Like most young dancers who wish to make the jump to the professional level, I took my first big step by auditioning for and attending a summer intensive at the School of American Ballet. It was a big stretch for me in many ways; I religiously rode the train each morning (with Rebecca, another young dancer and a car full of newspaper-toting suits) an hour each way from Connecticut to Manhattan then took a bus uptown to the school.

I was thirteen years old.

New York held the promise of a potential new and exciting life, a life I’d dreamed of for a long time. The chance to study at SAB meant I was one step closer to that life and becoming a full-time student… perhaps one day a member of New York City Ballet.

Although it sounds glamorous, I assure you it was not. Particularly that first summer. Our days were spent sweating it out, both literally and figuratively, vying to stand out from a crowded roomful of dancers (many of whom had made a cross-country trek for this privilege). In between morning and afternoon classes we had a brief recess for lunch.

But every lunch break brought up the serious question of whether or not we would survive crossing the stupendously large and busy intersections of Broadway and Columbus Avenues to get to the local deli. This was a thought-provoking question for two distinct yet equally important reasons: 1) Crossing any intersection in New York often meant taking your life in your hands because motorists (especially taxi drivers) tended to speed up when they had potential victims lined up in their sights and 2) a freak heat wave (temperatures hovered around 104 for weeks) made the streets so hot that you could fry an egg on them in seconds… you had to seriously consider whether or not a trip to the deli was really worth it… and whether or not your shoes would disintegrate on the asphalt.

self-explanatory.

Then there was the return trip to Grand Central to think about. Classes let out around 4pm each day – at the height of the day’s heat – and most of the busses weren’t air-conditioned. We’d exit the temperature-controlled halls of SAB and step out into a wall of heat. It felt like breathing hot bathwater. As the minutes ticked by while we waited at the bus stop we’d stare off into the wavy-lined, heat-soaked distance to see if the bus was even visible yet, wondering if we might expire before it arrived. A few days into the summer, Rebecca and I bought some groovy handheld fans at a little Asian shop, and I am pretty sure they saved our lives (lots of people died that summer…seriously).

School of American Ballet, 1936, by Alfred Eisenstaedt for LIFE

Although we were climatically challenged, this did nothing to dampen our enthusiasm. It was one of those character-building experiences, the first of many that any dancer goes through.

Little did we know: this was the easy part.

Dancers are some of the most athletic people on the planet yet dance, especially ballet, takes a toll on dancers’ bodies over time. Let’s face it – some positions are completely unnatural and require us to tweak things, especially our spines, to create the desired effect. Many dancers deal with injuries throughout their careers; many more have ongoing issues after they stop performing. Although I was relatively injury-free throughout my career, I had (and continue to have) back issues. It’s all got me wondering: what’s a dancer to do?

There are a number of healing options to turn to, depending on the type and severity of your injury.

1. Physical therapists. Miami City Ballet, like many other companies, had a therapist on site to help dancers when they got hurt. Therapists offer a range of ideas, from simple (like icing or massage) to more in-depth (rehab exercises to strengthen injury-prone areas). Best thing I ever learned from a therapist: contrast baths. Alternate icing and hot water on the injured area to stimulate blood flow and healing.

2. Chiropractors. There is no one way to realign tweaked body parts. Some chiropractors use more active force, others opt for a more gentle method. I have had varying degrees of success with chiropractors and generally use them for things like not being able to turn my head all of a sudden.

3. Massage. Who doesn’t love a good massage? A gentle Swedish-style massage will help the body relax while a deeper, therapeutic massage can work out the tight kinks. I’m currently looking into Rolfing as an option for recurrent issues.

4. Acupuncture. I was lucky enough to study with Merrill Ashley, (awesome dancer and teacher) who swore by acupuncture for back issues… Since then I’ve used acupuncture for everything from colds/flu to post childbirth.

5. Yoga. If nothing else, yoga’s calming influence is a good counterpart to the stress dancers live with. As I get older, I’ve come to rely on yoga as a sanctuary and a way to maintain flexibility. A flexible body is less prone to injury.

Bauhaus flavor

Collaboration is the buzzword of the year in the Bay Area dance community, from well-known masters such as Alonzo King of LINES Ballet to up-and-coming choreographers like Robert Dekkers. Putting several inspired heads together can yield an end result that is nothing short of magical. At the very least, it’s certainly more fun to mix things up and work with other people that you respect.

