regretted it. having so little professional experience on my resume is terrifying. but ever since i quit, i've been enjoying dancing all over again. my focus is now on classical ballet and my technique, in hopes that i'll be ready for auditions this month.

i also found out that i have tendentious which was a huge wrench in my master plan, but after some heavy physical therapy, it seems to be going away.

while i love dancing again, i hate waiting to see if any company will take me. no matter how well i dance, i feel so nervous about standing out enough to be chosen. fingers crossed!!!

a case of the mixed up mondays

2010-11-09T02:48:00.000-08:00

today was one of those days when everything was just off. the train i take to get to ballet class was 20 minutes late, causing me to miss morning technique class. although annoying, this was fine, because there is also an evening class i can take. so i tried to get stuff accomplished during the day and planned on taking the later class. come time for ballet, i left with more than enough time to get there, but yet again the train was delayed. so today, i missed not one but two ballet classes.

i feel very out of whack. hopefully its just a monday thing. and with that, i leave you an image of the most amazing feet ever, miss tamara rojo.

perfecting pirouettes

2010-11-02T17:57:00.000-07:00

pirouette...for me this seemed like the easiest step in the entire world. some people are jumpers, some love adagio, but me, i love pirouettes. although turning seems somewhat simple, pirouettes are not just a bunch of spins with velocity behind it, they're actually quite tricky, so heres some tips to help make your pirouette fantastic every time!

1. proper preparation is key: make sure your fourth isn't too big or too small, and that your weight is equally distributed between your legs, keeping you well centered. i know so many girls who think they need to be over their front leg at all times, but i promise you that if you take off from two feet equally, you'll have a much more stable, successful turn.

2. what goes up, must come down: one of the mistakes i used to always make was thinking that to pirouette correctly, the focus had to be on the rise. i would jump onto my foot, completely forgetting the most important part of the turn, the plie. plie is so essential to getting the force you need to do amazing triple pirouettes (it is possible, i promise), but if you go straight from a rigid fourth to your releve, you're never going to make it. if i could only give you one tip for pirouettes it would be to deepen your plie right as your about to take off. not only that, but as you're turning, focus on sending energy down through your leg, as well as up through the top of the head. focusing on the standing leg once again helps with your stability and strength in the turn, while lengthening through the top of the head helps you concentrate on your posture, keeping everything perfectly balanced throughout the rotations.

3. abs, abs abs: for me, every dance move in some way or another originates from the center of the torso. focusing on contracting your abs, keeping your core strong throughout the motion, is key in a flawless turn. it also helps you gather up all the energy of the turn quickly and efficiently, creating a compact turning machine!
***when you're practicing passe at the barre, be sure to think about your abs as well. one of my teachers once told me to try to focus on the opposing rotation of the abs and the passe knee, pushing the knee away from the abs and vice versa. this has really helped me understand the relationship between my passe and my core to help keep me on balance.

4. no man left behind: the moment you come out of your plie preparation, make sure everything assembles in the air simultaneously. if something like your head or arms are left behind, it will slow your turn down and will keep you from turning at your best.

5. relax: keep your head and neck as loose as possible, while still maintaining good ballet posture. its important that they be able to move and spot freely in the turn. also, make sure your shoulders are relaxed and tense or raised.

6. back to basics: when all else fails and you just can't seem to get that turn down, slow down and take your pirouette back to basics. try doing a single turn; make mental notes of what direction you're falling in, what feels weird or weak, see what is right and what is wrong. remember that proper technique builds strength and that is what is going to give you the type of turns that make everyone envious. do ankle strengthening exercises, like multiple releves at the barre or ankle rolls. practice doing single consecutive turns from fifth position; focus on a clean take-off and landing, and take notice of what your core is doing during the turn.

and all in all, remember that quality really does out rank quantity. i think its important to remember that one perfect turn (with that gorgeous moment of suspense at the end before you come down to a perfect fifth, yeah you know what i'm talking about!) is so much more beautiful that five okay turns with a sloppy ending. i guarantee you that at an audition, the girl with the perfect double will get picked over the girl with the mediocre quadruple any day!

practice these tips and you'll be a pirouette master in no time!

