The Dancers Bible

The Dancers Bible Dancers are the athletes of God-Albert Einstein

BALLET Ballet is a type of performance dance, that originated in the Italian Renaissance courts of the 15th century, and which was further developed in France and Russia as a concert dance form. The early portions preceded the invention of the proscenium stage and were presented in large chambers with most of the audience seated on tiers or galleries on three sides of the dance floor.

http://www.nycballet.com

NYC BALLET

The company was named New York City Ballet when it became resident at City Center of Music and Drama in 1948. Its success was marked by its move to the New York State Theater, now David H. Koch Theater, designed by Philip Johnson to Balanchine's specifications. City Ballet

New York City

went on to become the first ballet company in the United

Ballet (NYCB)

States to have two permanent venue engagements: one at Lincoln Center's David H. Koch Theater on 63rd Street in

is a ballet

Manhattan, and another at the Saratoga Performing Arts

company

Center, in Saratoga Springs, New York. The School of

founded in

American Ballet (S.A.B.), which Balanchine founded, is the

1948 by

training school of City Ballet.

After the company's move to the State Theater,

choreographer

Balanchine's creativity as a choreographer flourished. He

George

created works that were the basis of the company's

Balanchine and

repertory until his death in 1983. His vision influenced

Lincoln

dance both across the United States and in Europe. He

Kirstein. Léon

worked closely with choreographer Jerome Robbins, who resumed his connection with the company in 1969 after

Barzin was the

having produced works for Broadway.

company's first music director. Balanchine

NYCB still has the largest repertoire by far of any

and Jerome Robbins are considered the

American ballet company, and it often stages 60 ballets or

founding choreographers of the company.

more in its winter and spring seasons at Lincoln Center each year and 20 or more in its summer season in Saratoga 2

Springs. City Ballet has performed The Nutcracker, Romeo

See also category: New York City Ballet Salute to Italy

and Juliet, A Midsummer Night's Dream and many more.

In 1960 Balanchine mounted City Ballet's Salute to Italy

City Ballet has trained and developed many great dancers

with premieres of Monumentum pro Gesualdo and

since its formation. Also, many dancers with already

Variations from Don Sebastian, called the Donizetti

developed reputations have joined City Ballet as principal

Variations since 1961, as well as performances of his La

dancers.

Sonnambula and Lew Christensen's Con Amore. The

▪

Allegra Kent

▪

Arthur Mitchell

▪

Edward Villella

Stravinsky Festival

▪

Gelsey Kirkland

See also category: New York City Ballet Stravinsky Festival

▪

Jacques d'Amboise

▪

Jillana

▪

Kyra Nichols

David H. Koch Theater_shown pre-renovation.

▪

Maria Tallchief

In 1972 Balanchine offered an eight-day tribute to the

▪

Melissa Hayden

composer, his great collaborator, who had died the year

▪

Merrill Ashley

before. His programs included twenty-two new works of his

▪

Mikhail Baryshnikov

▪

Patricia McBride

▪

Suzanne Farrell

▪

Tanaquil LeClercq

▪

Peter Martins,

performance was repeated in 1968.

own dances, plus works by choreographers Todd Bolender, John Clifford, Lorca Massine, Jerome Robbins, Richard Tanner and John Taras, as well as repertory ballets by Balanchine and Robbins. Balanchine created Symphony in Three Movements, Duo Concertant and Violin Concerto for the occasion. He and Robbins co-choreographed and

balletmaster in chief

performed in Pulcinella. Balanchine produced an earlier Stravinsky festival as balletmaster of the American Ballet

Salute to Italy

while engaged by the Metropolitan Opera in 1937. The 3

composer conducted the April 27th premiere of Card

See also category: New York City Ballet Stravinsky

Party.

Centennial Celebration In 1982 Balanchine organized a centennial celebration in

Ravel Festival

honor of his long-time collaborator Igor Stravinsky during

In 1975 Balanchine paid his respects to the French

which twenty-five ballets set to the composer’s music were

composer Maurice Ravel with a two-week Hommage à

performed by City Ballet. Balanchine made three new

Ravel. Balanchine, Robbins, Jacques d'Amboise, and Taras

ballets, Tango, Élégie and Persephone, and a new version

made sixteen new ballets for the occasion. Repertory ballets

of Variations.

were performed as well. High points included Balanchine's Le Tombeau de Couperin and Robbins' Mother Goose.

New York State Theater 20-Year Celebration

NYCB is a professional school

On April 26, 1984, NYCB celebrated the 20th anniversary of the New York State Theater. The program started with

Tschaikovsky Festival

Igor Stravinsky's Fanfare for a New Theater, followed by

In 1981 Balanchine planned a two-week NYCB festival

Stravinsky's arrangement of The Star-Spangled Banner.

honoring the Russian composer Peter Ilyitch Tschaikovsky.

The ballets included: three of Balanchine's works,

Balanchine, Joseph Duell, d'Amboise, Peter Martins,

Serenade, Stravinsky Violin Concerto, and Sonatine; and

Robbins and Taras created twelve new dances. In addition

Jerome Robbins' Afternoon of a Faun. The performers

to presenting these and repertory ballets, Balanchine re-

included Maria Calegari, Kyra Nichols, Heather Watts,

choreographed his Mozartziana from 1933. Philip Johnson

Leonid Kozlov, Afshin Mofid, Patricia McBride, Helgi

and John Burgee's stage setting of translucent tubing was

Tomasson, Karin von Aroldingen, Lourdes Lopez, Bart

designed by to be hung and lit in different architectural

Cook, and Joseph Duell.

configurations throughout the entire festival.

American Music Festival Stravinsky Centennial Celebration

See also category: New York City Ballet American Music Festival 4

After Balanchine's death in 1983, Peter Martins was

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Dances at a Gathering

selected as balletmaster of the company. For its 40th

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Dybbuk

anniversary, Martins held an American Music Festival,

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Fancy Free

having commissioned dances from choreographers Laura

▪

Fanfare

Dean, Eliot Feld, William Forsythe, Lar Lubovitch and Paul

▪

Four Bagatelles

Taylor. He also presented ballets by George Balanchine and

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The Four Seasons

Robbins. The programs included world premieres of more

▪

Glass Pieces

than twenty dances. Martins contributed Barber Violin

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The Goldberg Variations

Concerto, Black and White, The Chairman Dances, A Fool

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I'm Old Fashioned

for You, Fred and George, Sophisticated Lady, Tanzspiel,

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In G Major

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In Memory of ...

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In the Night

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Interplay

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Ives, Songs

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NY Export: Opus Jazz

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Les Noces

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Opus 19/The Dreamer

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Other Dances

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Piano Pieces

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A Suite of Dances

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Watermill

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West Side Story Suite

Tea-Rose and The Waltz Project.

Jerome Robbins celebration A major component of the Spring 2008 season was a celebration of Jerome Robbins; major revivals were mounted of the following ballets: ▪

2 and 3 Part Inventions

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Afternoon of a Faun

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Andantino

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Antique Epigraphs

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Brahms/Handel

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Brandenburg

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The Cage

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The Concert

5

Friday, June 27, 2008 the first Dancers’ Choice benefit was

Sunday June 14, 2009 the second Dancers’ Choice benefit

held for the Dancers' Emergency Fund. The program was

was held at a special evening performance, the program

initiated by Peter Martins, conceived and supervised by

included: Sleeping Beauty and Union Jack.[13][14] This

principal dancer Jonathan Stafford, assisted by Kyle

program was supervised by principal dancer Jenifer Ringer.

Froman, Craig Hall, Amanda Hankes, Adam Hendrickson, Ask la Cour, Henry Seth and Daniel Ulbricht, and

Programming

consisted of: ▪

Beethoven Romance

▪

Flit of Fury/The Monarch

Peter Martins NYCB Balletmaster in Chief, NYCB performs winter and spring repertory seasons at the David H. Koch Theater at Lincoln Center as well as

and excerpts from: ▪

Ecstatic Orange

George Balanchine's Nutcracker during November and

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Jewels

December; they have a summer residency at the Saratoga

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Emeralds

Performing Arts Center and regularly tour internationally.

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Rubies

▪

Square Dance

Fourth Ring Society and Talks

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Interplay

City Ballet's Fourth Ring Society offers discounted tickets to

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Dances at a Gathering

members. Membership is open to the general public.

▪

Glass Pieces

Introductory talks about the current performance, called

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Union Jack

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Stars and Stripes

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Mercurial Manoeuvres

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Symphony in C

Dancer Chats or First Position Discussions, are held before some performances or during some intervals; the docents are volunteers and include laymen as well as former dancers.

New York Choreographic Institute 6

City Ballet's Choreographic Institute was founded by Irene

▪

Jean-Pierre Frohlich

Diamond and Peter Martins in 2000 . The institute has

▪

Susan Hendl

three main programmatic programs: choreographic

▪

Lisa Jackson

sessions, providing choreographers with dancers and studio

▪

Russell Kaiser

space; fellowship initiatives, annual awards in support of an

▪

Sara Leland

emerging choreographer affiliated with a ballet company;

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Christine Redpath

and choreographic forums, symposia and round-table

▪

Richard Tanner

discussions on choreography, music, and design elements.

▪

Kathleen Tracey

Present

Assistant to the balletmaster in chief ▪

Sean Lavery

Balletmaster in chief Peter Martins, who first danced with City Ballet in 1967

Teaching associate

joined the company as a principal dancer in 1970, in 1981

▪

was named balletmaster, a title shared with Balanchine, Robbins and John Taras. Martins served as co-balletmaster

Children's Ballet Mistress

in chief with Robbins from 1983 to 1989 and assumed sole

▪

directorship of the company in 1990.

▪

Rosemary Dunleavy

Karin von Aroldingen

▪

Albert Evans

Dena Abergel

The New York City Ballet Orchestra

Balletmasters ▪

Garielle Whittle

Assistant children's Ballet Master

Balletmistress ▪

Merrill Ashley

The 62 piece NYCB Orchestra is an important symphonic institution in its own right, having played for virtually all of

7

the thousands of performances NYCB has given over the

Hugo Fiorato (retired 2004) (Conductor Emeritus), Maurice

decades. The orchestra accompanies the ballet on all of its

Kaplow (retired 2010)

North American Tours. And while the ballet uses local orchestras on its international tours, oftentimes, members

Dancers

of the NYCB Orchestra will come along as soloists or extras.

