Rocío Chacón photography online (1)
Rocío Chacón photography online (2)
Tuesday, 20 December 2011
Friday, 10 June 2011
Dance Update
BA Ballet Education Graduation show is over and well done: Notice and some pictures here.
In June: Performing at The Place.
I am also very honoured and happy to have been given the opportunity to be part of The Karsavina Project - a project hopefully to become more and more popular amongst dancers and teachers. Tamara Karsavina, as a founding member of the Royal Academy of Dance, devised a syllabus specifically for dance teachers who would train there. Based on her own experience as a ballet dancer and a student at the Imperial Ballet School (now Vaganova Academy) in St Petersbourg, the syllabus contains elements of various styles and schools of ballet and is therefore invaluable also from a historical perspective. This syllabus has been passed on from Karsavina herself to selected teachers who have taught it at the RAD since. The Karsavina syllabus is the Royal Academy of Dance's possession and copyrighted.
There is an endeavour at the moment to record the syllabus in other, more tangible ways as well (video, notation, interviews): "The Karsavina Project". Find it on facebook with more explanations and lots of pictures from the filming session!
Tamara Karsavina, circa 1915
In June: Performing at The Place.
I am also very honoured and happy to have been given the opportunity to be part of The Karsavina Project - a project hopefully to become more and more popular amongst dancers and teachers. Tamara Karsavina, as a founding member of the Royal Academy of Dance, devised a syllabus specifically for dance teachers who would train there. Based on her own experience as a ballet dancer and a student at the Imperial Ballet School (now Vaganova Academy) in St Petersbourg, the syllabus contains elements of various styles and schools of ballet and is therefore invaluable also from a historical perspective. This syllabus has been passed on from Karsavina herself to selected teachers who have taught it at the RAD since. The Karsavina syllabus is the Royal Academy of Dance's possession and copyrighted.
There is an endeavour at the moment to record the syllabus in other, more tangible ways as well (video, notation, interviews): "The Karsavina Project". Find it on facebook with more explanations and lots of pictures from the filming session!
Tamara Karsavina, circa 1915
Monday, 30 May 2011
Thursday, 5 May 2011
Change of mind
I finished my BA dissertation and bound it, title:
I feel differently but I don't know why: A phenomenological study of ballet and contemporary dance classes.
Thanks to all those who have emailed me about their experiences, talked to me, and contributed in these ways.
Some pending ideas for next year - Dance in London, teach ballet in China, teach ballet in Europe, continue studying??
I feel differently but I don't know why: A phenomenological study of ballet and contemporary dance classes.
Thanks to all those who have emailed me about their experiences, talked to me, and contributed in these ways.
Some pending ideas for next year - Dance in London, teach ballet in China, teach ballet in Europe, continue studying??
Tuesday, 15 February 2011
February news
Today, I went to the first audition for next year.
I doubt I do things physically that people would pay for.
But I wonder to what extend this is a pre-requisite for some success.
Tips for next time: Do take paracetamol. Do not wear anything hinting at pyjamas-like clothing, even if I think it reflects my character. Be fitter. I think most other things I did right.
It took me a very expensive travel ticket to London and several hours closing eyes to recover from a headache I got during the day. Also, rethinking options. I can predict what kind of people I will encounter at more auditions. Still, I must go through - it is a way of contextualising myself in the dance world and that's the process to finding my way.
On the other hand, it also seems that I am not doing a real thing. I am not really preparing to teach, and I am not really dancing. Not able to focus on either one, trying to combine both.
I wonder how things develop. I was never that happy to return to London before.
I doubt I do things physically that people would pay for.
But I wonder to what extend this is a pre-requisite for some success.
Tips for next time: Do take paracetamol. Do not wear anything hinting at pyjamas-like clothing, even if I think it reflects my character. Be fitter. I think most other things I did right.
It took me a very expensive travel ticket to London and several hours closing eyes to recover from a headache I got during the day. Also, rethinking options. I can predict what kind of people I will encounter at more auditions. Still, I must go through - it is a way of contextualising myself in the dance world and that's the process to finding my way.
On the other hand, it also seems that I am not doing a real thing. I am not really preparing to teach, and I am not really dancing. Not able to focus on either one, trying to combine both.
I wonder how things develop. I was never that happy to return to London before.
Wednesday, 2 February 2011
Resources Character Dance Polish Court
Something I found just now, on the search - just to quickly share.
Relevant also for teaching and dancing RAD Grade 6 for instance:
Relevant also for teaching and dancing RAD Grade 6 for instance:
lowiczanka.wordpress.com...
