You Can't Always Get What You Want

We all will wonder from time to time why it is that we do not seem to get what we want in life.
Self-help books tell us that through affirmations, positive thinking and visualization, we can attract to ourselves anything or anyone that we so desire. And to a certain degree I tend to agree.

However, I believe that the reality is that the majority of people don't get to realize their goals or dreams. A song by The Rolling Stones states "You can't always get what you want. But if you try sometimes well you just might find You get what you need." How can this be? And what are we doing wrong?

1.) Wanting the wrong things. Sometimes, we want things we can't or shouldn't have: the love of someone who is already taken, things we can't afford or even things we would be better off without. Often, the want is simply that, and we would face disappointment if we actually got what we wanted. Occasionally, we need to just "thank God for unanswered prayers" because He knows what we need better than we do.

2.) Not wanting it bad enough. There are times in life when we meet a few setbacks and simply quit trying because it got hard. Often, people get what they want because they won't take no for an answer and not because they have some special "luck". We really cannot know another person's life well enough to judge how they got where they are today. If we want something bad enough, and if it's not something we shouldn't have, we will keep trying until we achieve whatever it is we want. Persistence often works much better than "luck" in helping us get what we want.

3.) Subconsciously, we don't think that we deserve to succeed.  We all have emotional baggage we carry with us. No matter how much we want to be say, the President of the United States, if we do not have the confidence nor feel that we deserve it, there is no way that we can achieve this goal.

4.) Others are dragging us down and standing in our way.  It is important to try to surround ourself with those that provide a positive influence and support. Try to share life with others that enjoy the same interests, values and goals.

5.). Procrastination  It is not possible to realize a dream if the path to that dream is not the main focus. Do not waste time and energy on inconsequential details that will not get you closer to the desired outcome but will only divert your time and efforts. Prioritize and stay focused on the main objective you are striving to achieve.

6.) Not going after it in the right way. Some people will go to any lengths to get what they want, even if they must do something wrong or illegal. They don't care who they hurt in the acquisition of their goal. This often backfires and the person doesn't get what they want after all; they get something else entirely. They may get a stint in jail or lose relationships that were more important than the thing they sought.

7.) Wrong  Focus.  My experience has been that typically people focus on the physical manifestation of what they believe is "the ideal life", "the perfect partner", "the fastest car" or whatever is the area of desire that they focus on.  However, the more that you focus on what you want and not what you actually have, you're going to end up disappointed.

The reality is money is not attracted to need. Neither are beautiful people attracted to needy people.

We don't get what we want - we get what we are. If one is to entertain the notion that we are indeed able to attract to ourselves the people and circumstances that we so desire, or described another way - to create the lives that we so desire - then perhaps this gift has been given to us to not focus on the physical application of it but to be applied at a far more meaningful level - by focusing on attracting the attributes, the people, the circumstances that allow you to grow and to BE MORE rather than to HAVE MORE. There is a very significant distinction.

I like to think of it like this. Diamonds come from the earth not as shiny, polished finished and valuable items. They are unformed, dirty and often times are hardly recognizable as precious gems. Through science and concerted effort they are bought to the place where they can have enormous value (both in monetary terms but also in a utilitarian sense). Likewise - so to are our lives.

If we focus on refining and polishing ourselves we increase our use and our value. And where there is further use and value there is always greater reward -  monetary not always monetary, but always in happiness and fulfilment.

The majority of things that we want are in our power to achieve. Stay focused, educate yourself and be your own best motivator. If you know what you want, go for it. Instead of focusing on getting what we want, we should focus on becoming the best person we can be and all the rest will follow. Either we will attract what we desire or our desires will change.  Either way, we win.

When Dancers Can't Audition in Person: Making Use of Videos

The Many Benefits of Yoga for Dancers and Athletes

No matter what kind of dancer you are--modern to hip hop, ballet to tango-- you can derive huge benefits in your dancing from taking regular yoga classes. An estimated one in eight Americans currently practice yoga. And, although this post is written for dancers, yoga definitely can be good for athletes also.

Check out these ways that yoga practice can give your dancing a leg up, both in class and on the stage.

Maximized Flexibility

There’s no such thing as a dancer that’s too flexible. The methods used in yoga can open your tight areas while maximizing the length in muscles that are already flexible. Pretty much every style of yoga has a stretching pose for every part of the body, so whether you have tight hips, an inflexible back, or hamstrings that refuse to give you higher extension, yoga will give you an outlet to safely and effectively increase your flexibility.

Every pose is designed deliberately to focus on a few areas at a time and allow them to open as much as possible. The muscles are pushed to stretch and lengthen slowly without sudden movements that can cause tears and pulled muscles.

Increased Strength & Stability

Most dancers envision yoga as useful only for increasing flexibility. But in reality, it is a unique balance of both stretching and strengthening poses.

Dancers lacking upper body power can turn to yoga for a safe, lean way to gradually build strength in both the larger and smaller muscles. Also, poses like Balancing Stick and other balance centric asanas are wonderful for increasing the stability of the standing leg. This in turn leads to stronger, more sustained, and better controlled adagio work. You may even recognize some of yoga’s poses from your most recent ballet class!

Healthy Joints and Alignment

Finding ways to cross-train safely can be difficult for the dancer, who must also place the health of their joints as the number one priority. Yoga is a wonderful way to cross-train as its moderated pace and sustained positions minimize joint damage, especially in comparison to other cross-training activities such as running and aerobics.

Yoga also promotes consistent, proper alignment through the spine and the entire body, which can be of critical importance to dancers. Those who find themselves uneven or “one sided” can safely and slowly correct their alignment in their practice, working towards a posture that that is both correct and natural.

Breathing Technique

Breath is something referenced frequently in dance (mostly in the context of either doing it or not doing it), but seldom is the proper way to breathe actually taught to dancers. Yoga teaches the student to breathe correctly, by utilizing the diaphragm to breathe in and out without disturbing the alignment of the spine and ribs. This technique, performed properly, increases core stability and strengthens the abdominal muscles—which may be all you need to fix those splayed ribs and crooked pirouettes.

Injury Rehabilitation

While every dancer does what they can to avoid injuries, when they do happen, it’s best to rehabilitate the vulnerable area slowly and safely before jumping back into the fray.
Yoga is a wonderful way to transition from injury. The poses can be easily modified to protect and strengthen weakened areas, as well as stabilize the muscles so as to protect them from future injury and vulnerability. Also, strengthening the smaller “stabilizing” muscles such as the abdominals and hip flexors can prevent dancers from long term joint damage that often doesn’t show itself until later years.

Hot Tip: R.I.P. (Rehearse In Peace)

Easily stressed out in rehearsal? Combine the breathing techniques of yoga with its principle of a clear and present mind to find peace and the strength to dance on, in even the most overwhelming situations.

Decompressing

Between classes, rehearsals, and performances, it’s all too easy to become overworked and overwhelmed. Yoga is beneficial in its promotion not of building perfect technique, as is standard in the dance world, but on creating peace of mind and a stress free environment for the student. Working through the poses at your own pace gives you the time you need to unwind from the stress of the stage, while still providing immense physical benefits.

Despite being a challenging physical activity, yoga can act as a rejuvenator between long rehearsals or provide mental calm before a big performance. It also teaches the student to find their own place of tranquility and inner peace—a place that can be accessed during even the most challenging physical poses. This practice can come in real handy when turning those 32 fouettés or going into a monstrous lift.

Keeping Warm

All the knit cover ups in the world may help your muscles stay warm in between classes or rehearsals. However, the only real way to stay warm and maintain blood flow is to keep moving and working your muscles. Having a portable mental index of exercises from your latest Vinyasa class can be incredibly useful when you need to stay warm without exhausting yourself.
Once you get into the swing of yoga, you’ll have the poses that release certain areas ingrained in your mind and body. And since it requires no special equipment or facility to practice, you can keep those poses in a mental index and use them whenever you need to keep certain muscles warm or loose.

Doubtful as the hard working dancer may be of its calm and happy practice, yoga and its methods can give any dancer essential tools to help his/her performance. Give it a shot!

Using a Dance Journal to Record Progress

Many young girls(and boys) keep a journal of some type, usually to vent feelings or write about important events. It's a great tool for self expression. Likewise, many dancers—regardless of level or age—keep a dance journal to remember their corrections, track their progress, and vent their feelings and frustrations about dancing.

Here are some simple ways to get your dance journal started.