Principal dancers Main article: List of New York City Ballet principal dancers

Music Director ▪

See also category: New York City Ballet principal dancers

Fayçal Karoui since 2006. Early in 2012,

▪

Jared Angle

Maestro Karoui announced that he will be leaving this

▪

Tyler Angle [Janice Levin 1]

position in the Spring of 2012 to pursue concert

▪

Ashley Bouder [Janice Levin 2]

opportunities in Europe.

▪

Joaquín De Luz

▪

Megan Fairchild

Staff Conductors

▪

Robert Fairchild

Clotilde Otranto, Andrews Sill (Assistant Music Director),

▪

Gonzalo Garcia

Ryan McAdams (associate conductor)

▪

Sterling Hyltin [Janice Levin 3]

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Maria Kowroski

▪

Rebecca Krohn

▪

Sébastien Marcovici

▪

Sara Mearns

▪

Tiler Peck [Janice Levin 4]

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Amar Ramasar

▪

Teresa Reichlen [Janice Levin 5]

▪

Jenifer Ringer

Historical music directors Leon Barzin 1948-c1963, Robert Irving ("The Duke") c1963-1989, Gordon Boelzner 1989-2000, Andrea Quinn 2000-2006 [edit] Other conductors of note

8

▪

Ana Sophia Scheller

Corps de ballet

▪

Jennie Somogyi

See also category: New York City Ballet dancers

▪

Abi Stafford [Janice Levin 6]

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Sara Adams

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Jonathan Stafford

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Devin Alberda

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Janie Taylor

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Marika Anderson

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Daniel Ulbricht [Janice Levin 7]

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Daniel Applebaum

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Andrew Veyette

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Faye Arthurs

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Wendy Whelan

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Callie Bachman

▪

Likolani Brown

Soloists

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Zachary Catazaro

Main article: List of New York City Ballet soloists

▪

Stephanie Chrosniak

See also category: New York City Ballet soloists

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Maya Collins

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Antonio Carmena

▪

Cameron Dieck

▪

Adrian Danchig-Waring

▪

Alina Dronova

▪

Chase Finlay

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Emilie Gerrity

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Craig Hall

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Kaitlyn Gilliland [Janice Levin 10]

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Adam Hendrickson

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Sam Greenberg

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Anthony Huxley [Janice Levin 8]

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Amanda Hankes

▪

Ask la Cour

▪

Brittany Hillyer

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Savannah Lowery

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Spartak Hoxha

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Kathryn Morgan [Janice Levin 9]

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Ralph Ippolito

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Erica Pereira

▪

Ashly Isaacs

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Sean Suozzi

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Dana Jacobson

▪

Russell Janzen

9

▪

Megan Johnson

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Gretchen Smith

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Emily Kikta

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Taylor Stanley [Janice Levin 11]

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Lauren King

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Joshua Thew

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Claire Kretzschmar

▪

Lara Tong

▪

Ashley Laracey

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Christian Tworzyanski

▪

Austin Laurent

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Giovanni Villalobos

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Megan LeCrone

▪

Sarah Villwock

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Lauren Lovette

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Lydia Wellington

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Meagan Mann

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Stephanie Zungre

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Jenelle Manzi

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Gwyneth Muller

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Lars Nelson

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Allie Paton

Former principal dancers

▪

Vincent Paradiso

See also category: New York City Ballet principal dancers

▪

Georgina Pazcoguin

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Albert Evans

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Justin Peck

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Alexandra Ansanelli

▪

Allen Peiffer

▪

Allegra Kent

▪

Brittany Pollack

▪

Arthur Mitchell

▪

David Prottas

▪

Bart Cook

▪

Shoshana Rosenfield

▪

Benjamin Millepied

▪

Troy Schumacher

▪

Charles Askegard

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Andrew Scordato

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Damian Woetzel

▪

Kristen Segin

▪

Daniel Duell

▪

Mary Elizabeth Sell

▪

Darci Kistler

Former dancers

10

▪

Diana Adams

▪

Nikolaj Hübbe

▪

Edward Villella

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Nilas Martins

▪

Gelsey Kirkland

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Patricia McBride

▪

Gen Horiuchi

▪

Patricia Neary

▪

Jacques d'Amboise

▪

Patricia Wilde

▪

James Fayette

▪

Peter Boal

▪

Jean-Pierre Bonnefoux

▪

Peter Martins

▪

Jillana

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Philip Neal

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Jocelyn Vollmar

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Robert La Fosse

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Jock Soto

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Robert Tewsley

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John Clifford

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Robert Weiss

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Judith Fugate

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Sofiane Sylve

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Karin von Aroldingen

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Stephen Hanna

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Kyra Nichols

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Suzanne Farrell

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Leonid Kozlov

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Tanaquil LeClercq

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Lourdes Lopez

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Yvonne Borree

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Margaret Tracey

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Yvonne Mounsey

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Maria Calegari

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Maria Tallchief

Former soloists

▪

Melissa Hayden

See also category: New York City Ballet soloists

▪

Merrill Ashley

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Ellen Bar

▪

Mikhail Baryshnikov

▪

Elyse Borne

▪

Miranda Weese

▪

Jason Fowler

▪

Monique Meunier

▪

Jean-Pierre Frohlich

11

▪

Susan Gluck

▪

Darla Hoover

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Tom Gold

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Deborah Wingert

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Gloria Govrin

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Dena Abergel

▪

Susan Hendl

▪

Elizabeth Walker

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Arch Higgins

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Ellen Ostrom

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Katrina Killian

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Glenn Keenan

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Carla Körbes [Janice Levin 12]

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Henry Seth

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Edwaard Liang

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Katie Bergstrom

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Seth Orza

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Kristin Sloan

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Christine Redpath

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Kyle Froman

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Rachel Rutherford

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Lindy Mandradjieff

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Carol Sumner

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Mary Helen Bowers

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Jennifer Tinsley-Williams

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Matthew Renko

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Diana White

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Max van der Sterre

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Pauline Golbin

▪

Rachel Piskin

Former corps de ballet ▪

Aaron Severini

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Sarah-Rose Williams

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Amy Barker

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Saskia Beskow

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Briana Atkins

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Sophie Flack [22]

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Briana Shepherd

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Tabitha Rinko-Gay

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Cara Copeland

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Courtney Muscroft

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Darius Barnes

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Dara Johnson 12

AMERICAN BALLET THEATER http://www.abt.org

American Ballet Theatre (ABT), is a classical ballet company based in New York City. It has an annual eight-week season at the

Mikhail Mordkin, a former dancer with the Bolshoi Ballet,

Metropolitan Opera House Lincoln Center,

defected to the West during the Russian Revolution and

and tours around the world the rest of the

settled in the United States in 1924. He staged the country's

year. American Ballet Theatre was founded in

first production of Swan Lake in 1924, then later formed

1937 by Mikhail Mordkin and is recognized

the "Mordkin Ballet" in 1937 with students from his New York school, with Lucia Chase, his student, as one of his

as one of the world's leading classical ballet

prima ballerinas. By 1939, former Hollywood agent,

companies. American Ballet Theatre is the

Richard Pleasant, came to New York to manage the

parent company of the Jacqueline Kennedy

company. By the summer of 1939, Pleasant and Chase

Onassis School, and was recognized as

developed big ideas to turn the company into a fullyfledged ballet company, and to base it on "a gallery of

"America's National Ballet Company" in 2006

dance rather than the vision of a single choreographer" and

by the United States Congress.

13

a "living museum of dance" with Russian, American and

full-length narrative ballets as well as succeeding in keeping

British "wings", and units for black and Hispanic dances.

the company afloat during financially unstable times. He

The pair renamed the company "Ballet Theatre" and

established an official associate school in 2004, the

Mordkin later departed, finding himself solely in the

Jacqueline Kennedy Onassis School, and appointed Alexei

background.

Ratmansky as "Artist in Residence" in January 2009 after a

Chase began developing the company's repertoire of well-

long period of no in-house choreographer.

known full-length ballets, as well as original works, amidst financial issues, until in 1945 Oliver Smith joined Ballet

Artistic staff

Theatre and became co-director with Chase. In 1957 the company changed its name to "American Ballet Theatre"

Artistic directors

and continued to focus on ballet classics with continued

▪

Lucia Chase and Oliver Smith (1940–1980)

financial issues until, during the 1960s and 1970s, financial

▪

Mikhail Baryshnikov (1980–1989)

conditions with the company were favorable due to private

▪

Jane Hermann and Oliver Smith (1989–1992)

funding. During this period, American Ballet Theatre

▪

Kevin McKenzie (1992–present)

shifted its focus to recruiting ballet stars.

In 1977, the company began its spring season at the

Resident choreographers

Metropolitan Opera House, its new official venue, then in

▪

Antony Tudor (1940–1950)

1980 Mikhail Baryshnikov became Artistic Director for

▪

Alexei Ratmansky (2009–present)

American Ballet Theatre. Baryshnikov staged, restaged, and refurbished numerous classical ballets and, according to the

Current dancers

company, strengthened their classical tradition. Baryshnikov

There are three levels within the company (in ascending

was replaced by Jane Hermann and Oliver Smith in 1989,

order): ABT's Corps de Ballet, the soloists, and the

and the pair remained as Artistic Directors until in 1992

principals; there is also ABT II, also known as the ABT

Kevin McKenzie was appointed. McKenzie satisfied the

Studio Company.

demands of the traditional ballet audience by prioritizing 14

Principal dancers

The American Ballet Theatre's current soloists are:

See also category: American Ballet Theatre principal

▪

Stella Abrera

dancers

▪

Kristi Boone

The American Ballet Theatre's current principal dancers

▪

Isabella Boylston

are:

▪

Misty Copeland

▪

Maxim Beloserkovsky

▪

Yuriko Kajiya

▪

Roberto Bolle

▪

Sarah Lane

▪

Angel Corella

▪

Jared Matthews

▪

Herman Cornejo

▪

Simone Messmer

▪

Irina Dvorovenko

▪

Sascha Radetsky

▪

Marcelo Gomes

▪

Maria Riccetto

▪

David Hallberg

▪

Craig Salstein

▪

Paloma Herrera

▪

Gennadi Saveliev

▪

Julie Kent

▪

Hee Seo

▪

Gillian Murphy

▪

Daniil Simkin

▪

Natalia Osipova

▪

Veronika Part

Corps de ballet

▪

Xiomara Reyes

The American Ballet Theatre's current corps de ballet

▪

Cory Stearns

includes:

