It may seem that the stork dropped Wendy Whelan at New York City Ballet's doorstep--but she was actually born in the small city of Louisville, Kentucky. Though she never got the chance to meet Balanchine, she was familiar with his neoclassical style when she arrived at the School of American Ballet. She credits Robbie Dicello at the University of Louisville Dance Academy for instilling in her a working knowledge and love of the famous ballet-maker.
"He was so smart; he raised our intellect and desire to understand more. He had a great love for Balanchine's choreography, and in Louisville at that time, we didn't see a lot of that. He taught us about Concerto Barocco, Four Temperaments, Agon--and we were only 12 or 13 years old. We learned the part of the Russian girl in Serenade. He taught us to look past the classroom. As a young dancer, it's important to go to books and videos and learn for yourself about these ballets."
Whelan will perform four contemporary duets with the choreographers Kyle Abraham, Joshua Beamish, Brian Brooks and Alejandro Cerrudo in the world premiere of Restless Creature at Jacob's Pillow, August 14-18.
Photo by Paul Kolnik
Four incredible educators: Joanne Chapman, Claudio Muñoz, Pamela VanGilder and Kathleen Isaac foster their students' love of dance, whether instilling artistry, offering rigorous training or giving special needs students an outlet through movement.
When Jennie Somogyi retired from New York City Ballet, she found herself in high demand as a teacher. Parents called, texted and persisted. "I don't even know how some of them got my contact information," she says with a laugh. But Somogyi, who departed from NYCB in 2015 after a 22-year career, hadn't made any definitive plans for the next stage of her life. "I just like to see how things move me," she says. She discovered, though, that she enjoyed the process of giving private lessons and seeing the rapid progress students could make. Over time, she realized that teaching was something she wanted rather than needed.
Does your studio slow down when the weather warms up? If you don't offer a summer session, June through August can be a cash-flow challenge. One popular—and easy—strategy is to offer weeklong camps instead. We spoke to three professionals to learn how they make summer camp work.
This week Ballet Hispánico launched its first ChoreoLaB workshop, a summer intensive intended to better prepare aspiring professional dancers—with more than just excellent technique. Artistic director Eduardo Vilaro wanted to create a program that bridges the school and the company, to help dancers transitioning into the professional world and better hone their skills.
The language of Mind Body Dancer is dynamic. "Action words stimulate change in your students," says yoga teacher TaraMarie Perri. "Try 'pour,' 'push' and 'experience' –not 'feel' or 'do or don't' Those words don't mean anything." Here, Perri and dancer Maggie Ronan use the active MBD language to demonstrate yoga poses used as a warm-up in many dance classes. While practicing, be sure to inhale and exhale in steady cycles.