Go to the nearest office supply shop or bookstore and find a journal catches your eye; one with a fun cover or pretty pages will probably inspire you to write more frequently than a standard spiral bound notebook. Make it your journal: write your name in it; decorate it; and add a bookmark to make it uniquely yours and no one else’s. If you want to make sure your secret feelings stay that way—secret—you may want to purchase a journal or diary that has a lock on it. This will ensure that any pesky snoops stay out of your journal so you always feel safe and secure writing in it.

Further personalize your journal by filling the first few pages with how you feel about ballet at the time. What’s frustrating you? What are you finally happy with?

Open your heart and pour it onto those initial pages—remember, this is your journal. No one else will be reading it, so be honest. These first pages will provide a solid foundation for the rest of the journal, so when you look back in a year, or when the journal is full, you can get a great feel for how much you’ve grown and changed.

Make It a Habit

Put your journal in your dance bag and write in it after every class. Don’t let the moment slip away, whether it means writing in the car on the way home, sitting in the dressing room an extra ten minutes, or plopping down in the coffee shop next door. The longer you wait to record your experience, the more details you may lose in the distractions of day-to-day life

Use it to Make Corrections

While you should be writing down your concerns, triumphs and struggles in your journal, it is also important to use it to keep track of your corrections. When you sit down to write after class, put to paper every correction from class you can remember. Try and write down exactly what your teacher said. If you’re not sure, don’t be afraid to ask. This will remind you of what you need to work on and how to go about it. And once you finally fix something, you’ll be able to look back and see exactly how progress was made.

Use it to Take Notes on Others

Every dancer has someone they look up to: a prima ballerina in another country; a student in class; or a teacher with amazing demonstration skills. Take note of everything you love watching, and study how it’s done to perfection. Admire Zakharova’s extensions? Write that down with a detailed description of how she does it. Adore a champion ballroom couple's posture and expression? Slow down clips of their routines on YouTube and figure out why, exactly, they look so good.

Even though you may not be able to pinpoint what makes every movement correct and beautiful, distilling and trying to explain it to yourself in writing will make it easier for you to perform sometime in the future. Don’t worry about breaking everything down to an exact science. Describe things exactly as you see them—you may be surprised at how different, and more accessible, things appear when you use your own voice to narrate them.

Celebrate Breakthroughs

Just as it is important to write down your corrections, make sure to write down your triumphs as well. If you’ve finally nailed that triple pirouette en pointe, write down the day of victory in your journal. Elaborate on how it felt, what you were doing, and if anyone else noticed.

The journal can serve as your personal record keeper. That way, if you forget how to do it, you can check back in your entry to remind yourself of the sensation you had when you did it right. And, if no one else saw your breakthrough, it may help to have solid documentation of your experience. Also, on tough days, these successes can be reread for inspiration and some much needed motivation.

The secrets, successes, and struggles inside your dance journal will be a constant reminder and tribute to all the hard work you’ve put into your dancing. You can use it as motivation to stay in dance, to return to dance or even to help your own students years later if you become a teacher.

Telling a Story Through Dance: The Art of Mime

Yuan Yuan Tan and Artem Yachmennikov in Tomasson’s Giselle.
© Erik Tomasson

Mime has been a part of ballet for centuries. The gestures of dancers demonstrates everything in the back story that cannot be conveyed through dancing alone, from Giselle’s heart condition to Aurora’s greeting to her suitors.

While mime scenes are added and cut, then re-added and remodeled for all different ballets, the basic gestures always remain the same. In order to understand the plot, it is important to recognize this timeless, universal body language—whether you’re a dancer learning a new role or curious about the stories dancers tell with their hands.

Here is an explanation of the most common mime symbols:


Emotions and Notions

Love: Probably the most common and easily recognized mime symbol, love is represented simply by a dancer crossing their hands over their heart.

Anger: This feisty emotion is oft performed by jilted suitors, demonstrated by waving two fists wildly in the air.

Weeping/Sadness: Weeping and sadness are frequently mimed since distraught scenes are common as pointe shoes in the classical and romantic ballets. The dancer runs hands, palms inward, down their face to represent the many tears they have shed (usually over an errant prince or shameless lover).

Think/Remember: Internal thought or remembrance is presented clearly; the dancer mimes it by bringing a hand to their temple (close to where the brain itself resides).

Beautiful/Beauty: Similar to its depiction in American Sign Language, beauty is mimed in ballet by the dancer running a hand circularly around their face before clasping it at the end.

Hear/Heard: To show that they have heard sometime, a dancer will place a dainty hand cupped next to the ear. Sylphs often do this gesture, though what it is they hear is never really described.


Actions

Asking/Begging: Asking and begging are both represented by the dancer clasping their hands in front of them, often done in a kneeling, prostrated stance. These gestures are most notably used when Giselle begs the Wili queen Myrtha to save the life of her love.

Dance/Dancing: You wouldn’t think that the word dance would have to be mimed within an actual dance, but it actually is, as seen Giselle’s Act I solo. It is represented by the dancer first framing the arms high and rounded over their head, then circling the hands around each other.

Knocking: Many scenes include knock-knock-knocking on a dancer’s door—like when Giselle ‘hears’ the tell-tale raps in the opening of the ballet. This is represented by the dancer holding one hand flat and knocking a fist against it, just like a real door knock.

Kiss: A kiss is represented tenderly and daintily in ballet, mimed by the dancer placing one or two fingers to their mouth.

Swear/Promise: A promise is represented by a dancer holding up a hand with the index and middle fingers pressed together and the rest of the fingers curled shut in a fist. When combined with a second hand placed over the heart, it represents a promise of true love.

Order/Command: The more dominant royal ballet characters order others around by pointing a finger straight to the floor with confidence.

See/Saw: A dancer who has witnessed something can inform the audience of it simply by gesturing with one hand toward the eyes.

Stop: The hand gesture for stop is the same in ballet as it is in real life. The dancer places one hand out in front of their body, like a traffic guard.

Sleeping: Sleeping is mimed by the dancer placing their hands together in a steeple shape. (S)he then lays their head in their hands to mimic resting on a pillow and slumber.

Events

Death: Death is mimed by the dancer bending their arms and crossing their wrists over each other while holding the hands clenched in fists.

Engaged/Married: One’s marital status is described by the dancer pointing to the ring finger, suggesting a bond of engagement or marriage.

People or Things

Me/You: This one is a more obvious mimes, as the dancer refers to the pronoun simply by pointing at it. Pointing at oneself represents “I” or “me,” while signaling to another dancer mimes “you.”

Someone: One finger held in the air references someone—usually just any someone (the generic pronoun).

He/She/Them: These pronouns are represented by the dancer holding a hand out with the palm facing upward.

Prince/Princess/King/Queen/Royal: The presence of royalty is shown by the dancer using a straight hand placed vertically on their head to mimic the three points of a crown or tiara.

Dress/Clothing: A dress or one’s outfit is mimed by a dancer running their hands outward where a beautiful skirt would fall.

Though the use of classical mime in ballet has diminished in the last century with the evolution of dance, it is still commonplace in older classical and romantic ballets.

Giselle: The Art of Mime, San Francisco Ballet

Don't Throw Old Pointe Shoes Away: Creative Ways to Use Them

After hours of rehearsal, classes, private lessons, and performances, the pair of pointe shoes you’ve got are probably worn out.. But before you chuck them in the trash, consider recycling them into useful decorative items. Here are 10 creative ideas.

Potpourri Pointe Pots

Dead pointes can be a bit smelly, particularly if you’ve worn them a lot. Solve two problems at once by taking an inexpensive bag of dried potpourri and filling your shoes with it. You can also pick flowers from your yard. Then tie the ribbons together in a simple bow and hang them from your closet door, ceiling, door knob, bedpost, or anywhere else you can think of.

Change the potpourri every couple months. You’ll have a gorgeous, romantic holder for your sweetest scents.

De-shank and Reuse

Talk to your teacher about the benefits of using de-shanked pointe shoes in your technique classes. If (s)he approves, go home and rip the shanks out of your dead pointe shoes. Use a hammer. If you’re a younger dancer, make sure a parent helps you. Hang on to the sole lining, as you’ll have to put it back in after removing the shank.

When you’re done, just put them on and voila: Brand new flat shoes with strengthening abilities! Even without the shank, the toughened canvas of pointe shoes will force your feet to point harder.