▪

Ethan Stiefel

▪

Alexei Agoudine

▪

Diana Vishneva

▪

Eun Young Ahn

▪

Sterling Baca

Soloists

▪

Gemma Bond

See also category: American Ballet Theatre soloists

▪

Kelley Boyd

15

▪

Julio Bragado-Young

▪

Isadora Loyola

▪

Skylar Brandt

▪

Daniel Mantei

▪

Puanani Brown

▪

Elizabeth Mertz

▪

Marian Butler

▪

Elina Miettinen

▪

Nicola Curry

▪

Patrick Ogle

▪

Gray Davis

▪

Luciana Paris

▪

Brittany De Grofft

▪

Renata Pavam

▪

Grant Delong

▪

Joseph Phillips

▪

Roddy Doble

▪

Lauren Post

▪

Tobin Eason

▪

Kelley Potter

▪

Kenneth Easter

▪

Luis Ribagorda

▪

Zhong-Jing Fang

▪

Calvin Royal III

▪

Thomas Forster

▪

Jessica Saund

▪

April Giangeruso

▪

Adrienne Schulte

▪

Jeffrey Golladay

▪

Arron Scott

▪

Joseph Gorak

▪

Jose Sebastian

▪

Nicole Graniero

▪

Christine Shevchenko

▪

Alexandre Hammoudi

▪

Sarah Smith

▪

Melanie Hamrick

▪

Sean Stewart

▪

Blaine Hoven

▪

Eric Tamm

▪

Mikhail Ilyin

▪

Devon Teuscher

▪

Jamie Kopit

▪

Cassandra Trenary

▪

Vitali Krauchenka

▪

Leann Underwood

▪

Courtney Lavine

▪

Karen Uphoff

16

▪

Luciana Voltolini

▪

Alessandra Ferri (1985–2007)

▪

Jennifer Whalen

▪

Carla Fracci (1967–?)

▪

Katherine Williams

▪

Alexander Godunov (1979–1982)

▪

Stephanie Williams

▪

Guillaume Graffin (1988–2005)

▪

Roman Zhurbin

▪

Cynthia Gregory (1965–1991)

▪

Cynthia Harvey (1974–1986)

Former dancers

▪

Susan Jaffe (1980–2002)

The following is a partial list of former dancers with ABT,

▪

Gelsey Kirkland (1968–1984)

listed by their highest rank prior to leaving the company.

▪

John Kriza (1940–1966)

▪

Robert La Fosse (1977–1986)

▪

Harold Lang (1943–1945)

Former principal dancers ▪

Ivan Allen (1950s–1960s)

▪

Annabelle Lyon (1939–1943)

▪

Alicia Alonso (1943–1948)

▪

Natalia Makarova (1970–1986)

▪

Nina Ananiashvili (1993–2009)

▪

Vladimir Malakhov (1995–2008)

▪

Victor Barbee (1975–2003)

▪

Alicia Markova (1941–1946)

▪

Mikhail Baryshnikov (1974–1978)

▪

Kevin McKenzie (1979–1991)

▪

Patrick Bissell (1977–1987)

▪

Amanda McKerrow (1982–2005)

▪

Julio Bocca (1986–2006)

▪

Kirk Peterson (1974–1980)

▪

Leslie Browne (1976–1993)

▪

Danilo Radojevic (1978–1993)

▪

Erik Bruhn (1949–1958, 1961–1972)

▪

Johan Renvall (1978–1996)

▪

Fernando Bujones (1972–85, 1990s)

▪

Keith Roberts (1987–1999)

▪

José Manuel Carreño (1995–2011)

▪

Marianna Tcherkassky (1970–1996)

▪

Lucia Chase (1940–1960)

▪

Ashley Tuttle (1987–2004)

▪

Anton Dolin (1940–1946)

▪

Martine van Hamel (1970–1992)

17

▪

Michele Wiles (1998–2011)

Former soloists

▪

Meaghan Hinkis (2010–2011)

▪

Carrie Jensen (2000–2009)

▪

Clinton Luckett (1992–2002)

▪

Ethan Brown (1981–2004)

▪

Isaac Stappas (2000–2011)

▪

Gabrielle Brown (1980–1996)

▪

Sarawanee Tanatanit (2002–2008)

▪

Sandra Brown (1987–2003)

▪

Mary Mills Thomas (2008–2011)

▪

Tener Brown (1979–1986)

▪

Melissa Thomas (2002–2009)

▪

Carmen Corella (1998–2007)

▪

Erica Cornejo (1998–2007)

Special repertoire

▪

George de la Peña (1970s–1985)

Maybe no other choreographer was as closely associated

▪

Joaquin De Luz (1997–2003)

with ABT as the great British choreographer Antony

▪

Lisa de Ribere (1979–1984)

Tudor, who made his American debut with the company.

▪

Melissa Hayden (1945–1947)

The other continuous creative force was the legendary

▪

Anna Liceica (1996–2007)

Agnes de Mille. She staged the majority of her ballet works

▪

Carlos Lopez (2001–2011)

with them. Many choreographers have mounted works

▪

Charles Maple (1972–1979)

especially for ABT, including George Balanchine, Adolph

▪

Monique Meunier (2002–2007)

Bolm, Michel Fokine, Léonide Massine, and Bronislava

▪

Carlos Molina (1998–2007)

Nijinska. Other renowned choreographers who have

▪

Amy Rose (1979–1992)

worked at ABT include Jerome Robbins, Twyla Tharp, and Alvin Ailey.

ABT's 1976 production of The Nutcracker starring Mikhail

Former corps de ballet ▪

Maria Bystrova (2000–2010)

▪

Caroline Duprot (2009–2011)

▪

Aino Ettala (2010)

Baryshnikov and Gelsey Kirkland was televised the following year and has become a broadcast classic.

18

The main season is held during eight weeks in the spring at

to perform the ballet when the company holds

New York City's Metropolitan Opera House.

performances at Brooklyn Academy of Music.

The current choreographer in residence for ABT is Alexei ▪

Amanda de Oliveira

▪

Beau Fisher

Education

▪

Lindsay Karchin

American Ballet Theatre established an official associate

▪

Shu Kinouchi

school in 2004, the Jacqueline Kennedy Onassis School,

▪

Lucius Kirst

named in honor of the late, previous First Lady of the

▪

Alex Kramer

United States, Jacqueline Kennedy Onassis.

▪

Carolyn Lippert

▪

Kaho Ogawa

ABT Studio Company

▪

Sem Sjouke

ABT Studio Company, formerly known as ABT II, is a

▪

Brianna Steinfeldt

▪

Zhang Zhiyao

Ratmansky.

small company of 12 young dancers, ranging from ages 16 to 20, handpicked by ABT. It is currently an extension of the JKO school. These dancers are trained in the program

Ballets performed

to join ABT's main company or other leading professional

Below is an alphabetical list of works which have been

companies, and the program is described by ABT as "a

performed by American Ballet Theatre. Not all of the

bridge between ballet training and professional

works are currently in the company's repertory.

performance". While the dancers study intensively and

Adagio for Strings, Afternoon of a Faun (Robbins),

learn the company repertoire, they also gain various

Afternoon of a Faun (Nijinsky), Airs, Aleko, Allegro

performance experiences via cultural exchanges, regional

Brillante, Amazed in Burning Dreams, Americans We,

touring, and residencies. All of the dancer's learn Alexei

Amnon V'Tamar, L'Amour et son Amour, Anastasia,

Ratmansky's The Nutcracker, and a select group are chosen

Angrismene, Annabel Lee, Apollo, Appalachian Spring,

19

Artemis, At Midnight, Awakening, The Awakening Pas de

Dancing with Monet, Danses Concertante, Danza del

Deux

Molinero, Dark Elegies, Death and the Maiden, Les

Bach Partita, Le Baiser de la Fée (John Neumeier), Baker's

Demoiselles de la Nuit, Designs with Strings, Desir (pas de

Dozen, Le Bal, Balladen der Liebe, Ballet Imperial, Ballo

deux), Dialogues, Diana and Actéon (pas de deux), Dim

Della Regina, Barn Dance, Baroque Game, La Bayadère,

Lustre, Disposition, Diversion of Angels, Divertimento-

Beatrice, The Beloved, Billy the Kid, Birthday Offering,

Rossini, Divertissement D'Auber, Don Domingo de Don

Bitter Rainbow, Black Ritual (Obeah), Black Tuesday,

Blas, Donizetti Variations, Don Quixote, Don Quixote

Blood Wedding, Bluebeard, Bolero (solo), Bolero, Bourrée

(Grand pas de deux), Don't Panic!, Dorian, The Dream,

Fantasque, Brahms Quintet, A Brahms Symphony, The

Drink to Me Only With Thine Eyes, Duets, Duo

Brahms-Haydn Variations, Brief Fling, The Bright Stream,

Concertant

Bruch Violin Concerto No. 1, The Bull Dancers, Bum's

Eccentrique, Echoing of Trumpets, Eden (pas de deux),

Rush

Electra, Elegy, The Elements, The Enchanted, The

C. to C. (Close to Chuck), The Capital of the World,

Encounter, Enough Said, Ensayo Sinfonica, Epilogue,

Capriccio Espagnol, Capriccioso, Caprichos, The Careless

Esmeralda (pas de deux – after Perrot), Esmeralda (pas de

Burghers, Carmen (Alberto Alonso), Carmen (Roland

deux – Stevenson), La Esmeralda (Beriosoff), Espana,

Petit), Carnaval, The Catherine Wheel, Cinderella,

Estuary, The Eternal Idol, Etudes, Everlast, Everything

Cinderella (Kudelka), Circo de Espana, Citizen, Clair de

Doesn't Happen at Once

Lune, Clear, The Combat, Concerto (Dollar/Chopin),

Facsimile, Fair at Sorochinsk, Fall River Legend, Fancy

Concerto (Dollar/Mendelssohn), Concerto (MacMillan),

Free, Fandango, Fantaisie Serieuse, The Fantastic Toyshop,

Concerto (Ross), Concerto no. 1 for Piano and Orchestra,

Festa, Fest Polonaise, Field, Chair and Mountain, La Fille

Concerto Six Twenty-Two (duet), Concert Waltzes,

Mal Gardée, Firebird, Five Brahms Waltzes in the Manner

Configurations, Conflict, Continuo, Continuum,

of Isadora Duncan, Five Sketches, Flames of Paris, Flower

Conterdances, Coppélia, Corbaille de Fleurs, Le Corsaire

Festival in Genzano, Follow the Feet, The Four Marys,

(full-length ballet), Le Corsaire Pas de Deux, Cruel World

Francesca da Rimini, From Here On Out, The Fugue

20

Gaîté Parisienne, Gala Performance, The Garden of

Lilting Fate, The Little Ballet, Little Improvisations, The

Villandry, Gartenfest, Gayaneh (pas de deux), Gemini,

Love Song

Getting Closer, Gift of the Magi, Giselle, Glinka Pas de

Mademoiselle Angot, The Maids, Manon, Marimba,

Trois, Glow-Stop, Gong, Goya Pastoral, Goyescas,

Meadow, Mechanical Ballet, Medea (pas de deux), The

Graduation Ball, Grand Pas Classique, Le Grand Pas de

Meeting, Mendelssohn Symphony, The Merry Widow,

Deux, Grand Pas (Glazunov), Grand Pas Romantique, Le

Minkus Pas de Trois, The Miraculous Mandarin, The

Grand Spectacle, Grand Tarantella, Grass, Graziana, The

Mirror, Miss Julie, The Mollino Room, Momentum,

Great American Goof, Great Galloping (Gottschalk), The

Monument for a Dead Boy, Moondance, Moonlight

Green Table, The Guards of Amager (Bournonville)

