Dance Perspective

Cast Photo Production: Winter Wonderland Date: December 13th, 2014 Venue: St. John's University Staten Island, NY Tickets: $15 Musical Director: Alan Aurelia The Richmond County Orchestra (Staten Island, New York) Today on Dance Perspective we feature an interview with Laura Brown. Yesterday Laura performed in a Winter Wonderland staging of the Nutcracker in Staten Island, New York. The first half of the Winter Wonderland community event featured music performed by the Richmond County Orchestra as well as local young soloists including baritone Joshua Limage and pianist Brian Moses. The second half of the event featured dance and movement from ballet to martial arts. Students from Lydia's School of Dance performed two divertissements from the Nutcracker.     1) I understand this is an audience participation Nutcracker. Can you describe how the audience will participate in the work?  The piece is a good-natured parody of The Nutcracker--not the full version, but just a few sections. There's a narrator (my teacher Maria) who introduces each piece and asks for volunteers from the audience. In the opening sequence, all the dancers play Clara. We each have a nutcracker we dance around with, then fall asleep on the stage. Maria leads the reindeer volunteers to wake us up and then leads everyone in a dance around the stage. In Snow, volunteers come on with shiny streamers--the kids love that. It's really about getting the kids onstage (and some adults) so they can have fun with it. There are other sections we didn't do this year, and I'm excited to learn them next year.

2) What role or roles will you be dancing?  

  I danced in Snow, Waltz of the Flowers, and the opening piece where we all play Clara (or Carl--we had one guy dancing with us).

    4) How did you learn of this performance opportunity? 

  My ballet teacher, Maria Zannieri, who is the co-founder of West Side Dance Project in New York, choreographed the Audience-Participation Nutcracker to the Spike Jones version of the music. Her students usually perform it in the theater at the Dance Project. This year the theater was booked, and Alan Aurelia, the Musical Director of the Richmond County Orchestra, invited us to come and perform at their holiday show.

   3) How is it dancing with a live orchestra?

  It was wonderful. The music sounds beautiful live. The piece is usually performed to the Spike Jones version of The Nutcracker, which obviously the orchestra couldn't recreate. The Spike Jones version is also cut in some places, and with the orchestra we were dancing to the full score. We had just one rehearsal with the orchestra, and we ended up with a lot of extra music at one point. We were boureeing upstage for 16 additional measures, which didn't look great. Maria adjusted the choreography, so it was fine on the night. We also found we had to listen more carefully than you do when you're dancing to recorded music. The tempo might be different, the phrasing might be different, and you have to respond to that as a dancer.

Susan Vishmid     Today on Dance Perspective we feature the talented professional ballet dancer, artist, movement specialist and yoga instructor Susan Vishmid. I highly recommend taking a moment to visit her enlightening and thought provoking blog:            So You Think You Can Yoga 

  1) What inspires you to dance?  I love feeling the movement. It feels good to stretch my leg, to pointe my foot... it feels like home. Watching other great dancers inspires me to continue dancing. Knowing that I am creating something beautiful through moving my body in very specific ways inspires me.  2) When did you begin your dance training?   I started dancing at age 4. I got pretty serious about it around age 11.     3) What are your tips for breaking in pointe shoes? 

  Tips for breaking in shoes: Use rubbing alcohol inside the box to break down the glue. I step on the box and then try to soften it with my hands. Then I put them on and wear them only for a bit, maybe for barre or only for some releves and then come back to them in a day or so and that usually gets them to a wearable point. 4) What are some of the benefits of practicing yoga as a dancer?  There are many benefits for incorporating yoga into your dance training. Yoga strengthens your core, calms your mind, improves your balance, stretches muscles, and induces calmness through focus on breath and the linkage of movement with breath. The linkage of movement with breath is what they call "vinyasa." For me, yoga undoes everything that ballet does, which brings my body back to a balanced state.