Dramatic Décor

If you’re feeling crafty, maybe try to paint and decorate your dead pointes. Use floral sprays to lay down base colors. Then sew on sequins, ribbons, or pearls for decoration. 

Feeling risqué? Use a spray adhesive to attach some playful feathers to the vamp. You can keep the shoes, or maybe give them as gifts.

Ballerina Bouquet

For a classic and timeless aesthetic, try placing your pointes in a vase. Different arrangements can make different shapes; get creative and you may even find ways to make your shoe bouquet resemble a floral one! For added flair, line the bottom of the vase with spare lamb’s wool or old ribbons.

Another creative touch (if you have the time), is to decorate the vase itself with ballet themed accessories. Think about items such as white faux-feathers or glittery appliqués. This could also apply to holiday themes.

Frame Them

Add an adorably saccharine touch to your favorite ballet photo by taking a large frame and super gluing a pointe shoe to either side. This can turn even the most simple and cheap frames into custom designed ballet themed memory holders. For an added flair, embellish the shoes with writing inscriptions, such as the date of the show in the frame or the dancer’s name.

Shadow Box

Since even dead and worn out pointe shoes are still beautiful, try putting them in a shadow box to hang on your wall. Placing shoes in these 3D frames display all their beauty — but with none of the post-rehearsal scent.

Have many old pairs? Make murals out of their shadow boxes. Place different pairs of shoes in various positions. Create a line of shadow boxes along a wall.

Shoe Death as Art

Ballerinas with artistic interests aside from dance can use dead pointe shoes as studies in visual art. Pile up pairs and snap some artsy photos. Try a variety of arrangements, and consider making sculptures.
Working on drawing? Set up pointe shoes for a still life sketch. The way light reflects off satin can make for an interesting artistic endeavor.

Wonderful Workouts

If you’re in the mood to shape up your feet and do some reps with your Theraband, try wearing your dead pointe shoes. This eliminates the need to de-shank shoes for strengthening exercises, while still making use of the toughened box. The shoes will make your feet work harder as well as provide a good, sticky grip for your Theraband.

Knock, Knock

Think about wrapping pointe shoes around your doorknob. Or maybe nail the ribbons to the outside of your door to create a personalized knocker. Tie a fairly tight knot in the ribbons to minimize the amount of swinging the shoes can do when you open or close the door.

Stuffed Shoe-Bear

Being ballet obsessed can lead to cuddly toys. Try making a stuffed animal by cutting the satin off your dead shoes and stitching it together in the shape of a bear or bunny (or whatever else you like).


Whatever you decide to do with your dead shoes, remember that the sky is the limit! Get creative, and try to think of what you can do with them.

Height Matters: Tips for Tall Ballet Dancers

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Until George Balanchine founded New York City Ballet in 1948, the most celebrated ballet dancers were generally more petite in stature. Balanchine’s penchant for tall women changed the public’s perception of what a dancer could look like. As the world of ballet evolves, there is no longer an ideal height for a dancer. Yet, taller dancers — especially women — occupy a particular niche.
Since their limbs are elongated, their center of gravity is higher, and they grow at a much more rapid pace than smaller dancers, tall dancers have specific needs throughout their training. Additionally, once they begin to dance en pointe, female dancers can soar above their peers and colleagues on stage. This reality can affect their work in the corps de ballet and in partnering. This guide will offer advice to anyone struggling with the challenges of their verticality. With the proper approach, a tall dancer can be utterly stunning.

Teaching Tall Students

To promote confidence, teachers can instill pride in their taller dancers with just a few simple techniques:

• It may be customary to put tall dancers in the back of the studio or stage so they don’t block or hide the shorter students. Instead of doing that, try placing taller dancers in front, even if they are off to the side a little bit.
• Traveling across the floor is a great way to get dancers to move. Put your taller dancers in a group together so they can eat up the space without feeling like they will run somebody over.
• If your tall dancers stick out like sore thumbs when casting roles for a performance, consider giving them special solos. Even if it is a brief solo, they won’t feel left out.

Common Challenges for Adolescents

Dancers between the ages of 11 to 16 will be going through a significant maturation process. During that time, they will also begin to hone their classical technique. The muscles strengthened and the coordination developed during these years are crucial for a successful career in ballet. Dancers who sprout up past their class during this time have a tendency to fall behind. Each time they advance their skills, they will subsequently grow, and then have to “re-learn” their body.
Hopefully, most teachers and directors are sensitive to this process, as building confidence in a young, tall ballet student is essential. It will be tempting for a budding ballerina to feel self-conscious about her height as she watches her classmates execute more advanced steps. Unfortunately, many tall teenagers begin to slouch, become timid in their movements, and dance “small.” It’s actually the exact opposite that needs to happen. The only way to build up a young dancer’s skill set is to have her fulfill her potential — and for a tall dancer, that means dancing BIG!

Tips for Tall Dancers

Don’t worry if you’re a taller student struggling to keep up with your shorter counterparts in ballet class. Your physical traits are probably going to develop at a different rate. In the meantime, here are a few things you can do to improve your dancing:

• Try Pilates to build core strength: By doing this, you will gain control over your limbs.
• Stretch often for higher extensions: Staying limber will make your already long lines even more extreme.
• Step “out” when you dance: By doing this, you will not only gain strength, but directors will begin to notice your command of the space.
• Ask to understudy: If you are not getting the roles you want yet, understudying is great way to be ready when something comes your way.
• Find a partner: Even if your partner is shorter and is unable to lift you, practicing steps such as pirouettes will acquaint you with pas de deux work.

Muriel Maffre is one of the tallest ballerinas of recent years at five feet, 10 inches. At the age of 16, she exceeded the Paris Opéra Ballet School’s height requirements and was forced to change schools. In addition to performing virtually every principal role in the San Francisco Ballet’s repertoire, she was also knighted by the French Ministry of Culture in 2008 for her contribution to the arts. She has also performed as a guest with Alonzo King's Lines Ballet. She currently teaches at Stanford University. 


Find a Mentor

Looking up to a successful dancer who reminds you of yourself is a great way to build self-esteem. For that reasons, tall dancers should try to find an older dancer who is also tall. Watch that person in class or on stage and, if possible, ask about their experiences. Most likely, this dancer had to overcome some of the similar struggles. The idea is to learn from this mentor’s mistakes and successes.

Find Your Niche

If you are a taller ballet student with professional aspirations, start researching companies that hire tall dancers. Although the ballet world is becoming more open to artists of all heights, it may still be difficult to find a job with certain ballet companies. Once you have discovered a company you think could be a good fit, see if it has a training or apprenticeship program. Most likely, if a company hires tall dancers, it will be especially equipped to train tall dancers.

Stay Patient

Most tall dancers will tell you that their career peaked a little later than their shorter counterparts. Although it may take longer to become the dancer you want to be, you have to stay patient and hang in there. Keep your chin up. With enough diligence, you can grow into a unique and powerful dancer!

Stay in Shape With Some of the Best Dance Workout Videos

Dancing exercise offers a fun and sociable way of getting your body fit and healthy. However, before you jump straight into dance training, you might want to take a look at one of the many dance workout videos out there, offering advice on routines and steps. Here are some that I'd recomend.

• Dance Floor Workout

Set to original music videos, the 22 workouts on this dance DVD contain a number of energetic routines, from disco dancing through to 80s power ballad bops. The list of diverse artists includes Sister Sledge, D:Ream, Chaka Khan, All Saints, The Communards, and the Sugababes. With models demonstrating steps and routines alongside the music, this release offers fun and informal exercise sessions. It’s great for group dancing with friends or family members and is sure to bring some light and laughter into your dance training.

• You Can Belly Dance! Absolute Beginner Belly Dance

Belly Dance is your chance to overcome your fears and learn some great moves. This dance workout DVD teaches viewers two simple belly dancing routines. The first is a fluid, slow dance set to traditional belly dancing rhythms. The second is a percussive dance, set to the beat of a drum solo. With clearly marked, step-by-step sections detailing basic steps and ways to weave them together, your belly dancing skills will build up in no time. If nothing else, it’ll provide some good exercise along with a bellyful of laughs!

• 10 Minute Solution – Fat Blasting Latin Dance Mix

If you lead a busy lifestyle but still want to enjoy the many fitness benefits of dance, this workout DVD could be the one for you. Designed to offer a daily 10-minute workout, the five hot Latin dance routines on this video are compact and efficient enough to squeeze into the busiest schedule. Backed by swinging Latin beats, top fitness instructor Stella Sandoval is on-hand to guide viewers through routines that workout different areas of the body. There’s never been a better time to boost your bodily fitness with the aid of Latin Dance.