Scheherazade like you've never seen it before

2010-10-31T23:41:00.000-07:00

if you're like me and live in san francisco, you've recently been bombarded with images of alonzo king's lines ballet's production of "Scheherazade", making its west coast debut october 14-24 at the Yerba Buena Center for the Arts.

while i was dying to go, i unfortunately couldn't get the weekend off to see the amazing work alonzo had created for us this season. i did however find this amazing video, giving us a peak into lines rehearsals. if the ballet is anywhere near as fantastic as this video suggests, i hope that all international ballet fans can go see the show when it goes on tour in november!

LINES Ballet from LINES Ballet on Vimeo.

behind the velvet curtain

2010-10-30T23:24:00.000-07:00

i'm obsessed with photos of dancers backstage. i love the glamour of the theatre and the peak into the dancer's lives, its all so beautiful. i found these imagines on the winger and i'm absolutely in love with them so i thought i'd share!

turnout troubles

2010-10-06T15:16:00.000-07:00

every dancer has that one thing that is a constant pain in the butt; sometimes its flexibility, sometimes its straight legs...but for me, its turnout.

i've never had perfect turnout, despite sitting in the "frog" stretch for hours on end, and while i can fake it very well at barre, when it comes to center floor work, it really hinders my dancing. i'm off balance, i can't properly develope, my hips are never quite where they need to be, etc. i always think about those scenes in "Center Stage" when all the teachers are yelling at Jody for not having perfect turnout...so in my attempt to discover the secret to perfect turnout, i've decided to investigate it further.

turnout actually originates from the hips rotating outwards all the way down through the knees and toes. its the rotation of the hip that forces the knees and feet to turn away from the center of the body; if the knees and feet initiate the movement, its incorrect (a la me during class...) and is one of the most common ways dancers injure their knees.

a lot of different factors come into play when assessing turnout, including the flexibility of the hip, leg, and certain ligaments in the leg, along with the ability to rotate within your hip sockets.

stretches to help turnout include the ever popular "frog" as previously mentioned, where you lay face down, pelvis flat on the ground, knees bent, with the bottoms of your feet touching. the goal is to completely be flat on the floor, so that even your stomach, pelvis, thighs, knees, calves, and feet are all on the ground. this can also be done laying with your back on the ground, feet together and knees bent; this time however the challenge is to get your knees and thighs to lay flat on the ground.

another great stretch to help turnout is the center split. i know, i know, no one likes the center split, but it really does help...or so they say! holding a center split is a great way to help achieve maximum turnout. there are two effective ways to stretch the center split. one way is up against the wall: with your back flat on the ground and your butt as close to the wall as possible, extend your legs upwards and open them into second. i like this way because gravity helps push your stretch even more. some people do these stretches with ankle weights to help even further pull your legs downwards. i've never tried it, but as long as the weights aren't too heavy, it sounds helpful!

another way to stretch your center is to sit on the ground in your best center split, leaning forwards with a straight back, attempting to get your stomach to lay flat on the ground. kinda old school, but i think its super effective (i'm currently in that position as i type!).

its recommended that dancers do these stretches daily for at least half an hour in order to improve their turnout. its important to also remember to never force the stretch; slowly easing into it is kinder to your muscles and will help you gain the most from the activity.

a friend also recommended the book "tune up your turnout" by deborah vogel, but i've yet to purchase it. if you have read it, let me know if it is worthwhile!

and when all else fails, don't forget the importance of your mind and imagination. sometimes imagining my body on a center line, with everything rotating outwards and away from that center, helps me remember to turnout from head to toe. hey, whatever works right?!

fun find

2010-10-06T10:18:00.000-07:00

i'm very excited because i just purchased the book "Technical Manual and Dictionary of Classical Ballet". my old ballet teacher used to read excerpts from it for fun, so i was elated to find it at my local borders. its only five dollars and its actually really enjoyable to read. i highly recommend it!