David García Saldaña 1) What inspires you to dance?  What inspires me to dance? I think, apart from the exercise, what really keeps pulling me back to dancing is how simple human contact becomes. I've studied words for my whole life (I write, you see), and there's always this beautiful gray area you have to manage. There's miscommunication; and words can live permanently on paper. But with dance, I feel as if human connection becomes simple and direct. No, it's not easy. I'm not amazing at it. But I find that I express myself the most simply and honestly when I dance.  2) When did you start dancing?   I started dancing Spring of 2013, just a little less than two years ago? But I really started dancing because of a failed audition for a musical. PCC was going to put on "Hairspray" and I was required to audition for my Musical Theatre class. After not being able to walk in time, I decided I wouldn't let it get the best of me. Needless to say, I didn't get a role, but the following semester I signed up to dance.   

3) What is your favorite style/technique of dance?  I started with and have studied Modern technique the most. I studied with Ms. Cheryl Banks-Smith most of that time, and she is beyond wonderful. I owe her so much. But just recently Tap has stolen my heart. It's probably because I'm a composer, and taps are pretty much percussion instruments. So voila! The perfect marriage of dance and music!  4) What are your dance/performing arts goals?  I'm a Musical Theatre Writer. I write musicals. Performance is kind of a second hat I wear to get hands on experience for my writing. I'm kind of in an incubation period right now at PCC. I got my B.A. from UC Santa Barbara in 2011 in Literature with an emphasis on Creative Writing, but I was eons away from actually having the breadth of experience to competently plan out and write (let alone get performers together to put on) a full-length musical. Recently I got into NYU's MFA in Musical Theatre Writing, but I couldn't afford it. It would have put me 100k+ in the hole, and for that money, I could study at PCC for a century! I figure I'd rather do that. Maybe I'll get a musical up along the way. And heck, who knows, if I re-apply somewhere down the line when I have more credits under my belt, maybe NYU will pay ME to go to school there!

Bernadette Raisa Sebastian

 Today on Dance Perspective we feature the accomplished dancer and choreographer Bernadette Raisa Sebastian.

                                                                       1) What inspires you to dance?                                                                                                              

Other dancers and other artists of any kind (musician, painters, etc). Right now, I have 2 current inspirations, but I'm not gonna tell you who they are ;)

2) When did you start dancing?                                                                                                                                                     

I started doing Color Guard/Marching Band in sophomore year high school. It's more competitive, some dancing technique, but more of marching, spinning weapons and flags and performance training. I did the same when I started PCC January 2008, but my first real dance experience would have to be Modern Class with Magee in January 2008, so I guess 6 years ago. I'm a late bloomer lol

3) What are your dance goals?                                                                                                                  

Build my own studio for other dancers like myself to be able to dance, with my dance best friends as teachers, choreograph dances that will inspire people, and to be a dance therapist, and travel as a guest performer to other countries (hopefully)

4) What is the most challenging aspect of being a choreographer?                                                                                                                                     

The amount of dancers I'm allowed to work with (or if I absolutely have to work with everyone, or just a small group of dancers), the types of songs I'm allowed to use, the space , props and lightning available for my original visions for a dance idea, communicating with my dancers my dance ideas as well as the expressions and meaning that come with it, and if it's possible to bring my idea to live with all these elements, or if I have to create an alternative, similar idea with the limitations that I have.

5) What is your favorite style/technique of dance?                                                                                  

I have 2: Contemporary and Tap. I feel that Contemporary is so complex and so beautiful, because it has so many elements inside it that makes it so unique. It has ballet and modern technique fusion, as well as jazz sometimes, and you can fuse other styles into it as well. It's not only modern, it's not only ballet or jazz technique. It is it's own genre, so unique, so complex and it's like every styles of dance combined and created this beautiful fusion of movements. Tap because it's so percussive, so musical and rhythmical, when I do tap, I can't help but just being happy, just tap my worries away. It's such a stress reliever! Everything that you can't express with your body, you express it with your feet, and you can move alongside the music and the beat; you literally riding the music! It's just so cool!

Bernadette is currently dancing with Speak Hill Dance Project based in Los Angeles, CA she will be performing in the following shows. 