Sonata, Moon Reindeer, The Moor's Pavane, Mozartiana,

Hamlet Connotations, Harbinger, Harlequinade (pas de

La Muerte Enamorada, Murder, My Funny Valentine

deux – Balanchine), Harlequinade (pas de deux –

Napoli Divertissements, N.Y. Export: Op. Jazz, Night

Stevenson), The Harvest According, Harvest Time, Helen

Journey, Nimbus, Nine Sinatra Songs, Les Noces, The

of Troy, Hereafter, Las Hermanas, Hommage a Lucia,

Nutcracker (Baryshnikov), The Nutcracker (McKenzie),

How Near Heaven, The Howling Cat, Huapango

The Nutcracker (Ratmansky)

In a Country Garden, In Volo, L'Inconnue, The Informer,

Odalisque, Ode to Glory, Offenbach in the Underworld,

Interludes, Intermezzo, Interplay, In The Upper Room,

Once More, Frank, On Stage!, On The Dnieper, One of

Italian Suite (four dances)

Three, Onegin, Ontogeny, Othello, The Other, Other

Jabula, Jack And Jill (pas de deux), Jardin Anime (from Le

Dances, Overgrown Path, Ovid Metamorphoses

Corsaire, Act II), Jardin aux Lilas, Jeu D’Esprit (Pièce

Paean, Paquita, Paquita (pas de deux), The Parliament of

d’Occasion), Le Jeune Homme et la Mort, Jeux, Jeu de

the Birds, Pas de Deux (Anatole Oboukhoff), Pas de Deux

cartes, Journey, Jubilee, Judgment of Paris, Jump Start

Holberg, Pas de Deux Imperiale (from Anastasia, Act II),

Kaleidoscope, Known by Heart, Kontraste

Pas de "Duke", Pas de Quatre, Pas d'Esclave (from Le

Lady From the Sea, Lady into Fox, Lady of the Camellias,

Corsaire), Pas des Deesses, Pas de Trois (Valentina

The Leaf and the Wind, The Leaves Are Fading (pas de

Pereyslavec), Pas et Lignes, Le Passage Enchante, Les

deux), Legende (pas de deux), Les Liaisons Dangereuses,

Patineurs, Pavane, La Peri (pas de deux), Petite Mort, Peter 21

and the Wolf (Bolm), Peter and the Wolf (Smuin),

Shadowplay, Side Show, Sin and Tonic, Sinatra Suite,

Petrouchka, Pièce d’Occasion, The Pied Piper, Pierrot

Sinfonietta, "...smile with my heart", Slavonika, The

Lunaire, Pillar of Fire, Pleroma, Points of Jazz, Polovtsian

Sleeping Beauty, The Snow Maiden, Soirée Musicale, A

Dances, Polyandrion, Prevailing Westerlies, Princess Aurora

Soldier's Tale, Solitaire (pas de deux), Solo, Some Assembly

(excerpt from The Sleeping Beauty), Private Light, The

Required, Something Special, Some Times, La

Prodigal Son, A Promise, Pulcinella Variations, Push

Sonnambula, Spartacus (pas de deux, Act III),

Comes to Shove

S.P.E.B.S.Q.S.A., Le Spectre de la Rose, Sphinx, The

Quartet, Quintet

Sphinx, Spring and Fall, Spring Waters, States of Grace,

Rabbit and Rogue (Tharp), Raymonda, Raymonda (Act

Stepping Stones, Stravinsky Violin Concerto, A Streetcar

III), Raymonda (Divertissments), Raymonda

Named Desire, Streetcar Royalty, Summer Day (pas de

(Divertissements from Act II & Act III), Raymonda (Grand

deux), Sunset, Swan Lake, Swan Lake (McKenzie), La

Pas Classique), The Red Shoes, Remanso, Les Rendezvous,

Sylphide, Les Sylphides, Sylvia, Sylvia (pas de deux),

Rendezvous(Pas de deux – Hoff), Rendezvous (pas de

Symphonic Variations, Symphonie Concertante, Symphony

deux – Nijinska), Requiem, Le Retour, Reverie, Rib of Eve,

in C

Ricercare (pas de deux), Rigaudon, The Rite of Spring,

Tales of Hoffmann, Tally Ho, or the Frail Quarry, The

The River, Rodeo, Romantic Age, Romeo and Juliet

Taming (pas de deux), The Taming of the Shrew,

(MacMillan), Romeo and Juliet (Tudor), Romeo and Juliet

Tarantella (pas de deux), Tschaikovsky Pas de Deux, Texas

(pas de deux – Bruhn), Romeo and Juliet (pas de deux –

Fourth, Thaïs Pas de Deux, Theatre, Theme and

Nureyev), Romeo and Juliet (pas de deux – Tchernichov), A

Variations, The Thief Who Loved a Ghost, This Property

Rose for Miss Emily, Russian Soldier

is Condemned, Three-Cornered Hat, Three Essays, Three

Le Sacre du Printemps (see above: The Rite of Spring),

Preludes, Three Virgins and a Devil, The Tiller in the

Sargasso, Scherzo for Massah Jack, Schubertiade, Schuman

Fields, Till Eulenspiegel, Time, Times Past, Top Hat and

Concerto, Sea-Change, Sebastian, Sechs Tänze, Sentient

Tails, Torso, The Traitor, Transcendental Etudes, Triad,

Bach, Serious Pleasures, Seven Faces of Love, Seven

Trio a Deux, Troika, Triptych, Tristan (pas de deux),

Sonatas, Seven Spanish Songs, Shadow of the Wind,

Tropical Pas de Deux, Turnstile 22

Undertow, Unfinished Symphony, Us (pas de deux) Variations on 'America', Variations for Four, La Ventana, Vestris, Venetian Carnival, Voices of Spring, Voluntaries Walk This Way, Waltz Academy, The Wanderer (Errante), Way Out, Weren't We Fools?, The Wild Boy, The Wind in the Mountains, Winter's Eve, Within You Without You: A Tribute to George Harrison, Without Words, The Wooden Prince (solo), Workout, work within work

23

BOLSHOI http://www.bolshoi.ru/en/persons/ballet/ The earliest origins of the Bolshoi Ballet, can be found in the creation of a dance school for a Moscow orphanage in 1773. In 1776, dancers from the school were employed by Prince Pyotr Urusov and the English theatrical entrepreneur Michael Maddox, to form part of their new theatre company. Originally performing in privately owned venues, they later acquired the Petrovsky Theatre, which, as

The Bolshoi Ballet is an internationally

a result of fires and erratic redevelopment, would later be

renowned classical ballet company, based at

rebuilt as today's Bolshoi Theatre.

the Bolshoi Theatre in Moscow, Russia.

The early history of the Bolshoi Ballet is very sketchy and, despite staging many famous ballets, it struggled to compete

Founded in 1776, the Bolshoi is among the

with the reputation of the Imperial Russian Ballet, today's

world's oldest ballet companies; it only

Mariinsky Ballet of St. Petersburg. It was not until the

achieved worldwide acclaim, however, in the

appointment of Alexander Gorsky as Ballet Master in 1900

early 20th century, when Moscow became the

that the company began to develop its own unique identity,

capital of Soviet Russia. Along with the

with acclaimed productions of new or restaged ballets including, Don Quixote (1900), Coppélia (1901), Swan

Mariinsky Ballet in Saint Petersburg, the

Lake (1901), La fille mal gardée (1903), Giselle (1911), Le

Bolshoi is recognized as one of the foremost

Corsaire (1912) and La Bayadère (1917).

24

Former Dancers ▪

Natalia Bessmertnova

▪

Yekaterina Geltzer

▪

Dimitri Shostakovich

▪

Alexander Godunov

▪

Aram Khachaturian

▪

Olga Lepeshinskaya

Today

▪

Maris Liepa

Today the Bolshoi Ballet remains one of the worlds

▪

Ekaterina Maximova

foremost ballet companies, as well as being the largest, with

▪

Irek Mukhamedov

approximately 220 dancers. The company operates a

▪

Maya Plisetskaya

hierarchical system, similar to those used by other leading

▪

Ludmila Semenyaka

European ballet companies, with senior dancers ranked as

▪

Marina Semyonova

Principals, and descending in order of importance through

▪

Vasily Tikhomirov

Lead Soloist, First Soloist, Soloist and finally Corps de

▪

Galina Ulanova

Ballet. Due to its size, the company operates two troupes of

▪

Vladimir Vasiliev

Composers

corps de ballet.

Style The performance style of the Bolshoi Ballet, is typically

Directors ▪

Alexander Gorsky

▪

Vasily Tikhomirov

▪

Yuri Grigorovich

identified as being colourful and bold, combining technique and athleticism with expressiveness and dramatic intensity.

This style is commonly attributed to Gorsky. The Bolshoi has an historical rivalry with St. Petersburg heritage ballet company, the Mariinsky. Both have developed very different

Choreographers ▪

Rostislav Zakharov

▪

Leonid Lavrovsky

▪

Fyodor Lopukhov

performing styles: the Bolshoi has a more colourful and bold approasitych, whereas the Mariinsky is associated with pure and refined classicism.