• The Ballet Workout

An oldie but a goody, this one. Recently re-released on DVD, Melissa Lowe’s classic workout video teaches viewers how to optimise bodily fitness through the skills and moves of ballet dance. If you want to tone or strengthen your muscles this could be the perfect workout DVD for you, with floor and barre (chair) exercises complementing varying difficulty levels. If you’ve never tried ballet before but want to give it a try,  this DVD could provide an ideal start.

•   I Hate to Exercise, I Love to Tap

Another golden great recently unearthed by a new generation, this workout DVD offers tap dancing beginners a series of great exercise workouts. Presented by the evergreen Bonnie Franklin, the DVD starts from scratch, with clear demonstrations following. Franklin introduces step counting and dance timing right from the outset, while the tap music – provided by a proper jazz trio – is hard to resist. If you fancy trying out some fun tap dancing exercise or simply want to supplement your existing classes, I Hate to Exercise, I Love to Tap surely provides the dance workout for you.

• Learn to Dance the Argentine Tango

Said to be the best tango product on the market, this workout DVD features top tango expert Bianca Vrcan as she guides viewers through the basic moves of this popular dance. With expensive production values, a range of camera shots and crisp instructions, the video offers various routines to the tango beginner, from the basic steps upwards. Vrcan does not go too fast for the beginner, yet doesn’t talk down to them either. It all adds up to a polished and well-presented product which is perfect for starting out in dance fitness.

• The Masala Bhangra Workout

The Masala Bhangra Workout is an Indian-dance based fitness program, designed for people of all ages and fitness levels who love to stay physically active through dance and want to learn about Indian culture.The Masala Bhangra® Workout is an ACE and AFAA approved program. Specifically, it introduces high energy Bhangra and Bollywood dance movements in an easy-to-follow fitness format, and is a mechanism by which thousands of people have lost weight and become physically active. With the dance choreography directly influenced by the music and dance of modern Bhangra and Bollywood styles, The Masala Bhangra Workout is a fresh and exciting addition to the world of fitness and dance.

Russian Ballet Icons: Tribute to Anna Pavlova: The Original Swan

"Leave acrobatics to others, Anna...You must realize that your daintiness and fragility are your greatest assets.You should always do the kind of dancing which brings out your own rare qualities instead of trying to win praise by mere acrobatic tricks."

That was Pavel Gerdt's advice to his pupil, Anna Pavlova. At a time when fouettes were fashionable but Romanticism was not, when strong Italian ballerinas were favored and dainty Russian girls weren't, Anna resurrected the ethereal, delicate qualities of the Romantic ballerinas and imbued them with her own expressive style.

Born in 1881 outside St. Petersburg, Anna saw a performance of The Sleeping Beauty as a child an resolved that some day she herself would be Princess Aurora. It was several years before the Imperial School of the Maryinsky Ballet would accept her at age 10, and even then her weak feet, poor turnout and spindly body made a ballet career dubious.

But Anna took advantage of what she did have - extension, ballon, a pliable torso, delicacy and expressiveness. She had the best teachers -Pavel Gerdt, Christian Johansson, Nicholai Legat and her favorite teacher and mentor until her death, Enrico Cecchetti. - and she worked hard.

Pavlova's sensibility of style and poetic way of moving attracted much attention even as a student. She was the first to make ballet popular in America and her influence is felt to this day. Her colleagues and her audience considered her a genius. Upon her graduation in 1902 she joined the Imperial School of the Maryinsky Ballet as second soloist and was promoted to first soloist the following year. With Cecchetti's help she was promoted to ballerina in 1905, and prima ballerina in 1906.

Anna excelled in the classical reporatory at the Imperial Theater. Pepita even reworked Gisselle to showcase her Romantic qualities, but it was the choreography of Michel Fokine that immortalized her. The Dying Swan(originally, The Swan, 1905 or Le Cygne) composed by Camille Saint-Saens from Le Carnaval des Animaux(Carnival of the Animals), a solo depicting the last moments in the life of a swan, was technically a mere matter of bourrees and highly stylized port de bras, but Pavlova's genius transcended the sentimental melodrama of the piece, and her emotional, ecstatic style thrilled audiences. It became her signature solo.

She performed with Diaghilev's Ballet Russes in 1909, then formed her own company in 1910, touring the world for nearly two decades, becoming ballet'smost influential ambassador and inspiring balletomania thousands of miles away from her native Russia. Frederick Ashton saw her in Peru and decided to devote his life to ballet.

Enchanting in roles that required beautiful line and fluid moments - a flower, dragonfly, swan - Pavlova was the most famous ballerina of her time. She chose not to have an operation that could have saved her life because it would have meant giving up dancing. In 1931 she contracted pneumonia, and on her death bed, her last words were "Prepare my swan costume." The next night the company performed as usual, and when it came time for "The Dying Swan," the curtain opened on an empty stage.

During her lifetime Pavlova inspired thousands of young dancers and had probably done more to bring ballet to the world than any other single dancer before or since. To quote Anna herself, "God gives talent. Work transforms talent into genius.


An Essay on Anna by dancer Allegra Kent

Anna performing The Dying Swan

Stop Worrying and Enjoy Living: Tips from a Personal Prospective

Worry is something that haunts millions of people. I know, because I'm one of them. While I can cope with stress, there are some days that worry takes over. Will I perform well? What will so-and-so think of my cooking? Did I say the wrong thing in an interview? It takes up time and energy but usually changes nothing. Mostly, worry involves things that are beyond our control. We worry about the future. We worry about the outcome of certain situations that involve many extenuating factors. We worry about what others think or say. If you are prone to worrying, it’s best to try to temper this bad habit. Below are a few tips on how to stop worrying about things that are not in your control.

* Develop a strong faith

Faith in a power greater than yourself can help you get through many situations. If you truly believe in God and His vast power, learn to trust that belief. It will help you accept that many things are out of your control. Belief in anything can help calm you when dealing with stressful and tough circumstances.

* Try to imagine the worst thing that can happen

When something is bothering you, try to get to the root of it. Get out a piece of paper, or go to your laptop and write down what’s on your mind. Then ask yourself: Is this what’s really bothering me, or is it something else? As we all know, sometimes one thing can trigger a reaction, but the cause is more deep-seated than the actual event. Figure out what fears or other emotions you’re experiencing based on what’s happened. Then write down the worst thing that could happen.

Let’s say you’ve made a mistake at work and now you’re worried. What’s the worst thing that could happen as a result of your mistake? Will your company potentially lose an account, client, student, etc? Could you lose your job based on this mistake? Whatever the worst scenario is, accept it in your mind. Likely, this outcome will not happen. Will you make a fool out of yourself in front of an audience or at a dinner party? Most likely not. However, if you’re willing to accept the idea of it, you can let go of the constant worrying. Then ask yourself what you can or should do to prevent this from happening or how to handle a mistake that you made. Write it down if necessary. Chances are it's notnearly as bad asyou think.

* Talk to someone about what’s bothering you

We tend to hold in our worries, and they fester and grow. If possible, talk to a trusted friend or family member when something’s worrying you. Another option is to consult with a reputable therapist. This professional can listen with objectivity and help you sort through your thoughts. You can make great strides in dealing with worry by learning to get something off your chest.

* Exercise

Exercise is a great stress reliever. It can also help you reduce your worrying. Many people find that they sort through things on their mind just by getting regular exercise. If you make exercise a regular part of your life, you will benefit from a more positive outlook and greater peace of mind.

 For me,worry is like being an alcoholic. I can't eliminate it; it's part of who I am. But I can keep it under control. I can choose to address my worries and let them go, and so can you.  And that's why I saved themost important tip for last:

* Don't dwell on the past nor worry about the future. You can't change what happened, and what you worry about today might never come to pass. When you concentrate on the present, you find that things have a way of working out. You can control the present and what you do.


Some of your hurts you have cured,
And the sharpest you still have survived,
But what torments of grief you endured
From the evil which never arrived.
~ Ralph Waldo Emerson.

16 Charitable Ways to Celebrate Valentine’s Day

I read this post on philanthropywriting.com and thought it was so beautiful, I'd like to share it.


This Valentine’s Day, forget the wining and dining. Do something that matters.

Like many people, I’ve had good Valentine’s Days and well, not so good.