I’m always up for a fun project with talented friends and an interesting premise. So when my good friend (and amazing photographer) Julie Pavlowski Green proposed the Paper Ballet I immediately said yes… the only possible answer because she’s that kind of visionary. A little over a week ago we headed to the studio along with fellow dancer and co-conspirator (I mean creator) Mymuna Damore to photograph.

Julie used a plethora of paper to make one-of-a-kind dance costumes that could just as easily be shown on the runway. Because I am a classically trained ballet dancer, mine tended more towards the tutu-esque, while Mymuna’s (a modern dancer) were more abstract, wild ensembles. (curious? check them out here).

Getting dressed took the most time since it was an elaborate process. Each costume had many pieces and we had to be very careful getting in and out of them (so nothing tore and no one got paper cuts! Imagine a giant paper cut to the face… eek.)

Once we were dressed I felt disoriented at times (especially in the one costume where I couldn’t see and I had to balance multiple moving pieces on my head). Movement was very different than in other types of costumes – paper limits the range of movement, of course. But it’s also lightweight and has such an incredible range of applications from pleated tutus to Guiness-world-record-length nails.

I felt very doll-like while working in the costumes; generally the lines I created with my body were more angular and compact because of the rigidity of the paper. I’ve already discussed what it feels like to wear pointe shoes. I don’t wear pointe shoes very often anymore and man, they hurt after awhile. But they look good, right?

peter clark tutu

It was so exciting to collaborate with my talented and visionary friends. Such a fun project and a cool idea to repurpose art materials that would otherwise have gone to waste. The final images will look very different as Julie is creating backdrop sets which will be dropped in using Photoshop. I can’t wait to see the end results! (Julie plans to exhibit them in LA this summer).

Has collaboration inspired you?

If you can imagine it, you can achieve it

If you can dream it, you can become it

I looked at it every day but I don’t think the words meant as much to me then as they do now. Since then I’ve done a lot more thinking about how much our thoughts influence the way our lives unfold. If you consider the idea that everything that exists began as an idea first it’s simple to make the connection that thoughts play a part in creating reality. As books like The Secret tell us, we get more of whatever we focus on. The thoughts alone do not make things happen – we also have to do our part and take action – but they do align us on a path… we move ahead in whatever direction we’re facing.

As a dancer I found so often that my mind got in the way. If a teacher tossed out a particularly difficult turning combination, for example, my mind would go wild with fear and doubt; I would have myself so psyched out that I was done before I even started. I told myself I couldn’t do it and guess what? I couldn’t. But I never really allowed myself to give it my best shot and never found out if I was capable.

In the years that have followed I’ve kept up an ongoing experiment, noticing how thoughts impact my life and I’ve come to realize that when I create change within my internal landscape, it echoes into my outer landscape, the world around me. The spongy stuff between our ears can be our greatest asset… or our greatest enemy. It’s really our choice.

1. Alonzo King’s LINES Ballet Company. Since 1982 Alonzo King‘s unique artistic vision has dramatically changed the landscape of contemporary ballet. Collaborating with noted composers, musicians, and visual artists from around the world, Alonzo King creates works that draw from each dancer’s unique potential using a diverse set of deeply rooted cultural traditions to imbue classical ballet with new expressive potential. Alonzo King understands ballet as a science – founded on universal, geometric principles of energy and evolution – and continues to develop a new language of movement from its classical forms and techniques. In short, the man is a master. This company is not to be missed– I cried at their last performance– they are that good.

John Speed Orr in Val Caniparoli’s Swipe. Photo: Keith Sutter

2. Smuin Ballet. When Michael Smuin left San Francisco Ballet to start his own company it created quite a stir in the dance world… and continues to do so. The company is most well-known for the Christmas Ballet, its annual holiday showcase that runs the gamut from snowflakes in tutus to a rasta-style Santa. This company likes to play, and is known equally for its humor and cutting edge ideas, including a recent world premier from Helen Pickett, one of today’s foremost choreographers.

photo by RJ Muna

3. ODC. Despite their humble entry into the Bay Area by Volkswagen Bus in the 170s, ODC (Oberlin Dance Collective, originally from Oberlin, Ohio) has burgeoned into a force to be reckoned with. Their 36,000 square foot campus is now the largest and most comprehensive dance center in the region, hosting a dance school, dance company and theater. ODC offers the full gamut for dancers and dance enthusiasts, from classes to cutting-edge performances and dance festivals. Their Velveteen Rabbit has been a holiday favorite in my family for years.