25

Principal dancers

Corps de Ballet

▪

Maria Alexandrova

The Bolshoi Ballet operates two troupes of corps de ballet,

▪

Maria Allash

with approximately 120 dancers in total.

▪

Anna Antonicheva

▪

Dmitry Belogolovtsev

▪

Semen Chudin

▪

Dmitry Gudanov

▪

David Hallberg

▪

Nina Kaptsova

▪

Yekaterina Krysanova

▪

Mikhail Lobukhin

▪

Svetlana Lunkina

▪

Vladimir Neporozhny

▪

Yevgenia Obraztsova

▪

Marianna Ryzhkina

▪

Yekaterina Shipulina

▪

Ruslan Skvortsov

▪

Galina Stepanenko

▪

Nikolay Tsiskaridze

▪

Andrei Uvarov

▪

Ivan Vasiliev

▪

Alexander Volchkov

▪

Svetlana Zakharova

26

SAN FRANCISCO BALLET The San Francisco Ballet (SFB) is a ballet company, founded in 1933 as the San Francisco Opera

http://www.sfballet.org

Ballet. The company is currently

1938–1950

based in the War Memorial

The company's first major production was Coppélia in

Opera House, San Francisco,

1938, choreographed by Willam Christensen. In 1940

under the direction of Helgi

Americans with principal ballerina Celina Cummings. The

Tomasson. SFB is the first

holiday season, beginning Christmas Eve, 1944. This too

Swan Lake was produced in its entirety for the first time by company also began showing The Nutcracker during the was choreographed by Willam Christensen and was the first

professional ballet company in

complete production of Tchaikovsky's most popular piece

the United States. It is among

in the United States.

the world's leading dance

independent ballet and opera companies. The ballet half

In 1942 San Francisco Opera Ballet split in two, forming

27

was sold to Willam and Harold Christensen, who became artistic director and appointed director of the San

Timeline of productions

Francisco Ballet School, respectively. The San Francisco

Premiere

Ballet Guild was also formed during this time as a support

Ballet

organization for San Francisco Ballet.

Choreographer Original Leads

1951–1985

Notes

1951 saw the next significant shift in administration of San

Source

Francisco Ballet. In this year, Lew Christensen—the

October 31, 1939

premier danseur at the time—partnered with Willam

Coppélia

Christensen as co-directors. One year later, Lew took over

W. Christensen

entirely. With this new administration SFB began to

Janet Reed, W. Christensen, Earl Riggins, Deane Crockett

broaden its horizons, travel, and establish itself as a

First complete production in the U.S.

significant American ballet company. Until 1956, San Francisco Ballet had remained on the West Coast, but Lew

September 27, 1940

pushed the company into the Jacob's Pillow Dance Festival

Swan Lake

in Massachusetts. In 1957 SFB was the first American ballet

W. Christensen, after Marius Petipa and Lev Ivanov

company to tour the Far East, performing in eleven Asian

Lew Christensen (as guest), Jacqueline Martin, Janet Reed,

nations.[2] On New Year's Day in 1965, ABC-TV televised

Ronald Cherwood

a one-hour abridgement of the Lew Christensen-

First complete production in the U.S.

choreographed production of "The Nutcracker", featuring San Francisco Ballet.

December 24, 1944

In 1972 Lew brought the company closer to its original

The Nutcracker

home, the War Memorial Opera House, by officially

W. Christensen

naming the theatre as its official residence.

28

First complete U.S. production. This started a tradition of

The Tempest

Christmas Eve performances that then spread through the

Smuin

Christmas season.

Attila Ficzere, David McNaughton, Evelyn Cisneros, Tomm Ruud, Horacio Cifuentes

November 12, 1947 Giselle Anton Dolin (after Jean Coralli and Jules Perrot, with

April 30, 2004

ensembles staged by W. Christensen)

Sylvia

Alicia Markova (guest artist), Anton Dolin (guest artist),

Mark Morris

Peter Nelson, Jocelyn Vollmar

Yuan Yuan Tan, Yuri Possokhov First complete production in the U.S.

January 27, 1976

January 27, 2012

Romeo and Juliet

Onegin

Michael Smuin

John Cranko

Lynda Meyer, Vane Vest, Attila Ficzere, John McFall

Maria Kochetkova, Vitor Luiz

January 10, 1978

Present company

La Fille Mal Gardée

The company of the San Francisco Ballet, as of July 2010

Frederick Ashton Diana Weber, Jan Nuyts, Vane Vest, John McFall

Artistic Director ▪

May 13, 1980

Helgi Tomasson

Ballet Master / Assistant to the Artistic Director 29

▪

Ricardo Bustamante

▪

Vito Mazzeo

▪

Bruce Sansom

▪

Pascal Molat

▪

Gennadi Nedvigin

▪

Damian Smith

Ballet Masters ▪

Betsy Erickson

▪

Sofiane Sylve

▪

Anita Paciotti

▪

Yuan Yuan Tan

▪

Katita Waldo

▪

Sarah Van Patten

▪

Pierre-François Vilanoba

▪

Vanessa Zahorian[10]

Choreographer in Residence ▪

Yuri Possokhov

Principal Character Dancers

Principal Dancers

▪

Ricardo Bustamante

▪

Val Caniparoli

▪

Joan Boada

▪

Jorge Esquivel

▪

Frances Chung

▪

Anita Paciotti

▪

Taras Domitro

▪

Lorena Feijóo

▪

Jaime Garcia Castilla

▪

Elana Altman

▪

Tiit Helimets

▪

Victoria Ananyan

▪

Davit Karapetyan

▪

Daniel Deivison Oliviera

▪

Maria Kochetkova[9]

▪

Courtney Elizabeth

▪

Kristin Long

▪

Dana Genshaft

▪

Vitor Luiz

▪

Isaac Hernandez

▪

Rubén Martín Cintas

▪

Pauli Magierek

Soloists

30

▪

Elizabeth Miner

▪

Francisco Mungamba

▪

Nutnaree Pipit-Suksun

▪

Mariellen Olson

▪

Garen Scribner

▪

Sean Orza

▪

James Sofranko

▪

Rebecca Rhodes

▪

Anthony Spaulding

▪

Shannon Marie Roberts

▪

Hansuke Yamamoto

▪

Lilly Rogers

▪

Jeremy Rucker

▪

Danielle Santos

Corps de Ballet ▪

Gaetano Amico III

▪

Dustin Shane

▪

Dores Andre

▪

Jennifer Stahl

▪

Daniel Baker

▪

Benjamin Stewart

▪

Clara Blanco

▪

Matthew Stewart

▪

Kimberly Braylock

▪

Myles Thatcher

▪

Nicole Ciapponi

▪

Raymond Tilton

▪

Charlene Cohen

▪

Sebastian Vinet

▪

Diego Cruz

▪

Lonnie Weeks

▪

Sasha DeSola

▪

Quinn Wharton

▪

Jordan Hammond

▪

Luke Willis

▪

Koto Ishihara

▪

Caroline Wilson

▪

Madison Keesler

▪

WanTing Zhao

▪

Kristina Lind

▪

Alexandra McCullagh

▪

Alexandra Meyer-Lorey

▪

Sean Bennett

▪

Steven Morse

▪

Megan Amanda Ehrlich

Apprentices

31

▪

Ellen Rose Hummel

▪

Elizabeth Powell

▪

Henry Sidford

▪

Shion Yuasa

San Francisco Ballet at 75: The American Tour, 2008

War Memorial Opera House, current home of the San Francisco Ballet Main article: List of San Francisco Ballet at 75 productions The San Francisco Ballet, as part of its 75th anniversary season in 2008, made a national tour through four major cities: Chicago, the Harris Theater for Music and Dance, Millennium Park, September 16–21; New York City Center, October 10–18; Costa Mesa, California, the Orange County Performing Arts Center, November 11–16; and Washington, D.C., the John F. Kennedy Center for the Performing Arts, November 25–30. The tour featured ballets from SFB's New Works Festival, the finalé of their Spring 2008 season, which featured over the course of three consecutive nights premières of ten new ballets by ten major choreographers.

32

VAGANOVA ACADEMY

http://www.vaganova.ru/page.php?id=266&pid=272 The school was established as the Imperial Theatrical School by decree of the Empress Anna on 4 May 1738 with the French Ballet Master Jean-Baptiste Lande as its director. The first classes occupied empty rooms in the Winter Palace in St Petersburg and the first students were twelve boys and twelve girls. The purpose of the school was to form Russia's first professional dance company, which lead to the formation of the Imperial Russian Ballet, the school becoming known as the Imperial Ballet School. The Imperial Russian Ballet is the direct predecessor of today's Mariinsky Ballet, which remains one of the worlds leading ballet companies to this day, with the Vaganova Academy as its associate school.

Nearly all the early teachers at the school were from Western Europe, including Franz Hilferding and Giovanni Canzianni.

The first Russian teacher to join the school was Ivan Valberg.

The Vaganova (pronounced vah-GAH-naw-vah)

After the spread of ballet in Europe, the development of the

Academy of Russian Ballet is a school of classical

school was influenced by a number of other teachers and

ballet in Saint Petersburg, Russia. Established in

methods, including Christian Johannson, a student of August

1738 during the reign of Empress Anna. In 1957,

Bournonville, and the Italian methods of Enrico Cecchetti,

the school was renamed in honor Agrippina

Pierina Legnani and Carlotta Brianza. Other renowned 19th century dancers and ballet masters who taught at and were

Vaganova, who cultivated the method of classical

influential in the development in the school include Charles

ballet training that has been taught there since the late 1920s.