  Speak Hill Dance Project Presents: This Is Me 

October 3rd, 4th, 10th & 11th at 7:30pm 

Grand Arts 

450 North Grand Avenue

Los Angeles, CA 

90012

Tickets: $10 

For more information about Speak Hill Dance Project and the upcoming show please visit the following websites: 

Speak Hill Dance Project

Adam Washington

Adam Washington   Today on Dance Perspective we feature the accomplished dancer and photographer Adam Washington. 1) How does dance inspire you?  Dance inspires me by being not only a very enjoyable art form and sport but also by being Dance being a way of life. It breathes, it grows, it develops and evolves, most of life can be translated into dance and vice versa. It is a very spiritual activity. 2) When did you start dancing?  I started dancing when I was very young but didn't take any classes till I was about 16. I had mostly danced at parties or at home before then.     3) Who inspires you to dance?  I try to be versatile so I have an inspiration for every style I want to learn. Dmitry Chaplin is my inspiration for Latin and Salsa dancing. Jakob Karr is my inspiration for Modern and Contemporary Dance. Twitch Boss is my inspiration for Hiphop dancing. Christopher Scott is my inspiration for tap and choreography overall. 4) What are your dance goals?   My dance goal is to be able to dance any style of dance at least adequately and comfortably and be able to do a wonderful solo of at least five minutes each.

Company: The Kirov Ballet

Venue: The Mariinsky Theatre

Choreography: Marius Petipa & Lev Ivanov

Composer: Pyotr Ilyich Tchaikovsky

Principal Dancers: Yulia Makhalina, Igor Zelensky, Yuri Fateyev, Eldar Aliyev

Year:  1990 

  As the curtains open, the music triumphantly swells and the dancers enter the stage brimming with a combination of energy and elegance. Prince Siegfried danced by Igor Zelensky is celebrating his Birthday.  Yuri Fateyev effortlessly leaps across the stage balancing technique and whimsy as he portrays the Court Jester. Fateyev’s costume is delightful. The stage is decorated with a beautiful pastel backdrop complete with a castle surrounded by foliage. The artists of the Kirov possess wonderful musicality and strong lines. One of the highlights of Act 1 Scene 1 is the pas de trois danced by Igor Zelensky as Prince Siegfried, Larissa Lezhina and Veronika Ivanova as the Prince’s friends.  Throughout the pas de trois Zelensky, Lezhina and Ivanova sustain each lift with strength and transition into smooth pirouettes with ease. As the pas de trois comes to a close the action shifts to the Prince’s Tutor Vladimir Silakov whom has just awoken from a brief nap. Lezhina and Ivanova invite the sleepy Tutor to dance. After a comedic display between the Court Jester and the Tutor, Lezhina and Ivanova finally begin their pas de trois with the Tutor. The stage is filled with dancers. Each artist committed to his or her role within the scene. Court Jester Fateyev steals the spotlight with his multiple pirouettes and spot on musicality. As the festivities die down a pensive Prince Siegfried returns to the stage.  

Act 1 Scene 2 is set beside a lake, the lighting is much darker and the backdrop depicts cloudy skies. Swans gently glide across the calm lake water. Crossbow in hand Prince Siegfried explores the surrounding area; he is alone on stage until an evil magician with a sinister swanlike appearance makes his entrance. Rothbart danced by Eldar Aliyev captures the audience with a series of tight chaines turns and flowing port de bras, his costume includes a set of wings accented with silver and white. Prince Siegfried takes his time in search of his first target, at this point Rothbart slinks off stage. With a white swan in his sights, Prince Siegfried aims his weapon proudly.