The not-so-good dates back to middle school, when I, like many of my classmates, anxiously awaited one of those pink-dyed carnations from what I hoped would be a secret admirer. Much to my dismay, the carnation never came, and for years, it left me feeling downright uneasy about the 14th of February.

I later came to realize that Valentine’s Day is about much more than getting flowers or conversation hearts that say “Hot Stuff” or “Be Mine.” I love it that there’s a day in our busy lives when we officially celebrate love. I’m not just talking romantic love, like Hallmark would have us believe, but the real-deal, universal stuff-of-life that makes up who we really are. Behind all our roles and personalities and professionalism, each of us, at essence, is a living, loving being. Sure, on the other 364 days of the year we might try to fake it, but on this one day, the world agrees: Love is where it’s at. Call it spirit, call it sweetness — whatever you want to call it, we’ve all got it. It’s just a matter of what we do with it.

There are plenty of ways to do good and feel good this Valentine’s Day. Here are a few of my favorites.

1. Will You Be My…Volunteer? There’s no shortage of ways you can help. Volunteer at a local soup kitchen, animal shelter, or favorite nonprofit, or offer to tutor a child in reading or math. You can find loads of opportunities on VolunteerMatch, or check out DoSomething, which helps younger folks rock the causes they care about.

2. Put the “Fun” in Fundraising. If you’re taking that special someone out for a pricey dinner, why not have your bill go to a good cause? Check your newspaper or online city pages for Valentine-themed fundraisers that support local nonprofits. Or better yet, throw your own happy hour or party, and donate the proceeds to charity.

3. Give a Little Bit. Sometimes a little helps a lot. Looking to put your money where your mouth is? Donate a dollar a day to a cause that calls to you through Philanthroper. Or support students and classrooms in need in your hometown through DonorsChoose.

4. Send Love Letters. Not just to your sweetheart, but to people and organizations that are doing good things for the world. Tell them why you respect and appreciate their work, and that they really do make a difference. If you’re feeling extra romantic, include a donation.

5. Reach Out to Those in Need. Deliver homemade Valentine’s cards or heart-shaped cookies to the sick, the elderly, the homeless — and their caregivers. Call a local children’s hospital, nursing home, domestic violence or homeless shelter and ask how you can donate an hour or two of your time.

5. Give Gifts That Give. There are dozens of charitable shopping sites and online nonprofit stores selling gifts for a good cause. Look for red Motorola phones, Gap T-shirts and iPods from Apple to support the (Red) Campaign, or find cause-specific gifts to alleviate hunger, breast cancer, deforestation and more at Greater Good. Can’t find the perfect gift for your special someone? Give a Good Card through Network for Good.

6. Remember Those Who Serve You. Think of all those people who make your life easier and more convenient — every single day. Give a thank-you card to the bus driver or the barista who serves you your latte. Personally thank the janitor who keeps your office or campus clean, or the people who pick up your trash. Leave your waiter an extra tip, and smile–big–at the gas station attendant.

7. Clean Your Closets. Get a head start on spring-cleaning and donate clothes, toys, furniture, household items, and old computers to nonprofits accepting them. Check your local Big Brothers Big Sisters, Salvation Army, or Goodwill Industries.

8. Love Your Mother (Earth). Take the trash challenge: For one day, see if you can generate zero trash. Zip, nada, nothing. No cardboard boxes, no disposable containers, no bottled water. Think of what you can reduce and re-use, and call your county or city waste management to find out about local compost programs.

9. Get Your Heart Pumping. Charity walks and runs raise money for a good cause and get you moving in the great outdoors. Bring the family or your co-workers along to make it a team event. To find an event, check your local American Heart Association or a local runners’ club, such as Road Runners Club.

10. Adopt a Pet for a Day. Offer to take care of a pet for an ill or homebound neighbor. Volunteer at your local animal shelter to take the dogs for a walk. Or adopt an endangered species through the World Wildlife Fund, and you’ll get a lovable stuffed pet and adoption certificate.

11. Be a Fair-Trade Valentine. Buy certified fair-trade chocolate from companies that ensure that small-scale farmers receive higher and more stable prices for their cocoa. Try Theo, Equal Exchange, or my new favorite: Alter-Ego Fair Trade (love their Dark Quinoa Chocolate – talk about a superfood!).

12. Say it With Organic Flowers. Buy fresh organic blooms from your local farmer’s market, or send a bunch from Organic Bouquet, which donates 10 percent to charities like CARE, the Global Fund for Women, and the American Red Cross.

13. Be Kind While You Dine. Taking your sweetie for a steak dinner this V-Day? Choose a restaurant that sources its meat from sustainable, humanely treated and harvested animals & farms. Visit Sustainable Table’s Eat Well Guide to find vendors that offer farms and stores that sell sustainably raised meat. For seafood lovers, download the Monterey Bay Aquarium’s Seafood Watch app for your smart phone.

14.Continue to Support Disaster Relief. We don’t hear much about Haiti or the Gulf Coast on the news these days, but these disasters are in need of much support. Here are a few ideas: Adopt a Brown Pelican through the International Bird Rescue Research Center, which picks up oiled birds, cleans and rehabilitates them. Or provide direct support to those facing financial devastation due to the Gulf Coast spill by donating at Protect Your Coastline. For Haiti and other world disasters, consider supporting an organization like Doctors Without Borders, which sends medical and non-medical aid workers to countries whose survival is threatened by violence, neglect, or catastrophe.

15. Say “I Do” to Charitable Weddings. Tying the knot this year? Consider creating a charitable gift registry through the I Do Foundation and its many retail and nonprofit partners.

16. Celebrate with Small Acts of Kindness. Valentine’s Day isn’t the only holiday this week: February 14-20th is Random Acts of Kindness Week. What can you do? Pay for a coffee, lunch, or a toll for the person behind you in line. Tape the exact change for a soda to a vending machine. Send cards with joyful messages to strangers. Collect canned goods for a food bank. Shovel a neighbor’s driveway, or babysit a friend’s child, for free. Visit Random Acts of Kindness for hundreds of other ideas.

Broadway Choreographers: A Brief History

In the early days of musical theater, dance was merely decorative. Most dancers were female, some of whom did not even have proper training, used only for their physical charms in order to attract male viewers. According to Clive Elliott, it once used to be standard practice to insert a dance routine, most often a kick line by the chorus girls, whenever the audience’s interest in the show seemed to be sagging.

Julian Mitchell (1854 – 1926) was the first of a long line of choreographers (then called “dance directors”), who began a change in both work etiquette and the general attitude towards dance in musical theatre, at a time where discipline in theatre was notoriously lax. Even though his choreography was rather simple, it required training to be able to pull the steps off. Mitchell, arguably the first notable director/choreographer on Broadway, started out his career as a call boy at Niblo’s Garden, before becoming a dancer. Unfortunately, he slowly started to lose his hearing, which forced him to give up his dancing career. It did not, however, stop him from becoming a very capable director and choreographer. He worked by feeling the rhythm of the music and his dancers merely through the vibrations through the piano and the dance floor. He choreographed many Weber and Fields musicals, including The Wizard of Oz, Babes in Toyland, The Pink Lady, and nine editions of Ziegfield Follies. He was famous for giving every single ensemble member a chance to shine in his choreography, and is credited with the invention of the “production number”. Together with Ziegfield, he defined the Broadway musical revue. After a long, fulfilling career in which he worked on more than 75 Broadway musicals, Mitchell died while working as assistant director on Ziegfeld’s No Foolin’, on the show’s opening night.

His contemporary, Ned Wayburn (1874 – 1942), who also worked closely with Ziegfield on many productions, is credited with quite a number of innovations in musical theatre. He played a major role in developing musical comedy dance styles, and is credited with defining the classic Broadway chorus girl look. His legacy can be seen in musicals everywhere today: the kick line and symmetrical, geometric arrangement of bodies on stage were invented by him. Moreover, to solve the problem of chorus girls descending tall stairways with huge, heavy headpieces, he created his signature “Ziegfeld Walk”, which involving counterbalancing the thrust of one hip with the forward thrust of the opposite shoulder. He also created a very rudimentary form of dance notation, which helped the rehearsal process immensely. Shows that he choreographed include Follies, Havana, Phantastic Phantoms and so on. Trademark elements of his choreography include tapping and stepping, acrobatic work, and exhibition ballroom. He also liked to take popular forms of dance such as the Charleston and recreate them for the stage with exaggerated movement.