"(...) Which leads us back to Poland. No, the Polka is not a national dance of Poland. Poland’s national dances are: The Krakowiak, the Mazur (Mazurka), Polonez (Polonaise), theKujawiak, and the Oberek. These dances, which originated in the Polish countryside, were so popular that they found their way to the royal court, and were even incorporated into classical works by composers like Chopin."
"(...) The Mazur originated in the Mazowsze region of central Poland in the 16th century, and by the 17th century was danced in villages throughout Poland.
With its quick 3/4 tempo…accented on the 2nd or 3rd beat, and intricate steps…heel clicking, slides, and running steps, it soon found its way to the Polish Court.
As a result, you will often find the Mazur danced in different ways to different types of music, from the delicate Mazur of the peasants (in regional folk costumes), to the military style Mazur of the Uhlans(soldiers in uniform, ladies in ball gowns).
The Mazur also found its way into operas, like this one from the Polish Opera Halka by famed composer Stanisław Moniuszko. It is an example of a military Mazur. (The costumes are Kontusze.)"
Polonez (Polonaise):
"The Polonez, or Poland Dance of 18th century nobility, has its roots in the 17th century walking dance Chodzony, which traditionally opened up balls and weddings in country villages throughout Poland.
Danced to a slow 3/4 tempo, the partners do not face each other, but rather walk to the music around the ballroom… forward, back, side, often bowing, but always maintaining a formal, stately posture.
While the Polonez may be danced wearing a folk costume from any of Poland’s ethnographic regions, it is usually performed with the dancers dressed in Kontusze, the costume of the Polish Nobility of the 17th century."
"(...) Which leads us back to Poland. No, the Polka is not a national dance of Poland. Poland’s national dances are: The Krakowiak, the Mazur (Mazurka), Polonez (Polonaise), theKujawiak, and the Oberek. These dances, which originated in the Polish countryside, were so popular that they found their way to the royal court, and were even incorporated into classical works by composers like Chopin."
"(...) The Mazur originated in the Mazowsze region of central Poland in the 16th century, and by the 17th century was danced in villages throughout Poland.
With its quick 3/4 tempo…accented on the 2nd or 3rd beat, and intricate steps…heel clicking, slides, and running steps, it soon found its way to the Polish Court.
As a result, you will often find the Mazur danced in different ways to different types of music, from the delicate Mazur of the peasants (in regional folk costumes), to the military style Mazur of the Uhlans(soldiers in uniform, ladies in ball gowns).
The Mazur also found its way into operas, like this one from the Polish Opera Halka by famed composer Stanisław Moniuszko. It is an example of a military Mazur. (The costumes are Kontusze.)"
Polonez (Polonaise):
"The Polonez, or Poland Dance of 18th century nobility, has its roots in the 17th century walking dance Chodzony, which traditionally opened up balls and weddings in country villages throughout Poland.
Danced to a slow 3/4 tempo, the partners do not face each other, but rather walk to the music around the ballroom… forward, back, side, often bowing, but always maintaining a formal, stately posture.
While the Polonez may be danced wearing a folk costume from any of Poland’s ethnographic regions, it is usually performed with the dancers dressed in Kontusze, the costume of the Polish Nobility of the 17th century."
Monday, 17 January 2011
PINA
PINA - Dance, dance, otherwise we are lost from neueroadmovies on Vimeo.
Wim Wenders Site
London has this beautiful rain again, from morning until night
drop drop drop swing the body
Thursday, 13 January 2011
a will - a way
To get one, for me important idea, from the Russian text below is this quote from Maugham's The Painted Veil:
'I have an idea that the only thing which makes it possible to regard this world we live in without disgust is the beauty which now and then men create out of the chaos. The pictures they paint, the music they compose, the books they write, and the lives they lead. Of all these the richest in beauty is the beautiful life. That is the perfect work of art.'
I have proof now that any "body" can achieve technical ability so as to look good and execute the ballet steps and achieve in the eyes of technical ability. It is only a matter of strength. But the lines might be more correct than breathtaking.
From yesterday's class: I was constantly drawn in between performing to the piano corner, the only spot where I could feel the floor vibrating from the musician's energy and drown my mind in the music.
And today, taking my first professional contemporary class in London, (I was a bit nervous, and hid behind the vivid colour of my trousers that made me look more contemporary and bold.)
I see that there are also many breathtaking contemporary dancers and that I have not built up enough strength to perform to my best. I have a few weeks before the first auditions in February to work on that.
And today, taking my first professional contemporary class in London, (I was a bit nervous, and hid behind the vivid colour of my trousers that made me look more contemporary and bold.)