33

Didelot, Jules Perrot, Arthur Saint-Léon, Lev Ivanov,

pursue her teaching career following the Russian

Marius Petipa and Mikhail Fokine.

revolution. As the Soviet Government had not yet re-

Since 1836 the school has been situated at 2 Rossi Street in

established the school at that time, Vaganova began her

St Petersburg. Following the upheaval of the Russian

teaching career at the privately owned School of Russian

Revolution of 1917, St Petersburg was renamed Leningrad

Ballet eventually joining the new Leningrad State

after the communist revolutionary Vladimir Lenin. The

Choreographic School in 1920. Vaganova was to become

Imperial Ballet School was dissolved by the Soviet

possibly the most renowned ballet teacher of all time and is

Government and later re-established on the same site, as

most noted for authoring "The Principles of Classical

the Leningrad State Choreographic School. The Imperial

Dance", which outlines the training system which she

Russian Ballet was also dissolved as a result of the

created and which heads the list of numerous works

revolution and was re-established as the Soviet Ballet. The

produced by teachers of the school.

company was later renamed the Kirov Ballet following the

Vaganova's students would become some of the most

assassination of the Bolshevic revolutionary Sergey Kirov in

famous ballet dancers of all time and in recognition of her

1938. Despite later being given the current name Mariinsky

achievements, the school was named in her honour in 1957,

Ballet, the company is still commonly known as the Kirov

six years after her death. There are a number of variations

Ballet by the majority of Western audiences and the

in the name of the school, but the official title in current use

company still use the title Kirov Ballet when touring

in the English speaking world is Vaganova Ballet Academy.

internationally.

Today Vaganova Main articles: Agrippina Vaganova and Vaganova method

Overview

Agrippina Vaganova brought perhaps the most important

The Vaganova Academy has over 300 students. Like other

developments in modern Russian Ballet. She graduated

similar institutions, competition for a place at the school is

from the former Imperial Ballet School in 1897 and danced

very fierce with over 3,000 children auditioning each year,

with the Imperial Ballet, retiring from the stage early to

300 of these being from St. Petersburg. Approximately 60 34

students are selected annually, with some 25 eventually

school, the programme becomes more intensive, with new

graduating from the school having completed the full

subjects being added to the curriculum as the students

course of training. The school employs approximately 75

become more advanced. In the first year, students study

dance teachers, 30 piano teachers, 40 academic teachers

classical and historical dance progressing to character

and 40 accompanists. The Director of the school is Leonid

dance in the fourth year and pas de deux and mime in the

Nadirov and the Artistic Director is former Kirov Ballet

sixth year. At the end of the 8th year of training, all

dancer and choreographer Altynai Asylmuratova.

students dance in a graduation gala at the Mariinsky Theatre. The most successful students may be offered a

Auditions

contract with the Mariinsky Ballet company, with the

Auditions for the school begin in June and children must be

majority seeking employment with ballet companies in

at least 10 years old to apply.

Russia and worldwide, including leading companies such as

The audition process is divided into three sections.

the Bolshoi Ballet, The Royal Ballet and American Ballet

▪

Theatre.

Aptitude: to assess the candidate's proportions,

height of jump, degree of turnout and general appearance Current staff

etc.

▪

Physical: an examination by a specialist medical

practitioner to assess the physiological possibilities of the

Vera Dorefeeva

candidate

Vera Dorefeeva is a graduate of the Leningrad Pedagogical

▪

Institute and in 1987, was appointed Deputy Director of

Artistic: to assess the candidate's musicality,

the Leningrad Academic Choreographic School (today's

rhythm, co-ordination and artistic talent

Vaganova Academy). In 2004, she was elected Principal of Training

the school and would established an annual conference for

All students at the school begin by studying a programme

the preservation of the Vaganova method of classical ballet.

of dance training, secondary school level education, French

She has also established cultural exchanges with ballet

language and piano lessons. As they progress through the

schools in Germany, France, the Netherlands, USA, 35

Ireland, Greece, Japan and Italy, as well as developing a

the Vaganova method of classical ballet, whilst also

long term strategy to secure the future of the Vaganova

searching for new and creative ways of producing the

academy as an educational establishment for students of

professional ballet dancers of the future.

extraordinary talent. She is author of fifteen books and research works on ballet pedagogy and has been honoured

Famous Graduates

with a number of awards, including the Medal "Veteran of

▪

Altynai Asylmuratova

Labour", the Order of Vernadsky (Second Degree), and an

▪

George Balanchine

award for the preservation of Russian culture.

▪

Mikhail Baryshnikov

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Vakhtang Chabukiani

Altynai Asylmuratova

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Alexandra Danilova

Altynai Asylmuratova is a graduate of the Vaganova

▪

Natalia Dudinskaya

Academy of Russian Ballet. She danced professionally with

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Olga Esina

the Kirov Ballet (today's Mariinsky Ballet), achieving the

▪

Mikhail Fokine

rank of prima ballerina. As a dancer she was widely

▪

Elizaveta Gerdt

considered to be an exceptional artist, with perfect technical

▪

Yuri Grigorovich

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Tamara Karsavina

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Irina Kolpakova

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Mathilde Kschessinska

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Nicolai Legat

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Serge Legat

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Ulyana Lopatkina

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Natalia Makarova

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Galina Mezentseva

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Bronislava Nijinska

schooling. Her noted roles include Aurora and the Lilac Fairy in The Sleeping Beauty, the dual role of Odette-Odile in Swan Lake, the title role in Raymonda, Nikia in La Bayadere, Kitri in Don Quixote, the title role in Giselle, and Medora in Le Corsaire. She also danced as a guest artiste with The Royal Ballet in London and with Roland Petit's Ballet National de Marseille. After retiring from the stage, she attended the school of pedagogy at the Vaganova Academy, and was subsequently appointed as Artistic Director of the Academy, with a commitment to preserving 36

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Vaslav Nijinsky

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Rudolph Nureyev

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Valery Panov

▪

Anna Pavlova

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Olga Preobrajenskaya

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Farukh Ruzimatov

▪

Sofya Skya

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Marina Semenova

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Konstantin Sergeyev

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Alla Sizova

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Yuri Soloviev

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Olga Spesivtseva

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Galina Ulanova

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Anastasia Volochkova

▪

Diana Vishneva

▪

Rostislav Zakharov

▪

Svetlana Zakharova

▪

Igor Zelensky

▪

Varvara P. Mey

37

MUSICAL THEATRE Musical theatre is a form of theatre that combines songs, spoken dialogue, acting, and dance. The story and emotional content of the piece – humor, pathos, love, anger – are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole.

Fosse was born in Chicago, Illinois, to a Norwegian

BOB FOSSE

American father, Cyril K. Fosse, and Irish-born mother, Sara Alice (Stanton), the second youngest of six . He teamed up with Charles Grass, another young dancer, and began a collaboration under the name The Riff Brothers.

They toured theatres throughout the Chicago area.

Eventually Fosse was hired for Tough Situation, which toured military and naval bases in the Pacific.

Fosse moved to New York with the ambition of being the new Fred Astaire. His appearance with his first wife and dance partner Mary Ann Niles (1923–1987) in Call Me Mister brought him to the attention of Dean Martin and Jerry Lewis. Fosse and Niles were regular performers on Your Hit Parade during its 1950-51 season, and during this season Martin and Lewis caught their act in New York's Pierre Hotel and scheduled them to appear on the Colgate

www.fosse.com/features/fosse_an_introduction.html

Comedy Hour. His early screen appearances included Give Robert Louis “Bob” Fosse (June 23, 1927 – September 23, 1987) was an

A Girl A Break, The Affairs of Dobie Gillis and Kiss Me

American actor, dancer, musical theater choreographer, director,

Kate, all released in 1953. A short sequence that he

screenwriter, film editor and film director. He won an unprecedented eight

choreographed in the latter (and danced with Carol Haney)

Tony Awards for choreography, as well as one for direction. He was

brought him to the attention of Broadway producers.

nominated for an Academy Award four times, winning for his direction of

Although Fosse's acting career in film was cut short by

Cabaret (beating Francis Ford Coppola for The Godfather). He was closely

premature balding, which limited the roles he could take, he

identified with his third wife, Broadway dancing star Gwen Verdon. She was was reluctant to move from Hollywood to theatre. the dancer/collaborator/muse upon whom he choreographed much of his Nevertheless, he made the move, and in 1954, he 39

choreographed his first musical, The Pajama Game,

1977, Fosse had a small role in the romantic comedy

followed by George Abbott's Damn Yankees in 1955. It was

Thieves.

while working on the latter show that he first met the red-

Fosse developed a jazz dance style that was immediately

headed rising star whom he was to marry in 1960, Gwen

recognizable, exuding a stylized, cynical sexuality. Other

Verdon.

notable distinctions of his style included the use of turned-

Verdon won her first Tony Award for Best Actress for

in knees, sideways shuffling, rolled shoulders, and jazz

Damn Yankees (she had won previously for best supporting

hands. With Astaire as an influence, he used props such as

actress in Can-Can). (Fosse appears in the film version of

bowler hats, canes and chairs. His trademark use of hats

Damn Yankees, which he also choreographed, in which

was influenced by his own self-consciousness. According to

Verdon reprises her stage triumph as "Lola"; they partner

Martin Gottfried in his biography of Fosse, "His baldness

each other in the mambo number, "Who's Got the Pain".)

was the reason that he wore hats, and was doubtless why he

In 1957 Fosse choreographed New Girl in Town, again

put hats on his dancers." He used gloves in his

directed by George Abbott, and Verdon won her second

performances because he did not like his hands. Some of

Leading Actress Tony. In 1960, Fosse was, for the first time,

his most popular numbers include "Steam Heat" (The

both director and choreographer of a musical called simply

Pajama Game) and "Big Spender" (Sweet Charity). The

Redhead. With Redhead, Verdon won her third Tony

"Rich Man's Frug" scene in Sweet Charity is another

Award for Best Actress in a Musical; the show won the

example of his signature style. Although he was replaced as

Tony for best musical and Fosse carried off the award for

the director/choreographer for the short-lived 1961 musical

best choreography. Fosse was to partner star Verdon as her

The Conquering Hero, he quickly took on the job of

director/choreographer again with Sweet Charity and

choreographer of the 1961 musical hit How to Succeed in

again with Chicago. (Fosse was to win the Tony for Best

Business Without Really Trying, which starred Robert

Direction of a Musical in 1973 with Pippin.) Fosse

Morse.

performed a memorable song and dance number in Stanley

Fosse directed five feature films. His first, Sweet Charity in

Donen's 1974 film version of The Little Prince, and in

1969, starring Shirley MacLaine, is an adaptation of the Broadway musical he had directed and choreographed.

40

Fosse shot the film largely on location in Manhattan. His

who is also a dancer. He separated from Verdon in the

second film, Cabaret, won eight Academy Awards,

1970s, but they remained legally married until his death.

including Best Director, for which he won over Francis Ford

Verdon never remarried. During rehearsals for The

Coppola for The Godfather starring Marlon Brando. The

Conquering Hero in 1961, it became known that Fosse had

film was shot on location in Berlin; Liza Minnelli and Joel

epilepsy, when he suffered a seizure on the stage.