Yet another choreographer who was part of the Ziegfeld team was Albertina Rasch, the first significant female choreographer, and was the first to be referred to as such instead of a mere “dance director”. She was born in Vienna, Austria in 1896 and studied at the Vienna State Opera Ballet. She became a very successful ballerina, formed her own dance troupe, and opened a prestigious dance studio in Manhattan. Eventually, she married composer Dmitri Tiomkin, and died of a protracted illness in California in 1967. Rasch was the first choreographer who brought a classical ballet influence to Broadway. Shows that she choreographed include Show Girl, The Three Musketeers, The Great Waltz, Lady in the Dark and so on.

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The influence of the ballet style on Broadway dance was heightened when George Balanchine, a giant amongst giants in the world of classical ballet, started choreographing for musicals. His most famous and innovative musical theatre piece, “Slaughter on 10th Avenue” in On Your Toes, is arguably the first dance piece, and definitely the first ballet dance piece, to mesh with and further the plot of the musical. In this piece, the dancer forces the music to go on and on and on because he will be shot and killed once the dance is over.

Balanchine’s innovation helped the Broadway musical to break out of the pattern of using dance as mere decoration or diversion. One defining characteristic of his choreography is his ability to adapt any kind of movement, even grotesque, ugly movements, into his ballets, and make them seem like a cohesive whole. Balanchine was very holistic in his work as a choreographer. He paid close attention not just to the music, but also to the set, the costumes, the lighting , the lyrics, the storyline, and took all of those elements into account while choreographing. His most famous Broadway pieces are On Your Toes and Princess Zenophobia Ballet.

What George Balanchine gave the audience a taste of – the meshing of dance and plot – Agnes de Mille kick started with her “dream ballet” and choreography in Oklahoma. In a virtually unprecedented, bold decision, dance was used to further and enrich the plot of the musical. As a child, de Mille had wanted to act, but was discouraged from it because of her looks. Because of this, possibly, she sublimated her desire to act into her dances and choreography, and the musical is a much more richer art form due to this. From then on, choreographers would start using dance as a storytelling device instead of mere décor. Like Balanchine and Rasch, de Mille was a classical dancer, and she usually blended classical and modern styles in her choreography. Apart from Oklahoma, she also choreographed Carousel, Gentlemen Prefer Blondes, One Touch of Venus, and many other Broadway musicals. Her achievements include a Tony Award, the Handel medallion, and the National Medal of Arts.

Jerome Robbins, born in New York City in 1918, a dancer of New York’s Ballet Theatre, saw dancing as simply a stylized form of acting. Naturally, his view of dance as driven by characterization and story was perfect for the new atmosphere that Agnes de Mille had created in musical theatre. He took what she had started, and went even further by making dance an integral part of the stories of musicals through shows such as The King and I, Peter Pan, West Side Story, A Funny Thing Happened On The Way To The Forum, Gypsy, and the record-breaking Fiddler On The Roof. In some cases, he even helped shape the stories in those musicals. In his lifetime, he won the Best Director Oscar for the film version of West Side Story, five Tony Awards, two Academy awards, the National Medal of Arts, the French Legion of Honor, and many more awards. Unfortunately, he was a very harsh, Spartan director/choreographer, and was generally disliked, especially after he betrayed his colleagues to the HUAC to prevent his bisexuality from being revealed. He suffered from Parkinson’s disease towards the end of his life and died of a stroke in 1998.

Michael Kidd (1915 – 2007) started his career as a successful ballet soloist before moving on to choreography. His choreography was very athletic, making his dancers of both sexes look strong, yet still retaining the femininity of his female dancers. He won five Tony Awards for choreography for the musicals Guys and Dolls, Can-Can, Li’l Abner, Finian’s Rainbow, and Skyscraper, as well as an honorary Academy Award. He was a longtime friend of Julie Andrews, and he staged a short campfire dance for her on television. He died of cancer at the age of 92 in his home in Los Angeles, California.

Peter Gennaro was born in Metairie, Louisiana in 1919. He began his career as a dancer in the San Carlo Opera Company, and debuted on Broadway in the ensemble of Make Mine Manhattan. He collaborated with Jerome Robbins on West Side Story, choreographing a sizable portion of the “America” and “Mambo” numbers. His choreography was spirited, lively, and athletic. He won a Tony Award and a Drama Desk Award for his choreography in Annie, and nominations for Fiorello, Bajour, Irene, and Little Me. He died in New York City in 2000. He has two surviving children, Liza and Michael.

Gower Champion(1920 – 1980) started his career as a ballroom dancer. After serving in the military, he met Majorie Belcher who became his partner, and later his wife. He choreographed the Broadway smash hit Bye Bye Birdie, in which he mixed musical comedy with Elvis-style rock. He used his ballroom dancing background to create a flowing look to his choreography, integrating props and lighting and set and costumes and movement into a seamless whole. He won Tony Awards for Bye Bye Birdie, Hello Dolly and posthumously, for 42nd Street. He died hours before the opening night of what would prove to be his biggest, longest running success.

Onna White was born in Nova Scotia, Canada, in 1922. She was a sick, weakly child, and took up dancing at the suggestion of the doctor in order to improve her health. She started her career on Broadway as an ensemble dancer before working as an assistant to Michael Kidd. She was most famous for her choreography in The Music Man, for which she won a Tony Award. She also won Tony Awards for Best Choreography for Whoop-Up, Take Me Along, Irma La Douce, Half A Sixpence, Mame, Illya Darling, and I Love My Wife. Her trademark was making her dances seem spontaneous extensions of everyday movements and actions. She also specialized in creating dance routines for actors with little or no dance training or ability.

Bob Fosse was born in Chicago in 1927. He started his dancing career and vaudeville and ballroom dancing in nightclubs. His choreography is infused with a raw sexuality, hardly surprising given that his muse and the person he choreographed his dances off was his wife, Gwen Verdon. He was highly influenced by jazz and used the concept of subtext to help his dancers with characterization. He also incorporated ethnic and gypsy as well as traditional music hall dance styles into some of his pieces. He also used lighting to enhance or accentuate his choreography. His hits include Sweet Charity, Cabaret, Pippin, and All That Jazz. He won an Academy Award for Cabaret, Tony Awards for Sweet Charity and Pippin, and an Emmy Award. He died at the age of 60, of a heart attack, in 1987.

Tommy Tune was born in Texas in 1939 to a father who worked at an oil rig. He started his career as a performer on Broadway in the musical Baker Street, and eventually became an actor, director, choreographer, and producer on Broadway. He was known for his original, witty, creative, fresh, surprising choreography and staging ideas, as well as showstopper numbers. He won nine Tony Awards, and is the only person to have won in two categories in two consecutive years as well as the only person to have won Tony Awards in four different categories. His shows include Nine, My One and Only, and Grand Hotel. He is open about his homosexual orientation. His partners have included David Wolfe and Michael Stuart. He also runs an art gallery featuring his own work.

Ron Field was born in New York City in 1939. He started his Broadway career as a child in Lady in the Dark, as a dancer. He went on to perform in the ensembles of Gentlemen Prefer Blondes, Kismet, and The Boyfriend. He won a Tony Award for his choreography of Cabaret. His choreography was notable for authenticity of the characters and the intensity of movement in his stagings. Other shows he choreographed include a Kiss Me, Kate revival, and New York, New York. He died of brain lesions at the age of 55 in 1989.

Michael Bennett (1943 – 1987) is probably most famous for A Chorus Line, for which he won Tony Awards for direction and choreography, as well as a Pulitzer Prize and two Drama Desk Awards. He also won Tony Awards for his choreography in Follies, Seesaw, Ballroom, and Dreamgirls. He was influenced by the unity of Jerome Robbins’ work, but adapted his choreography style to suit the characteristics or style of the particular musical he was working on. Therefore, he did not have a signature style like some of his contemporaries. He died tragically of AIDS at the age of 44, after a life of addiction to drugs and alchohol, and various affairs with both men and women, including Larry Fuller, Donna McKechnie, Sabine Cassel, and Gene Pruitt.

Bill T. Jones was born in Bunnell, Florida in 1952. He did his dance training in ballet and modern dance at Binghamton University. He met his partner, Arnie Zane, in 1971, and they performed many duets together. Unfortunately, Zane died of AIDS in 1988. Jones is known for his flair for creating theatrical moments through dance and for his love of large collaborative projects. He likes to incorporate multiple media into his dances, such as video, text, body paint, costumes, and set pieces. He has been labeled a post-modern and experimental choreographer. He won the Lucielle Lortel Award for Outstanding Choreography and the Tony Award for Spring Awakening. His latest musical is Fela!, which he also co-authored.