I see that there are also many breathtaking contemporary dancers and that I have not built up enough strength to perform to my best. I have a few weeks before the first auditions in February to work on that.
Saturday, 8 January 2011
A Dancer's World (1957)
About: (Martha) Graham dance technique and philosophy.
"Dancer, Choreographer, and Teacher Martha Graham offers insight into her theories about dance while the members of her world famous troupe display a number of their dance techniques in performance."
Follow this link for the source and more information about the movie.
And most importantly, watch the 30 min film HERE.
"Dancer, Choreographer, and Teacher Martha Graham offers insight into her theories about dance while the members of her world famous troupe display a number of their dance techniques in performance."
Follow this link for the source and more information about the movie.
And most importantly, watch the 30 min film HERE.
BBC Documentary 'Bolshoi Boy' (2007)
About:
"Imagine (BBC One) follows 16-year-old Henry Perkins, who has been declared the most talented young male ballet dancer in the United Kingdom. Disappointingly, as he progressed he became less happy with the standard of teaching he was receiving, and set his sights on Russia. The Bolshoi Ballet Academy in Moscow accepted him and he is now training under the tutelage of Ilya Kuznetsov. He has the classic ‘artistic temperament’, and this film charts the strained, fractious, yet inspirational relationship between himself and his driven student." Source
See also
The Documentary:
"Imagine (BBC One) follows 16-year-old Henry Perkins, who has been declared the most talented young male ballet dancer in the United Kingdom. Disappointingly, as he progressed he became less happy with the standard of teaching he was receiving, and set his sights on Russia. The Bolshoi Ballet Academy in Moscow accepted him and he is now training under the tutelage of Ilya Kuznetsov. He has the classic ‘artistic temperament’, and this film charts the strained, fractious, yet inspirational relationship between himself and his driven student." Source
See also
The Documentary:
Friday, 7 January 2011
Visiting and Giselle
I went on a little trip to visit a school I would like to apply for. It was also my first experience using Rideshare. No problems, but it takes longer than a straight train journey, of course. Beauti- and painful journey back through storm, rain, down-under and through fog, smoke, night, ice, aquaplaning and traffic jams on the highway. My heart was very still. It probably will cost me a few minutes of my life, stressful thinking like that.
All in all it was important to go as not all contemporary schools would accept me with my pure Ballet BA. I will have to make my ongoing experience of contemporary very clear.
It's time to start thinking about a choreography that I can show at the audition!
This week, three very thorough and hard (for me) pilates classes with Hannah Ma at the 3CL.
What I saw in the school:
1. The BA classes reminded me of my time at Laban, how it is to come to contemporary class each day and how ballet is taught to contemporary dancers.
2. The MA class made me want to get up and hurl myself across the floor.
Here comes to mind: I hurl it through space
and put it on the floor
as in
My body is a mess
of pinks and browns and creams
Each day a little less
Or so each day it seems
Perhaps the most celebrated ballet of the Romantic era, Adolphe Adam’s intoxicating ballet Giselle is the dramatic story of a peasant girl whose betrayal by her aristocratic lover causes her to go mad before dying and returning as a ghost.
This is Natalia Osipova's (Bolshoi Ballet) interpretation of the Mad Scene:
Also see this video, where Giselle (Natalia Osipova) appears as a Willi (or Wili in English) from her Grave. She appears to be flying!
For any actors or otherwise interested in interpretation - see also Polina Semionova in the Mad Scene:
More links welcome in the comments!
All in all it was important to go as not all contemporary schools would accept me with my pure Ballet BA. I will have to make my ongoing experience of contemporary very clear.
It's time to start thinking about a choreography that I can show at the audition!
This week, three very thorough and hard (for me) pilates classes with Hannah Ma at the 3CL.
What I saw in the school:
1. The BA classes reminded me of my time at Laban, how it is to come to contemporary class each day and how ballet is taught to contemporary dancers.