classical ballet vs. contemporary ballet

2010-10-05T17:57:00.000-07:00

all my life, ballet has been a constant.

when i was little, i dreamt of wearing tutus and dancing swan lake all day, every day. i read Angelina Ballerina and toted my infamous Ballet Box everywhere. but when i was 16, i was introduced to Alonzo King's Lines Ballet, and suddenly my focus shifted. i started taking contemporary classes and shifting my focus towards the less technical world of ballet and dance. i don't really know why i felt it was where i belonged, or who enforced that belief, but it happened. even though i stayed with a classical studio all throughout high school, i still considered myself to prefer contemporary.

however now that i dance with a contemporary school, i find myself desperately missing my classical home base. this longing for a strict technique class has led me to take a deeper look into the many ranges of ballet.

its so interesting the way very classical companies and very contemporary companies differ in opinions and perspectives. the right way to hold your arms/legs/torso in one ballet class may not be right for another variation. even the way you're encouraged to move changes.

in some cases, the opposing sides put each other down in the most childish way, which really bothers me. for example, today one of my teachers was poking fun at most classical ballerina's desire to dance cleanly and technically perfect, saying it lacked interest which to me simply isn't true. and many of my classical friends are quite close minded towards other disciplines; when they see anything contemporary they just automatically write it off as weird, silly, or dumb.

i guess theres no real point to this blog, just some frustration with people's lack of appreciation for other disciplines, coupled with my confusion as to where i fall on the ballet scale.

i think every type of dance, even if it seems foreign, odd, or difficult to wrap your head around, is a beautiful art form worth being appreciated. while i don't believe its necessary that we all fully master every type and discipline of dance out there, i think we should appreciate every artist's craft, not just the one we personally deem most valuable.

finding my place in the puzzle

2010-09-29T22:30:00.000-07:00

so i've been in san francisco for a little less than a month and i think i'm finally discovering who i am as a dancer and how i fit into this crazy little world up here, which is very exciting. i think its so interesting how every city has a different type of dance culture and i'm having so much fun learning about them. its also interesting to note how every teacher sees dance in a different way and sees the way you personally dance in a different way. no two teachers i've ever had focus on the same things, i love it!

in other news...i discovered a really cute blog called Little Ballerina which introduced me to this amazing video about New York City Ballet Principal Megan Fairchild and her much loved Freed Pointe shoes. I can't stop watching it, check it out!

Black Swan

2010-09-19T23:01:00.000-07:00

to say that i'm excited for this movie would be a HUGE understatement. i had the honor of meeting people involved with the choreography and i can assure you its going to be amazing!

ballet étiquette (beware: i'm about to vent)

2010-09-19T22:51:00.000-07:00

so i recently had the wonderful opportunity to begin dancing with a new company in a completely new dance environment. even though its only been a few weeks, i already feel that the experience itself has been amazing in terms of growth and learning about who i am as a dancer and what i want out of my career.

while i love the program and the opportunities it has already exposed me to, there is one glaring thing i cannot stand.

as a classically trained ballet dancer, i grew up with strict rules in terms of how to behave in class. no excess talking (especially when the teacher is giving corrections or advice), always turn towards the barre, no sitting between barre and center, some silly yet some very necessary. the most necessary of all however was to always respect your fellow dancers.

i think the dance environment is one that can so quickly become hostile and competitive. that being said it's important that we respect each other as artists and give each other the proper space to dance and move and explore. at my new company, there are a few dancers who have obviously been there for quite some time and choose to completely disregard this notion.
when we split into groups for combinations, they are constantly joining in with the second group. this isn't necessarily awful, however they insist on dancing full out, taking up space out of that group and prohibiting other dancers from getting to dance the movements in their full extent. to me it's just plain selfish.
and when we do combinations in groups, with four counts to change groups in between, instead of running forward and out the way we are instructed, they insist on slowly walking directly to the sides, often times running into dancers of the next group and making them start two counts off beat.