Susan Stroman was born in 1954 in Wilmington, Delaware. Her father was a salesman but liked playing show tunes on the piano. She began learning jazz, tap, and ballet at age five. She majored in English at the University of Delaware and then moved to New York after graduation. Her first majorly successful choreographic attempt was for And The World Goes ‘Round, which received much critical acclaim. Inspired by Fred Astaire, Stroman makes inventive use of props in her choreography, such as ropes and walkers, yet manages to integrate of all it seamlessly with the storyline. She received Tony Awards for her choreography of Crazy For You, Show Boat, The Producers, and Contact, two Laurence Olivier Awards, both for Oklahoma, five Drama Desk Awards, eight Outer Critic Circle Awards, four Astaire Awards, and the George Abbott Award for Outstanding Achievement in the Theatre.

Rob Ashford was born in Florida in 1959 and raised in West Virginia. He attended a pre-law program at college but went on to study dance at Point Park University. He is most famous for his choreography of Thoroughly Modern Millie, for which he won a Tony Award. Other musicals he has choreographed include Cry-Baby, Curtains, and The Wedding Singer. Ashford doesn’t hold back while choreographing; he goes full out. His dance routines are strenuous and are very taxing on the dancers’ stamina and speed and agility. He does not particularly enjoy choreographing dance for dance’s sake, and is more comfortable with using dance to advance a story. Classical jazz and tap are some of the styles he often uses.

Jerry Mitchell was born in Paw Paw, Michigan, and started his career on Broadway as a dancer in the Will Roger Follies. He won a Tony Award and a Drama Desk Award for his choreography in La Cage aux Folles, and was nominated for Tony Awards for his work on The Full Monty, Hairspray, Never Gonna Dance, Dirty Rotten Scoundrels, and Legally Blonde: The Musical. He is also a mentor on the reality show Step It Up and Dance. His attitude towards choreography is very theatrical; he believes that dancers are actors and that dancers are playing specific characters while on stage.

Dance can express emotions in ways that words and music cannot. Since the days of Agnes de Miller and Jerome Robbins, dance has been an integral part of musicals and in fact is part of what defines a musical, and with the increase of musicals without dance, it can be argued that the essence of the American musical is slowly being lost. Hopefully, more choreographers will act to prevent this by coming up with more innovative and effective ways of using dance to enhance and enrich and further the stories that are being told through musicals.

References

Costas. Balanchine, Celebrating A Life In Dance. Connecticut: Tide-mark Press, 2003

Gold, Sylviane. “No tears: Rob Ashford’s Cry-Baby choreography isn’t for the timid.” Dance Magazine, April 2008

Sagolla, Lisa. Choreography in the American musical, 1960-1969: The dramatic functions of dance. Columbia: Columbia University Teachers College, 1992.

Celebrating Black History Month and the Birth of Jazz

Louis Armstrong

Jazz is one of America's greatest exports. It is the first truly American musical genre and was recognized by Congress in 1987 as a national treasure. Incorporating improvisation, syncopation, and unusual rhythms and harmonies, it encompasses everything from the melodic stylings of Louis Armstrong to the chaos of Ornette Coleman. It has both African and European roots, and has left its legacy in music across over the globe. But to understand its origins is to understand a side of America that many people would rather not see. In particular, it means first looking at one of the ugliest parts of American history: Slavery.

The music of early 19th-century West African slaves in America can be divided into two categories: recreational and functional. On the recreational side, there was festival music. The lavish Sunday festivals (most notably in New York and New Orleans) where West African slaves would celebrate their tribal heritage were loud and jubilant with dancing to drums accompanied by whatever melodic instruments the musicians preferred. By the 1840's, as more conservative values took over the country, the festivals across the country stopped. However, the music would form the foundations of Creole music, blues and more functional music such as work songs and spirituals. Work songs and spirituals included basic call-and-response elements, with rhythms and harmonies drawn from their fusion of European and African traditions. Their frequent syncopation and blue notes bear a striking resemblance to modern jazz elements.

In time, black musicians eventually learned to play European instruments, performing parodies of European dance music in more modest venues than the public festivals of times past. This was in turn lampooned by minstrel show, which popularized corrupted versions of African-American music played by white musicians in blackface. While the blatant racism would eventually doom this form of entertainment, minstrel shows were most white Americans' first looks at black musical genres, and gave a taste of the musical revolution to come.

By the abolition of slavery, black musicians had new opportunities, but segregation severely limited them. The most common venues were minstrel shows, marching bands, vaudeville, and pianists for clubs and bars. The pianists' music would develop into ragtime, immortalized by Scott Joplin with hits like "The Entertainer" and "The Maple Leaf Rag". The marching bands, on the other hand, would become the first jazz bands by the 1890's. Men like cornetist Buddy Bolden played jazz in the red-light district of New Orleans just before the turn of the century. But it would be Ferdinand "Jelly Roll" Morton who would serve as jazz's first major ambassador.

Jelly Roll Morton was a phenomenal pianist, a groundbreaking innovator, a master of self-promotion, and a shameless liar. The Afro-Creole musician claimed to invent jazz outright in 1902, and was often described as a flamboyant egomaniac. However, this flamboyant egomaniac remains the first composer to publish a jazz arrangement ("Jelly Roll Blues") in 1915, and his later collaboration with his Red Hot Peppers in 1926 are some of the best early jazz recordings available. He is also credited with formalizing jazz compositions with specific improvisational directions (such as riffs or improvisational breaks), as well as developing a unique, lyrical improvisational style which included the use of countermelodies to accompany other soloists. Jelly Roll Morton wasn't the first jazz musician, but he was the first to formally publish his contributions, setting the standards for decades to come.

Jazz came from a history of repression, segregation, and hatred to bring the world such beloved artists as George Gershwin, Duke Ellington, Dizzy Gillespie, Thelonius Monk, Dave Brubeck, Miles Davis, John Coltrane, Louis Armstrong, Chick Corea, and Wynton Marsalis. And those are just the most famous. What began with its roots in slavery has truly become one of the greatest expressions of freedom in the world today. Thanks to countless performers and innovators over the course of centuries, jazz has risen to become one of the most respected musical genres in the world.

The man who started it all: Jelly Role Morton playing Jelly Role Blues in 1915

Two Wrongs Can Never Make a Right

Thomas Szasz said, "Two wrongs don't make a right, but they do make a good excuse."

There is truth in this adage, although as children many of us ignored this piece of advice and went for something a little more along the lines of "An eye for an eye and a tooth for a tooth." As we grew up most of us hopefully realized that we would have been better off following that original piece of knowledge because in fact two wrongs really don't make a right. As young children this was something that we couldn't see. We were too focused on the whole idea of revenge that we lost sight of our morals (however underdeveloped they may have been at the time).

Now, I will grant you that the acts of retribution, vengeance, and punishment have their appealing side. A man murders your mother, you want him killed by the state. Your younger sibling is bullied at school, so you ride in on your white stallion and beat the bully to a proper pulp, to teach him a lesson. Your spouse cheats on you, so you return the favor with your yoga instructor. All perfectly natural, human responses to actions that have hurt us or those we love. The question remains, however, do those avenging responses make the situation right?

No, of course not. Retaliation does nothing. It doesn't make the original victim feel better.  It doesn't make the original wrong go away, doesn't make it right. Your mother is still murdered, your sibling still got beaten up for no good reason, your spouse still cheated on you. It is important to realize the difference between vindictiveness and vindication. A wrong for a wrong is pure vindictiveness, the need for revenge and spite. These wrongs will never provide vindication, though. They will never someone "right," will never alleviate pain, will never erase the first wrong done. Would you stop being angry at your spouse for cheating, just because you sought your revenge? No. You will simply have an additional emotion of, "Now THEY know how it feels!"

Seeking to make something "right" is more difficult in the present, but serves for a much more peaceful future. If you put in the time to fix a problem, to either atone for your own poor decisions or react productively to someone else's, you will find that you will have less emotional baggage to carry through your day.

Perhaps you are familiar with the saying "Revenge is best served cold". Well, that is directly related to the issue. If people were just to turn the other cheek and leave it alone, they would be able to see that down the line, maybe not today or tomorrow but some day, that person who wronged you will get what they deserve. In the meantime, don't let the actions of someone make you behave the same way.  rise above it and enjoy your own life. The saying that "living well is the best revenge" is also very true.