2. The MA class made me want to get up and hurl myself across the floor.
Here comes to mind: I hurl it through space
and put it on the floor
as in
My body is a mess
of pinks and browns and creams
Each day a little less
Or so each day it seems
I put it into place
Each day a little more
I hurl it through space
and put it on the floor
But my body is a mess
No matter what I do
Each day supposedly a little less
Each day a little older too
I feel a little blue
Each day about the same
It seems I felt this through and through
All the way I came
3. The MA dancers were beauti- and characterful!
4. The talk made me feel slightly pressured, impatient to audition, stressed, doubtful about my potential,
5. The teacher inspired me and made me laugh and wonder!
6. The country made me a little sad,
7. But also I see opportunities for long walks in the forest, which again calmed me. It's Heine's Willis:
"Es ist die Sage von den gespenstischen Tänzerinnen, die dort unter dem Namen »die Willis« bekannt sind. Die Willis sind Bräute, die vor der Hochzeit gestorben sind. Die armen jungen Geschöpfe können nicht im Grabe ruhig liegen, in ihren taten Herzen, in ihren toten Füßen blieb noch jene Tanzlust, die sie im Leben nicht befriedigen konnten, und um Mitternacht steigen sie hervor, versammeln sich truppenweis an den Heerstraßen, und wehe dem jungen Menschen, der ihnen da begegnet! Er muß mit ihnen tanzen, sie umschlingen ihn mit ungezügelter Tobsucht, und er tanzt mit ihnen, ohne Ruh und Rast, bis er tot niederfällt. Geschmückt mit ihren Hochzeitkleidern, Blumenkronen und flatternde Bänder auf den Häuptern, funkelnde Ringe an den Fingern, tanzen die Willis im Mondglanz, ebenso wie die Elfen. Ihr Antlitz, obgleich schneeweiß, ist jugendlich schön, sie lachen so schauerlich heiter, so frevelhaft liebenswürdig, sie nicken so geheimnisvoll lüstern, so verheißend; diese toten Bacchantinnen sind unwiderstehlich." Heinrich Heine, Elementargeister, 1837
And this story of course, for those non-dancers, has been an inspiration for the ballet Giselle!
Each day a little more
I hurl it through space
and put it on the floor
But my body is a mess
No matter what I do
Each day supposedly a little less
Each day a little older too
I feel a little blue
Each day about the same
It seems I felt this through and through
All the way I came
3. The MA dancers were beauti- and characterful!
4. The talk made me feel slightly pressured, impatient to audition, stressed, doubtful about my potential,
5. The teacher inspired me and made me laugh and wonder!
6. The country made me a little sad,
7. But also I see opportunities for long walks in the forest, which again calmed me. It's Heine's Willis:
"Es ist die Sage von den gespenstischen Tänzerinnen, die dort unter dem Namen »die Willis« bekannt sind. Die Willis sind Bräute, die vor der Hochzeit gestorben sind. Die armen jungen Geschöpfe können nicht im Grabe ruhig liegen, in ihren taten Herzen, in ihren toten Füßen blieb noch jene Tanzlust, die sie im Leben nicht befriedigen konnten, und um Mitternacht steigen sie hervor, versammeln sich truppenweis an den Heerstraßen, und wehe dem jungen Menschen, der ihnen da begegnet! Er muß mit ihnen tanzen, sie umschlingen ihn mit ungezügelter Tobsucht, und er tanzt mit ihnen, ohne Ruh und Rast, bis er tot niederfällt. Geschmückt mit ihren Hochzeitkleidern, Blumenkronen und flatternde Bänder auf den Häuptern, funkelnde Ringe an den Fingern, tanzen die Willis im Mondglanz, ebenso wie die Elfen. Ihr Antlitz, obgleich schneeweiß, ist jugendlich schön, sie lachen so schauerlich heiter, so frevelhaft liebenswürdig, sie nicken so geheimnisvoll lüstern, so verheißend; diese toten Bacchantinnen sind unwiderstehlich." Heinrich Heine, Elementargeister, 1837
And this story of course, for those non-dancers, has been an inspiration for the ballet Giselle!
Perhaps the most celebrated ballet of the Romantic era, Adolphe Adam’s intoxicating ballet Giselle is the dramatic story of a peasant girl whose betrayal by her aristocratic lover causes her to go mad before dying and returning as a ghost.
This is Natalia Osipova's (Bolshoi Ballet) interpretation of the Mad Scene:
Also see this video, where Giselle (Natalia Osipova) appears as a Willi (or Wili in English) from her Grave. She appears to be flying!
For any actors or otherwise interested in interpretation - see also Polina Semionova in the Mad Scene:
More links welcome in the comments!
Monday, 3 January 2011
Ilya Kuznetsov's ballet video blog (Bolshoi Ballet Academy)
I have found this wonderful resource for Russian ballet today! Videos from Ilya Kuznetsov's classes at the Bolshoi Academy, but also Videos from the Vaganova Academy and more.
Here are a few videos I watched - but there are more than 500 so there is food for the whole of 2011.
Here are a few videos I watched - but there are more than 500 so there is food for the whole of 2011.
Sunday, 2 January 2011
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