Grey both won Oscars for their roles.

On September 23, 1987, it was reported that Bob Fosse had

Fosse went on to direct Lenny in 1974, a biopic of comic

collapsed in his room at the Willard Hotel in Washington,

Lenny Bruce starring Dustin Hoffman. The film was

DC, and later died It was subsequently learned that he

nominated for Best Picture and Best Director Oscars,

actually died from a heart attack at George Washington

among other awards. But just as Fosse picked up his Oscar

University Hospital. He died as the revival of Sweet

for Cabaret, his Tony for Pippin, and an Emmy for

Charity was opening at the nearby National Theatre. Fosse

directing Liza Minnelli's television concert, Liza with a Z,

was cremated. In late September, his wife and daughter

his health suffered and he underwent open-heart surgery.

took his ashes to Quogue, New York, where Fosse had been

In 1979, Fosse co-wrote and directed a semi-

openly living with his girlfriend of four years, and scattered

autobiographical film All That Jazz, which portrayed the

his ashes in the Atlantic Ocean.

life of a womanizing, drug-addicted choreographer-director

His first wife, and former dance partner, Mary Ann Niles,

in the midst of triumph and failure. All That Jazz won four

died one month later from lung

Academy Awards and earned Fosse his third Oscar

cancer, aged 64

nomination for Best Director. It also won the Palme d'Or at the 1980 Cannes Film Festival.

Fosse was first married in 1949 to dance partner Mary Ann Niles. The marriage lasted until 1951. Fosse's second marriage was to dancer Joan McCracken (December 1952-59). His third wife was dancer/actress Gwen Verdon in 1960; they had one daughter, Nicole Providence Fosse, 41

JEROME ROBBINS

By 1939, Robbins was dancing in the chorus of such Broadway shows as Great Lady, The Straw Hat Revue, and Keep Off the Grass, which George Balanchine

http://jeromerobbins.org/

choreog raphed. Robbins was also dancing and choreographing at Camp Tamiment in the Poconos of

Jerome Robbins (October 11,

Pennsylvania. Here he choreographed many dramatic

1918 – July 29, 1998) was an

pieces with controversial ideas about race, lynching, and

American theater producer,

war. But in 1940, he turned his back (albeit temporarily) on

director, and choreographer

the theater and joined Ballet Theatre (later known as

known primarily for Broadway

American Ballet Theatre). From 1941 through 1944,

Theater and Ballet/Dance, but

Robbins was a soloist with the company, gaining notice for

who also occasionally directed

his Hermes in Helen of Troy, the Moor in Petrouchka and

films and directed/produced for

Benvolio in Romeo and Juliet.

television. His work has included everything from

At this time, Broadway dance was changing. Agnes de Mille

classical ballet to contemporary musical theater.

had brought not just ballet to Oklahoma! but had also

Among the numerous productions he worked on were

made dance an integral part of the drama of the musical.

On the stage Town, Peter Pan, High Button Shoes,

Challenged, Robbins choreographed and performed in

The King And I, The Pajama Game, Bells Are

Fancy Free, a ballet about sailors on liberty, at the

Ringing, West Side Story, Gypsy: A Musical Fable, and

Metropolitan Opera as part of the Ballet Theatre season in

Fiddler on the Roof. Robbins is a five time Tony

1944. The inspiration for Fancy Free came from Paul

Award winner and a recipient of the Kennedy Center

Cadmus' 1934 painting The Fleet's In! which is part of the

Honors. He also received two Academy Awards,

Sailor Trilogy. Robbins was recommended for a ballet

including the 1961 Academy Award for Best Director

based on the art work by his friend Mary Hunter Wolf.

with Robert Wise for West Side Story.

Distancing himself from the implicit homosexuality of that 42

depiction, an element of controversy, Robbins said in an

for the better part of the next two decades. Barely a year

interview with The Christian Science Monitor, "After

went by without a new Robbins ballet and a new Robbins

seeing...Fleet's In, which I inwardly rejected though it gave

musical. With George Balanchine, he choreographed Jones

me the idea of doing the ballet, I watched sailors, and girls,

Beach at the City Center Theater in 1950, and directed

too, all over town." He went on to say "I wanted to show

and choreographed Irving Berlin's Call Me Madam,

that the boys in the service are healthy, vital boys: there is

starring Ethel Merman.

nothing sordid or morbid about them." Oliver Smith, set

In 1951, Robbins created the now-celebrated dance

designer and collaborator on Fancy Free, knew Leonard

sequences in Rodgers and Hammerstein's The King and I

Bernstein and eventually Robbins and Bernstein met to

(including the March of the Siamese Children, the ballet

work on the music. This would be the first of several

The Small House of Uncle Thomas and the "Shall We

collaborative efforts. Fancy Free was a great success.

Dance?" polka between the two leads). That same year, he

Later that year, Robbins conceived and choreographed On

created The Cage for the New York City Ballet, with which

the Town (1944), a musical partly inspired by Fancy Free,

he was now associated. He also performed, uncredited,

which effectively launched his Broadway career. Once

show doctoring on the musicals A Tree Grows in Brooklyn

again, Bernstein wrote the music and Smith designed the

(1951), Wish You Were Here (1952), and Wonderful Town

sets. The book and lyrics were by a team that Robbins

(1953).

would work with again, Betty Comden and Adolph Green.

Robbins collaborated with George Abbott on The Pajama

His next musical was Billion Dollar Baby (1945). He was

Game (1954), which launched the career of Shirley

reportedly so unpopular by this point, that the company of

MacLaine, worked on the 1955 Mary Martin vehicle, Peter

this show watched silently as he backed up to the orchestra

Pan (recreated for the small screen in 1955, 1956 and 1960)

pit – and fell in. Two years later, he received plaudits for his

and directed and co-choreographed (with Bob Fosse) Bells

hilarious Keystone Kops ballet in High Button Shoes

Are Ringing (1956), starring Judy Holliday. In 1957, he

(1947), including his first Tony Award for choreography.

conceived, choreographed, and directed a show that some

During this period, Robbins continued to create dances for

feel is his crowning achievement: West Side Story.

the Ballet Theatre, alternating between musicals and ballet 43

West Side Story is a contemporary version of Romeo and

during production, though he did receive credit as co-

Juliet, set in Hell's Kitchen. The show, with music by

director.

Leonard Bernstein, marked the first collaboration between

In 1962, Robbins tried his hand at a straight play, directing

Robbins and Stephen Sondheim, who wrote the lyrics, as

Arthur Kopit's unconventional Oh Dad, Poor Dad, Mama's

well as Arthur Laurents, who wrote the book. To help the

Hung You in the Closet and I'm Feelin' So Sad. The

young cast grow into their roles, Robbins did not allow

production ran over a year off-Broadway and was

those playing members of opposite gangs (Jets and Sharks)

transferred to Broadway for a short run in 1963.

to mix during the rehearsal process. He also, according to

Robbins was still highly sought after as a show doctor. He

dancer Linda Talcott Lee, "played psychological games"

took over the direction of two troubled productions during

with the cast: “And he would plant rumors among one gang

this period and helped turn them into smashes. In 1962, he

about the other, so they really hated each other.” The

saved A Funny Thing Happened on the Way to the Forum

original Broadway production featured Carol Lawrence as

(1962), a musical farce starring Zero Mostel, Jack Gilford,

Maria, Larry Kert as Tony and Chita Rivera as Anita.

David Burns and John Carradine. The production, with

Although it opened to good reviews, it was overshadowed

book by Burt Shevelove and Larry Gelbart, and songs by

by Meredith Willson's The Music Man at that year's Tony

Stephen Sondheim, was not working. Robbins staged an

Awards. West Side Story did, however, earn Robbins his

entirely new opening number which explained to the

second Tony Award for choreography, and is now hailed as

audience what was to follow, and the show played

a groundbreaking classic.

beautifully from then on. In 1964, he took on a floundering

The streak of hits continued with Gypsy (1959), starring

Funny Girl and devised a show that ran 1348

Ethel Merman. Robbins re-teamed with Sondheim and

performances. The musical helped turn lead Barbra

Laurents, and the music was by Jule Styne. The musical is

Streisand into a superstar.

based—loosely—on the life of stripper Gypsy Rose Lee.

That same year, Robbins won matching Tony Awards for

Robbins directed, with Robert Wise, the highly successful

his direction and choreography in Fiddler on the Roof

1961 movie version of West Side Story. However, he took so

(1964). The show starred Zero Mostel as Tevye and ran for

long with rehearsals and filming of dances that he was fired

3242 performances, setting the record (since surpassed) for 44

longest-running Broadway show. The plot, about Jews

Jerome Robbins was a great choreographer. He liked to

living in Russia near the beginning of the 20th century, is

express emotion while dancing.

based on the stories of Sholom Aleichem. The subject

Following a bicycle accident in 1990 and heart-valve

matter allowed Robbins to return to his religious roots.

surgery in 1994, in 1996 he began showing signs of a form

Never deserting the ballet, he continued to choreograph

of Parkinson’s disease, and his hearing was quickly

and stage productions for both the Joffrey Ballet and the

deteriorating. He nevertheless insisted on staging Les Noces

New York City Ballet into the 1970s.

for City Ballet in 1998, his last project. He suffered a

Robbins became ballet master of the New York City Ballet

massive stroke two months later, and died at his home in

in 1972 and worked almost exclusively in classical dance

New York on July 29, 1998. On the evening of his death,

throughout the next decade, pausing only to stage revivals

the lights of Broadway were dimmed for a moment in

of West Side Story (1980) and Fiddler on the Roof (1981).

tribute. He was cremated and his ashes were scattered into

In 1981, his Chamber Dance Company toured the People's

the Atlantic Ocean.

Republic of China.

The 1980s saw an increased presence on TV as NBC aired Live From Studio 8H: An Evening of Jerome Robbins' Ballets with members of the New York City Ballet, and a retrospective of Robbins's choreography aired on PBS in a 1986 installment of Dance in America. The latter led to his creating the anthology show Jerome Robbins' Broadway in 1989 which recreated the most successful production numbers from his 50-plus year career. Starring Jason Alexander as the narrator, the show included stagings of cut numbers like Irving Berlin's Mr. Monotony and wellknown ones like the "Tradition" number from Fiddler on the Roof. For his efforts, he earned a fifth Tony Award.