David DeSilva

4. Post:Ballet. Artistic Director Robert Dekkers gives ballet a quantum leap into the present through his ingenious choreography, fused with modern technologies (photography, cinematography, digital media and visual artistry) to create work that weaves modern aesthetics with classically based dance to appeal to today’s audiences. This is not your mother’s ballet company. The movement is fresh and the difference is immediately palpable; many of the dancers have a punk edge and sport tattoos. Post:Ballet presents “Fourplay” its fourth home season in July.

photo by RJ Muna

5. Garrett + Moulton. Last year I attended their production of Angles of Enchantment and was… well, enchanted. The choreography was inventive and at times, playful, woven with live music and storytelling. The costumes were magical. Co-directed by Janice Garrett and Charles Moulton, the company produces an annual home season; their next will be in October.

1. Dance Pulp. A quick way to get your dance documentary fix in short 10-minute spirts. Hosted by ballerina Drew Jacoby (Lines, Morphoses), DancePulp features frank and candid video interviews with well-known, well-loved dancers and experienced dance professionals from a variety of genres. There are 42 episodes and you can watch them on Hulu for free. Here is one on Lourdes Lopez, the new director of Miami City Ballet.

2. Essential Dance Film. (Brought to you by Tendu TV) The art of capturing dance on film is as old as the art of film itself – the first dance films were created by the Lumiere Brothers in 1895.  Essential Dance Film is proud to showcase the state of dance film today by presenting a curated election of features and shorts from around the world. The Essential Dance Film collection includes works by festival winners, Hollywood veterans and emerging filmmakers.

3. Dance 212. Follow 5 up and coming dancers in top companies such as ABT II, Paul Taylor 2 and Martha Graham II as they work toward their dreams of making it big in New York City! Brought to you by the publishers of DANCE Magazine, Pointe, Dance Spirit and more.

4. First Position. First Position is a 2011 American documentary film. It follows six young dancers preparing for the Youth America Grand Prix in New York City, an annual competition for dancers ages 9–19 to earn a place at an elite ballet company or school.

5. A few of my favorite Facebook shares.

From the Ballerina Project:

From Diablo Ballet:

From Miami City Ballet:

What are a few of your favorite things? Do tell.

PrimaSoft Ribbon

If you have ever struggled with baggy ribbons, this is a perfect solution! This ribbon has the look and size of any standard pointe shoe ribbon, but is made from a soft stretchy, elastic material.  It looks a little different up close, but will match most pointe shoe colors and look the same on stage or in class. No more tendon trauma… not too loose or too tight, but just right.

Pointe shoes are not the most comfortable shoes on the planet, as previously discussed here. Back in my day, we stuffed the tips of our shoes with lamb’s wool or paper towels, depending on what was handy. But now they make puffy little pillows to cushion your feet- a thin layer of gel material inside two pieces of fabric creates a comfortable pouch. Just imagine!

Dancers get thirsty so having water on hand is a must. But keeping those water bottles clean can be a challenge. The answer? Clean Bottle: The Square. Unscrew the bottom (and the top) of this reusable water bottle for no-fuss washing and quick drying. Flat sides mean it won’t roll away if it falls. Stainless steel; holds a whopping 20 ounces. It doesn’t get easier– or more perfect for dancers.

Pretty ballet skirts that actually stay in place once you put them on. This one by Bloch has a cute petal decoration and an elastic waist.

Leotards with style and fun details. This one by Ainsliewear has a flirty dot-lace panel on the back. It’s been declared “hot”by my husband.

When your world feels like it is spinning off its axis, dance.

Whether you feel six feet tall or two feet small, dance.

If you are happy or if you are sad, dance.

If you are hurting or if you are mad, dance.

When joy flows through every vein in your limbs, dance.

When vision is cloudy or crystal clear, dance.

Live. Eat. Breathe.

DANCE

Let this carry you through all of your days, a rock-solid practice you can count on.