when you dance in large groups, its important to always remember to respect those around you and to remember that everyone is entitled to their time to dance. to me it's so incredibly rude to completely disregard others. i understand the necessity of dancing for yourself and having those selfish moments where you turn the focus inward, but its important to remember to respect those around you. if i'm trying to do the combination and you're marking it in the back but moving into my space, its going to throw me off and keep me from getting the most out of the combination.

so i guess the point of this post is just to remind everyone out there to pay a little extra attention to what is going on around you. because no matter how amazing of a dancer you are, respect should always be given to everyone.

the great gaynor debate

2010-09-02T23:31:00.000-07:00

i am the first to admit that i used to look down on girls who wore gaynor mindens. i thought of them as the "easy" pointe shoe that only the less dedicated would wear (harsh, i know!). i was also one of those silly girls who believed you weren't a real ballerina unless you went bare in your pointe shoes; no pads, no lambs wool, no nothing.

after years of going through a pair of freeds in two weeks tops, one of my friends suggested that i invest in a pair of gaynors because they are more durable and last quite a long time. at first, i completely disregarded them, but after a while i thought i might as well try them out.

well, i'm eating my words; i absolutely love them.

i don't understand what it is about them that makes them so comfortable, so quiet, or so effortless...the website explains it but honestly i don't have the patience to try and understand! needless to say, i bought a pair to alternate with my freeds and i couldn't be happier with them.

while i understand why it was so easy to look down on them, it is really nice to have a comfortable shoe that lasts long. and most companies have become more open to using them; dancers from the Bolshoi, ABT, English National Ballet, New York City Ballet, and many others all wear them.

even my favorite dancer Yekaterina Kondaurova wears them

i do think that they aren't the best shoe for new dancers because i think it is easier to develop strength in a normal shoe. but if you're like me and you are constantly going through shoes, or if you just want a little more comfort every once in a while, then i say go for it.

so what do you guys think: gaynors yay or nay?

new apartment means new room!

2010-09-01T09:37:00.000-07:00

in exactly one week i'll be living in a whole new city, in a new apartment, with new roommates, new everything. and even though i should be obsessing about my new dance schedule, i can't seem to stop obsessing about how i'm going to decorate my bedroom!

i've been frequenting blogs like:
apartment 34
habitually chic
dress, design, decor
coco+kelley
haute design
desire to inspire

i go to bed dreaming of headboards and i wake up debating the pros and cons to vintage vs. modern styles. i'd be lying if i didn't say i was totally enjoying all the research!

totally un-ballet related but...

2010-08-30T21:01:00.001-07:00

i'm obsessed with the new alexander wang campaign video.

ballerina project

2010-08-20T14:21:00.000-07:00

if you love black and white ballet photos as much as i do, be sure to check out the ballet project on facebook.

every body

2010-08-20T14:10:00.000-07:00

so thanks to the glorious world of twitter, i was introduced to "my body image", the body image focused blog by Theresa Ruth Howard. after about two minutes scanning through her posts i realized it was going to be my new must read. her mix of cleverly crafted sentences and harsh truths about modern day society make you just want to stand up and yell "SO TRUE" (which i'm currently keeping myself from doing for the sake of becoming the crazy in starbucks).

dancers tend to get so focused on the notion that we are not good enough without the perfect body/measurements/size/shape. i know personally that the constant drive to be as thin and toned as the girl standing next to me at the barre almost killed my love for dance. i had to remove myself from any comparison to remember that i do this for joy, for myself, not so someone can judge me or my size.

because in reality what makes humans so interesting and so beautiful is our variation; the unique aspects of our personalities, bodies, minds, these should all be celebrated. this seems so obvious, yet the notion of "skinny" and "fat" seems to have overwhelmed modern society to the point where its important to have a blog like Ms. Howard's to remind us. please check it out, you won't be disappointed!

and remember, no matter what size you are, dancing from the heart is what matters!