Just as Prince Siegfried lowers his weapon to shoot he is taken aback by the beautiful Yulia Makahlina whom arrives on stage in a pure white tutu and feather crown. Yulia Makahlina dances the role of Odette. The choreography seamlessly interprets the accents of the music which are now picking up speed. You can feel the sadness in Yulia Makahlina’s dancing; it carries through each step and gesture. Just as the interaction between the Prince and Odette has begun it is interrupted by the evil magician Rothbart. Rothbart chases Odette away and calls upon a bevy of white swans that join the scene. The corps de ballet is synchronized and powerful. Prince Siegfried briefly searches the stage for Odette, his heart heavy. The corps de ballet continues executing precise lines, intricate foot work and when necessary holding completely still in impeccable straight lines. Odette and Prince Siegfried meet once again dancing together in a gorgeous pas de deux. Yulia Makahlina seizes the opportunity to demonstrate touching artistry and exquisite technique by moving through tight fifth positions and rolling through her feet as she rises en pointe.  Act 1 Scene 2 features several splendid dancers including Natalia Pavlova, Elvira Krylova, Maya Baturina and Veronika Ivanova as the classic four cygnets. The dance of the four cygnets displays exceptional coordination in addition to finesse. Another notable sequence is Natalia Makahlina’s solo with superb extensions and performed with spirit. Scene 2 draws to a close as the evil magician Rothbart commands the attention of the swans.

Odettte retreats as well as the bevy of swans. Prince Siegfried reaches out for Odette whom has left the stage. The lights fade and the current draws shut.

Act 2 opens to reveal the ballroom of Prince Siegfried’s palace. The backdrop and props are very intricate. Statutes, bricks, balconies and a throne are all part of the set. The Court Jester returns. Yuri Fateyev playfully dances amongst the ladies of the court. Fateyev takes center stage and continues his fast paced and vigorous dancing. As the Court Jester dances the energy on stage picks up. Yuri Fateyev springs high off of the ground and lands gently. The Princess Reagent (Prince Siegfried’s Mother) portrayed by Angelina Kashirina regally steps down from her decorated throne and motions toward the ladies of the court. The Princess Reagent presents several prospective brides for her son to choose from. The ladies of the court have long and flowing gowns and dance with large cream colored fans. Prince Siegfried dances with the first set of prospective princesses, clearly he is still thinking of Odette. The Court Jester presents flowers to the Princess Reagent to give Prince Siegfried. Prince Siegfried is expected to give the flowers to one of the ladies of the court. Igor Zelensky does such a convincing job of acting, he is very committed to his role and you can certainly feel him thinking of Odette throughout the scene. Zelensky never breaks character, he is very consistent. Prince Siegfried cannot bring himself to give the flowers to one of the potential brides, so he gives them back to the Court Jester. Suddenly trumpets flair. The lights darken momentarily as the evil magician Rothbart makes his grand entrance with a black swan by the name of Odile. Yulia Makahlina also dances the role of Odile, she rushes to the stage in a pitch black feathery tutu and matching crown. Rothbart is sporting a vibrant black and red cape that dramatically follows his fast por de bras. Prince Siegfried seems to recognize Odile, believing she may be the charming Odette he met earlier. Just as Odile enters she exits the stage with Prince Siegfried following close behind her. Rothbart introduces himself to the Princess Reagent and takes a seat next to her at the throne as the Spanish dance begins.

Danced by Yelena Sherstynyova, Natalya Kopyseva, Vladimir Kolesnikov and Maxim Piskevich the Spanish dance includes intense back bends, artistic flair and striking costumes. The fan work is delicate yet powerful. Next the Neapolitan dance commences with fabulous timing and tambourine work executed by Irina Guseva and Andrei Garbuz. The divertissements continue with Galina Zakrutina and Andrei Yakovlev in the passionate Hungarian Dance also known as Czardas. The final divertissement is the Mazurka complete with delightful white boots and majestic white and gold costumes accented in red for both the men and women.  In one word the Mazurka is simply charming to watch. The Mazurka costumes are by far one of my favorite costumes in the entire production for they are extremely detailed and balanced in color and length. The music quickly transitions and out comes Odile and Prince Siegfried to dance a pas de deux. Rothbart closely watches the interaction between Odile and Prince Siegfried and as he moves the lights dim. The chemistry between Zelensky and Makahlina is tangible; you can feel the connection as the pas de deux unfolds across the stage. As the pas de deux continues our attention turns to a window in which Odette is revealed, frantically moving through bourrées.  Makhalina is feisty in her interpretation of Odile, she definitely transforms her energy to dance the role of Odile. Zelensky performs a solid solo with multiple pirouettes. Makahlina’s solo is sharp and includes fast chaines, tight bourrées and high extensions. The coda is dynamic and Makahlina executes a clean thirty two fouettes, impressive and inspiring. At the close of the pas de deux Prince Siegfried is now ready to present the flowers to his new love, Odile. Prince Siegfried hands the flowers to Odile and Rothbart asks the Prince to declare his love for Odile. As the Prince declares his love openly the lights darken, thunder and lightning flash over the backdrop and the window with Odette is in view for the whole court to see. Odette once again dances in despair. Prince Siegfried appears devastated and runs off stage. The Princess Reagent cannot believe what has happened and holds her hand to her head as does the Jester. The curtains crash closed.