For those times when you just can’t make it to St. Petersburg for opening night at the Marinsky Theater or you’re double booked for top-notch Canadian choreography and your budget doesn’t allow for cloning yourself there is an option: dance on film. While some might call it second best it beats missing out entirely, plus you can watch it in the comfort of your own home.

FIlms are always better with snacks. Make sure to break out the popcorn. Drizzle liberally with olive oil, garlic powder and spices. Dig in.

1. Marilyn Hotchkiss’ Ballroom Dancing and Charm School. Disregard the somewhat odd title of this movie because I promise this film will be well worth your while. The story follows a widowed man whose life turns upside down when he embarks on a journey to find a dying man’s long lost love… hint: dance is the catalyst of change.The stellar cast includes John Goodman, Robert Carlysle and Marisa Tomei.

2. Mao’s Last Dancer. Based on the autobiography by Li Cunxin. At the age of 11, Li was plucked from a poor Chinese village by Madame Mao’s cultural delegates and taken to Beijing to study ballet. In 1979, during a cultural exchange to Texas, he fell in love with an American woman. Two years later, he managed to defect and went on to perform as a principal dancer for the Houston Ballet and as a principal artist with the Australian Ballet.

3. Ballerina. French filmmaker Bertrand Norman follows the careers of five Russian ballerinas in their career path from the acclaimed Vaganova Academy to the stage of the famed Kirov Ballet. Using magnificent perormance footage, as well as behind the scenes shots and candid interviews, Bertrand gives audiences am insider glimpse of the extreme discipline and dedication demanded of ballerinas.

Happy viewing! I leave you with a quote from Marilyn Hotchkiss’ Ballroom Dancing and Charm School:

Dance is a very powerful drug Mr. Keane. If embraced judiciously, it can exorcise demons, access deep seated emotions and color your life in joyous shades of brilliant magenta that you never knew existed. But, one must shoulder its challenges with intrepid countenance if one is ever to reap its rewards.

The world has recently been blessed with several truly great dance films. Being a visual person I love nothing better than to feel swept away by a captivating film (or photo). Since time does not permit attending every performance I’d like to see, watching dance on screen keeps my options open and gives me the chance to see things I might not otherwise be exposed to.  Here are a few of my favorites; if you haven’t seen them yet you should!

1. First Position. Follow a handful of dancers through their trial by fire during the Prix de Lausanne, one of the most prestigious dance competitions in the world. Many dancers who participate in the Prix de Lausanne are later offered apprenticeships or company contracts. Michaela DePrince, one of the dancers featured in First Position, has since gone on to become the youngest member of American Ballet Theater.

2. Pina. German choreographer Pina Bausch was a sensation in her time and this film is a stunning tribute. Every aspect from sets and costumes to soundtrack and choreography echoes the colorful and ethereal world that she created. Directed by Wim Wenders, Pina was nominated for an Oscar and won several European awards for Best Documentary.

3. Le Vent. This one only runs for a few minutes and is well worth the watch. Marina Kanno and Giacomo Bevilaqua from Staatsballett Berlin perform several jumps captured in slow motion at 1000 frames per second. Gorgeous… and the music is, too.

4. Lost in Motion. Guillaume Côté, a principal with the National Ballet of Canada put his own money and lots of fund-raising effort into creating this two-minute video.
 Côté wanted to portray a dancer in ‘the zone’ – to show what it really feels like to dance.
 “I wanted to get the tights off and I wanted to get the costumes off, and just show the sheer physicality of classical dance,” he said in an interview with CBC’s Metro Morning.
 The prolonged jumps were captured with a high-definition, high-speed Phantom camera. Let me know if you don’t agree that it is brilliantly awesome.

5. Pas de Deux. Galen Summer’s documentary shows New York City Ballet dancers Megan Fairchild and Andrew Veyette – from a perspective that is so up close and personal – the viewer feels like one of the dancers. For her part of a behind-the-scenes series for the New York City Ballet, Summer and her team figured out how to attach cameras to vests the dancers wore while performing the wedding pas de deux from Tschaikovsky’s “Sleeping Beauty.” You can watch Summer’s other NYC Ballet documentaries ‘Pointe Shoes,’  and “Tutu” here.

I’ll be back on Thursday with more great film picks. Happy viewing!