degas: master impressionist

2010-08-05T18:12:00.000-07:00

travel essentials

2010-08-05T18:03:00.000-07:00

i've been traveling a lot lately, moving around, looking for apartments up north, and visiting my friends before we all start working/dancing. in my travels i've learned there are a few things i cannot live without!

any sort of travel is pretty detrimental to your skin so i always bring moisturizer when i travel, specifically korres yogurt moisturizer. i love it because its all natural and not tested on animals, plus feels very luxurious and keeps my skin clear and hydrated.

i love drinking tea; some would say im addicted. i always keep with me Zen green tea and Calm herbal tea. they're both delicious and they keep you hydrated no matter where you are!

i don't know why airplanes are always so cold, but they definitely are! but i'm okay with it because i adore wearing scarves; i'm that ridiculous girl who wears scarves in june in southern california. i always bring scarves when traveling, not only because they keep you warm, but they're so comfortable they just remind you home.

the idiot by fyodor dostoevsky is one of my absolute favorite books. i never travel without it because every time i re-read it, i discover something new. regardless of what book it is, traveling is a great time to catch up on all those novels you have collecting dust on your bookshelf (if you're like me that is!).

so i know this sounds silly, but i never travel without bunheads exercise bands. when i'm sitting all day i get so anxious and antsy that its nice to be able to stretch out my feet or do tricep extensions. people may give you weird looks when you bust out an exercise band, but to each their own right?!

sorry for the disappearance! fun pointe magazine article!

2010-08-04T15:00:00.000-07:00

so just as i got super into this blog, my life got a little too busy!

i finally graduated college in June which was amazing. i know i used to complain about my parents pressuring me to pursue higher education, but it really was worth it. such a fantastic feeling.

i am also in the process of moving and changing companies, which is nerve wracking and terrifying, yet insanely exciting. i cannot wait!

so while i was off trying to juggle my crazy summer, pointe magazine came out with a fantastic new issue with Miami ballet's beautiful Patricia Delgado. one of the coolest articles they published was "A Day In Her Pointe Shoes: Wendy Whelan". i had the amazing honor of meeting Ms. Whelan briefly last year and she is one of the sweetest, most amazing dancers i've ever had the pleasure to take class with. i love this article because it gives us a peak into her exciting ballerina life, you should definitely check it out!

pointe magazine article

the worst position ever.

2010-05-11T20:00:00.000-07:00

some days fifth position feels like its going to be the death of me!

image via skagit valley academy of dance

Cedar Lake Ballet

2010-05-08T09:06:00.001-07:00

i had the fantastic opportunity to see Cedar Lake Ballet last night i'm still completely floored by how fantastic they were. it was by far the best performance i've seen in years.

i need to preface this by saying it was definitely not a classical, technical ballet, as they are a contemporary company. but if you love contemporary ballet, you must see Cedar Lake.

the program i saw was called Orbo Novo, choreographed by Sidi Larbi Cherakoui.

the show began with the dancers reciting a passage written by Dr. Jill Bolte Taylor, describing a stroke and the psychological turmoil she experienced during it. while i'm not always a fan of talking in ballets (it for some reason makes me nervous!) it was interesting to get such a clear idea of what the piece was about. they continued to dance in the most fluid manner, illustrating themes like the notion of being trapped within the mind and the dualities of the natural world. and all of these twisted themes were emphasized by the large red lattice walls on stage, which the dancers climbed and contorted through, around, and over.

while some of my friends felt the choreography was lack luster at times, i found it to be mesmerizing. maybe it was just the talent of the dancers that i was so captivated with, but regardless i thought it was amazing. the combination of the fantastic music, the strange wilder-our-town-esque costumes, the odd steps, and the use of the lattices, left me completely spellbound. it really demonstrated what fantastic athletes dancers are.

if you have the opportunity to see Cedar Lake, i definitely recommend you do!

image via the boston globe, ranting details, seeing things

Walking Around: Mother's Day Gift Guide...

2010-05-07T13:30:00.000-07:00

just stumbled on blogger sarah jane from walking around's great mother's day gift ideas, some really good stuff!

Walking Around: Mother's Day Gift Guide...