It is up to the individual person to decide if they would rather make something right, or merely indulge in vindictive behavior. For me, the choice is simple.

The Blending of Dance and Fashion: Diaghilev's Ballets Russes

At Right - Ballet Russess Inspired Outfits Designed by Yves Saint Laurent, 1976.

In his article "Picturing Movement" in Art Quarterly (Winter 2009), Sjeng Scheijen explains how despite the dramatic impact of Ballet Russes’ dancers, Vaslav Nijinsky and Tamara Karsavina, Diaghilev regarded his set and costume designers as the true stars of his innovative ballet company. Serge Diaghilev's Ballets Russes was a groundbreaking company, encompassing dance, music, visual art and so much more. Based in Paris, the artistic hotpot of Europe in the early twentieth century, it stormed its way through cultural life.

The Formation of the Ballets Russes in 1909

Sergei Diaghilev’s frequent trips to Europe from Russia exposed him to new artistic concepts. He, in turn, through operatic ventures and art exhibitions, brought Russian culture to the European scene.

These cultural exchanges, together with political upheavals both European and Russian, were creating a crucible of new ideas. The Russian artistic avant-garde struggled to shrug off the stifling conformity of traditionalism. Diaghilev’s Ballets Russes, which never performed in Russia itself, would blend the elements of revolutionary music, dance and painting into an astonishing tour de force, altering the course of theatrical dance history.

Designers of the Ballets Russes

Of the many artists involved at some point with Diaghilev’s Ballets Russes, the most important included Leon Bakst, Alexandre Benois, Natalia Goncharova, Mikhail Larionov, and Pablo Picasso. All were deeply committed to finding modern ways of representing the theatrical experience, not merely as an unfolding narrative but an integrated tapestry of art, music and dance that celebrated the rhythm of life.

Leon Bakst (1866-1924)

Leon Bakst is arguably the most well-known designer involved with the Ballets Russes. In Paris in 1910 the costumes and sets designed for Scherezade by the highly regarded Russian easel painter caused a sensation. They were expensive, richly embellished, oriental-style silks in strong colors that had rarely been seen in the theatre before. Bakst's revealing designs became the subject of much scandal, gossip and desire. As a result, Bakst became an overnight success. His costume designs were commissioned and worn by Parisian society women and prices for his artwork soared.

Alexandre Benois (1870-1960)

A deeply cultured man, Alexandre Benois was able to draw on his experience as Scenic Director of the Marinsky Theatre, St Petersburg, in his work for Diaghilev. His immense store of artistic and historical knowledge mixing Russian folk style with elements of the French Rococo would make for ground-breaking design.

Benois’ greatest contribution to the Ballets Russes was arguably his set and costume designs for the ballet, Petrushka, with music by Stravinsky with whom he collaborated on the libretto. The colours employed were deep and vibrant, like paintings by Matisse. He also created outstanding sets for the ballets Giselle and Les Sylphides.

Natalie Gonchorova (1881-1962) and Mikhail Larionov (1881-1964)

In 1915 Russian artists Natalia Goncharova and Mikhail Larionov worked with Diaghilev in Switzerland. Goncharova, an artist who reflected Russia’s dual cultural legacies, Asian and European, had in 1913 designed the ballet, The Golden Cockerel, for Diaghilev using her own abstract expressionist paintings as direct inspiration. However, Goncharova’s ambitious designs for the third act were never fully realised. Diaghilev’s caution was due to audience riots that had broken out in Paris on the opening night of his Firebird ballet.

Now Diaghilev asked them to design a number of contemporary ballets, one of which, Liturgie, was based on the Russian Orthodox service.

Mickhail Larionov’s designs for Chout were the most ambitious to come out of the war years, but this work did not open until 1921. He collaborated with Goncharova on a number of experimental ballet creations which were not fully performed until after the war, including Les Noces and Russian Stories.

Pablo Picasso (1881-1973)

In 1917 Diaghilev premiered a ballet called Parade which was a collaboration between Picasso, Satie and Cocteau. This ballet is often regarded as the beginning of Modernism. With Picasso’s vibrant designs incorporating a circus theme, his cardboard costumes, the sounds of typewriters and machinery, the production seemed like the ideal entertainment for a war-weary public. Charmed at first by Picasso's cheerful stage curtain, they were apalled at the ten foot high cubist characters that appeared on stage. Diaghilev, always ten steps ahead of the critics, was forced to drop Parade.

The Impact of the Ballets Russes on Coco Chanel

Few designers can claim to have had the impact of the legendary Coco Chanel. She pretty much invented the way we dress today, moving women away from bustles and corsetry and into trousers and little black dresses. The imagery of Ballets Russes had a profound impact on her work. She was heavily influenced by Russia in the 1920s, and one of her most beautiful and innovative perfumes, Cuir de Russie, was inspired by the rich, birch scented leather of Cossack boots. She also had a 'roubachka' style peasant blouse made in crepe de chine for her affluent customers, and many of her designs featured the brightly coloured embroidery typical of Russia.

Chanel designed costumes for four productions, notably Le Train Bleu in 1924 and Apollon Musagete (Apollo, Leader of the Muses) in 1929. According to Karl Lagerfeld, Chanel's current creative director, she, "...helped Diaghilev to stage (his ballet) again after World War I in 1919". Designing costumes for dancers was perfect for a designer whose clothes liberated women and allowed them to move more freely. She once said that, “I have always tried to give women a feeling of being at ease with their time.” It was not only creative inspiration that drew her to the Ballets Russes. She had an affair with Igor Stravinsky, who composed some of the greatest work of the company. Le Sacre du Printemps (Rite of Spring)had a particularly powerful impact - the violent rhythms, combined with the pagan ferocity of Vaslav Nijinsky's choreography, actually sparked a riot in the aisles of the Théâtre de Champs Élysées on its opening night in 1913.

The Ballets Russes did not only inspire Coco Chanel. Known as 'Le Magnifique' in France and the 'King of Fashion' in the United States, Paul Poiret, like Chanel, laid the foundations of today's style of dress in the West, moving away from the heavily sculpted looks of corsetry and towards a more relaxed, draped aesthetic. The inspiration for this look came from the East, and his collections featured turbans, Indian style trousers and his signature 'lampshade' tunics. Diaghilev's ballets chimed with this infuence, and Poiret was said to be particularly impressed by the Ballets Russes staging of Schéhérazade

Influence of the Ballets Russes on Fashion Today

The late Alexander McQueen was inspired by the Ballets Russes, and the influence can be seen in some of his collections. Like Chanel, he designed a ballet costume - the crimson silk kimono worn by Sylvie Guillem for Russell Maliphant's production of Eonnagata at Sadler's Wells in June 2010.

Top model Erin O'Connor used Diaghilev as an inspiration when, aged nineteen, she had to perform a ballet routine to open a Dior show in Paris. Being quite shy at the time, she felt she needed a powerful personality to strengthen her.

World renowned designer Yves Saint Laurent took much influence from the look of the Ballets Russes in his 1976 catwalk collection. Throughout the 1980s, films such as Fame, Flashdance and Dirty Dancing also had a significant influence over mainstream fashion as leotards, leg-warmers and leggings were worn by so many of the characters. Even more recently than this, Bjork wore a swan dress to the 2001 Academy Awards which may well have created a taste for the ballet-inspired clothes that are so readily available today. In addition to this, Sarah Jessica Parker also tried on a ballet tutu in an episode of hit US comedy Sex And The City.

Bodysuits reminiscent of leotards, dresses in the style of tutus and the highly popular ballet flats which are almost direct replicas of soft ballet shoes continue to be popular. Cumulatively, these along with many other influences have led ballet wear to have a significant impact on mainstream fashion.

The influence of the Ballets Russes is immeasurable. But it would probably be beyond the means of most companies to recreate such lavish performances today in their entirety. However, the designers of the Ballets Russes created a spectacular new theatrical experience, the repercussions of which still influence the world of dance.

Diaghilev and Ballet Russes Exhibition at the Victoria and Albert Museum


 Sources:

* ‘Picturing Movement’ by Sjeng Scheijen in Art Quarterly (Winter 2009)
* Nijinsky by Richard Buckle (Phoenix, 1998)
* ‘Painting: Picasso’s Theatre Period’ Time Magazine on line August 13, 1965.