We return to the lake for Act 3. The backdrop is foggy with a hint of pink and red in the sky. The swans seem solemn, almost overcome with sadness. Both white and black swans fill the stage. The stage is melancholy. The choreography is delicate and pensive. Odette flies into the scene followed by Rothbart. The music is now tumultuous and the thunder and lightning briefly return as Rothbart strides about and dances with Odette. Prince Siegfried rushes to the lake seeking Odette, he finds her. Prince Siegfried and Odette once again dance together reunited at last. The pas de deux slowly draws to a close with poise and grace. Rothbart makes his presence known once again, wings flapping wildly and separating Prince Siegfried and Odette. As the Prince and Rothbart struggle back and forth Odette makes her way to the ground, she is weak and tired. Prince Siegfried manages to break Rothbart’s wing which conquers the evil magician once and for all. Eldar Aliyev does an excellent job in artistry thrashing about as his character suffers the consequence of his actions. Prince Siegfried recovers Odette from her rest. The ballet ends with a triumphant Prince Siegfried clutching Odette close to his heart. A touching moment shared between Zelensky and Makahlina.

There is something I find hauntingly beautiful about Swan Lake. The music, the choreography will linger in my mind always. From the first time I watched the full length ballet as a child to this day I continue to hold Swan Lake as one of my favorite classic ballets. The Kirov Ballet presented an impeccable display of technical prowess and artistic depth from corps de ballet to principal artists. Swan Lake provides artistic enrichment for audiences of all ages, a must see for any student of classical ballet.

 Dance Perspective is featuring an interview with the multi-talented Emerson Aquino. Not only does Emerson Aquino work as a director, instructor and as a dancer in San Francisco, CA he also developed an app called TRANCE. TRANCE is a social dance floor that allows the user to watch, record and share dance videos. I must say it is an awesome app with great user interface and high quality, it's a wonderful place to meet other dancers and celebrate your love of dance. I highly recommend TRANCE to dancers from all dance backgrounds. It's an excellent way to gain exposure and see what's happening in the world of dance right now.

For more information or to download TRANCE now please visit: http://www.tranceapp.com/

1)  How does dance inspire you?  

Dance inspires me in so many ways. It could be as a simple as a child taking his or her first class, or learning a combo from one of my favorite choreographers. The fact that I am present and able to observe an energy that transcends is quite inspirational.

2) When did you start dancing? 

I was watching an ABBA music video and I told myself that I wanted to do that.      

3) What styles of dance do you perform?   

The styles of dance that I perform varies, sometimes I do waacking, choreography, house, jazz funk, and locking. It really depends on the focus of the dance company.   

4) How did you get involved with San Francisco Flash Mob Crew?   

I was asked to choreograph a wedding proposal flash mob and I thought that it was really fun and I wanted to keep doing it. So I decided to create the SF Flash Mob Crew.    

5) What advice would you give to young dancers? 

Be serious about it and maintain your integrity. Dance is an art form that requires focus, determination, and discipline. If you want people to treat you like a reputable dancer then be one. Be confident and be a sponge. Enjoy the journey and enjoy learning and most of all, cherish your true friends in dance.   

 6) What is your dance dream?   

For dance to be in the forefront.