45

MICHAEL BENNETT

Bennett was born Michael Bennett DiFiglia in Buffalo, New

Michael Bennett

his local high school before dropping out to accept the role

(April 8, 1943 – July

of Baby John in the US and European tours of West Side

2, 1987) was an

Story.

American musical

Bennett's career as a Broadway dancer began in the 1961

theater director,

Betty Comden–Adolph Green–Jule Styne musical Subways

writer, choreographer,

Are For Sleeping, after which he appeared in Meredith

and dancer. He won

Willson's Here's Love and the short-lived Bajour. In the

seven Tony Awards

mid-1960s he was a featured dancer on the NBC pop music

for his choreography

series Hullabaloo, where he met fellow dancer Donna

and direction of

McKechnie.

Broadway shows and

Bennett made his choreographic debut with A Joyful Noise

was nominated for an

(1966), which lasted only twelve performances, and in 1967

additional eleven.

followed it with another failure, Henry, Sweet Henry (based

Bennett choreographed Promises, Promises, Follies and

on the Peter Sellers film The World of Henry Orient).

Company. In 1976, he won the Tony Award for Best

Success finally arrived in 1968, when he choreographed the

Direction of a Musical and the Tony Award for Best

hit musical Promises, Promises on Broadway. With a

Choreography for the Pulitzer Prize–winning phenomenon

contemporary pop score by Burt Bacharach and Hal

A Chorus Line. Bennett, under the aegis of producer

David, a wisecracking book by Neil Simon and Bennett's

Joseph Papp, created A Chorus Line based on a precedent-

well-received production numbers, including "Turkey

setting workshop process which he pioneered. He also

Lurkey Time", the show ran for 1,281 performances.Over

York, the son of Helen (Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker. His father was Roman Catholic and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in

directed and co-choreographed Dreamgirls with Michael Peters.

46

the next few years, he earned praise for his work on the

Hollywood producers were unwilling to give him the

straight play Twigs with Sada Thompson and the musical

influence he demanded.

Coco with Katharine Hepburn. These were followed by

Although the film version was but a pale imitation of the

two Stephen Sondheim productions, Company and Follies

original, there are some filmed records which testify to the

co-directed with Hal Prince.

show's initial power. Television talk-show host Phil

In 1973, Bennett was asked by producers Joseph Kipness

Donahue devoted an entire program to the original cast,

and Larry Kasha to take over the ailing Cy Coleman–

during which they reminisce and recreate some of the

Dorothy Fields musical Seesaw. In replacing the director Ed

musical numbers. The 2008 feature-length documentary

Sherin and choreographer Grover Dale, he asked for

"Every Little Step" chronicles the casting process of A

absolute control over the production as director and

Chorus Line's 2006 revival, with re-created choreography

choreographer and received credit as "having written,

by Bennett's long-time associate Baayork Lee, and, in the

directed, and choreographed" the show.

course of the film, the saga of the original production is re-

Bennett's next project was A Chorus Line. The musical was

told as well, through the use of old film clips and revealing

formed out of hundreds of hours of taped sessions with

interviews from the original collaborators, including Lee,

Broadway dancers. Bennett was invited to the sessions

Bob Avian (who was the show's original co-choreographer

originally as an observer but soon took charge. He co-

with Bennett and the director of the revival), composer

choreographed and directed the production, which debuted

Marvin Hamlisch and the original's leading lady, Donna

in May 1975 off-Broadway. It won nine Tony Awards and

McKechnie.

the 1976 Pulitzer Prize for Drama. He later claimed that

Bennett's next musical was an admired project about late-

the worldwide success of A Chorus Line became a

life romance called Ballroom. Although financially

hindrance, as the many international companies of that

unsuccessful, it garnered 7 Tony Award nominations, and

musical demanded his full-time attention.Bennett would

Michael won one for Best Choreography. He admitted that

later become a creative consultant for the 1985 film version

any project that followed A Chorus Line was bound to be

of the musical but left due to creative differences. He

an anti-climax. Bennett had another hit in 1981 with

always sought creative control over his projects, but

Dreamgirls, a backstage epic about a girl-group like The 47

Supremes and the expropriation of black music by a white

sexually daring, and apparently Bennett's best work, but the

recording industry. In the early 1980s, Bennett worked on

conservative climate and the growing AIDS panic made it

various projects, one of which was titled The Children's

unlikely commercial material. He was then signed to direct

Crusade based on a legendary story Children's Crusade,

the West End production of Chess but had to withdraw in

but none of them reached the stage.

January 1986 due to his failing health, leaving Trevor Nunn

He always collaborated with his assistant Bob Avian, who

to complete the production using Bennett's already

was a lifelong friend.

commissioned sets.

In 1985, Bennett abandoned the nearly-completed musical Scandal, by writer Treva Silverman and songwriter Jimmy Webb, which had been developing for nearly five years through a series of workshop productions. The show was

48

By the time she was six,she was already dancing on stage.

GWEN VERDON

She went on to study multiple dance forms, ranging from tap, jazz, ballroom and flamenco to Balinese. She even added juggling to her repertoire. At age 11, she appeared as a solo ballerina in the musical romance film The King Steps Out (1936), directed by Josef von Sternberg and starring Grace Moore and Franchot Tone. She attended Hamilton High

Verdon was born in Culver City, California, the second

School in Los Angeles and studied under famed balletomane

child of Gertrude Lilian (née

Ernest Belcher. While in high school, she was cast in a revival

Standring; October 24, 1896 –

of Show Boat.

October 16, 1956) and Joseph

Verdon shocked her parents and instructors when she

William Verdon (December 31,

abandoned her budding career aged 17 to elope with

1896 – June 23, 1978), who

reporter James Henaghan in 1942. In 1945, she appeared as

were British immigrants to the

a dancer in the movie musical The Blonde From Brooklyn.

United States by way of

After her divorce, she entrusted her son Jimmy to the care of

Canada. Her brother was William Farrell Verdon (August

her parents.

1, 1923 – June 10, 1991). The Verdon family could be

Early on, Verdon found a job as assistant to choreographer

described as "showpeople." Her father was an electrician at

Jack Cole, whose work was respected by both Broadway and

MGM Studios, and her mother was a former vaudevillian

Hollywood movie studios. During her five-year employment

of the Denishawn dance troupe, as well as a dance teacher.

with Cole, she took small roles in movie musicals as a

As a toddler, Gwen had rickets, which left her legs so badly

"specialty dancer". She also taught dance to performers who

misshapen she was called "Gimpy" by other children and

eventually became stars, such as Jane Russell, Fernando

spent her early years in orthopedic boots and rigid leg

Lamas, Lana Turner, Rita Hayworth, Betty Grable and

braces. Her mother put the three-year-old in dance classes.

Marilyn Monroe.

49

Verdon started out on Broadway as a "gypsy", going from

her choreographer. In the story, Verdon's Lola is a woman

one chorus line to another. Her breakthrough role finally

who was once "the ugliest woman in Providence, Rhode

came when choreographer Michael Kidd cast her as the

Island" but sold herself to the Devil to be the beauty we see

second female lead in Cole Porter's musical Can-Can

in the play. The Devil (played by a wryly comic Ray

(1953), starring French prima donna Lilo. Out-of-town

Walston) convinces a baseball fan to sell his soul so he can

reviewers hailed Verdon's interpretation of Eve in the

play and win the World Series for the Washington Senators.

Garden of Eden ballet as a performance that upstaged the

The Devil then employs the seductive Lola to keep the guy

show's star, who jealously demanded Verdon's role be cut to

("Joe") from escaping his grasp. The hitch is that Lola falls

only two featured dance numbers. With her role reduced to

for the guy and has to choose between her love for him and

little more than an ensemble part, Verdon formally

her beauty pact with the Devil. The musical ran for 1019

announced her intention to quit by the time the show

performances. Vernon won another Tony and went to

premiered on Broadway. But her opening-night Garden of

Hollywood to repeat her role in the 1958 movie version

Eden performance was so well received that the audience

Damn Yankees, memorably singing "whatever Lola wants,

screamed her name until the startled actress was brought

Lola gets". (Fosse can be seen partnered deliciously with her

from her dressing room in her bathrobe to take a curtain

in the witty mambo duet "Who's Got the Pain".)

call. Verdon received a pay increase and her first Tony

Another Tony came when Verdon memorably played a role

Award for her triumphant performance.

associated with Greta Garbo, Eugene O'Neill's Anna

With her short shock of flaming red hair, exquisite body of

Christie, the hard-luck girl fleeing from her past as a

a pin-up girl and a guileless vulnerability on stage and off,

prostitute, in the musical New Girl in Town. When Fosse

Verdon was considered the best dancer on Broadway in the

directed as well as choreographed his first Broadway

1950s and 1960s. That reputation solidified during her next

musical, it was Redhead. In 1960, Fosse and Verdon wed.

show, George Abbott's Damn Yankees (1955), based on the

In 1966, Verdon returned to the stage in the role of Charity

novel The Year the Yankees Lost the Pennant. She would

in Sweet Charity, which like many of her earlier Broadway

forever be identified with her role as the vampish Lola, and

triumphs was choreographed and directed by husband

it was on this show that she first worked with Bob Fosse as

Fosse. The show is based on Federico Fellini's screenplay for 50

Nights of Cabiria. But whereas Fellini's black-and-white

helpmeet/peer played by Leland Palmer in that film is

Italian film concerns the romantic ups and downs of an

based on the role Verdon played in Fosse's real life. She also

ever-hopeful prostitute, the musical makes the central

developed a close working relationship with Fosse's lover,

character a hoofer-for-hire at a Times Square dance hall.

Broadway dancer Ann Reinking, and she instructed for

The trademark Fosse showmanship, a dynamite musical

Reinking's musical theatre classes. Reinking can be seen in

score and theatregoers' affection for the exuberant, 41-year-

All That Jazz playing the protagonist's lover, as she was in

old Verdon put the show over, despite Fellini's source

Fosse's real life. She, as much as Verdon, would become

material straining against the sanitized, Broadway-ized

responsible for keeping Fosse's trademark choreography

storyline. It was followed by a movie version starring Shirley

alive after Fosse's death. Reinking played Roxie Hart in the

MacLaine as Charity, featuring Ricardo Montalban,

highly successful Broadway revival of Chicago that opened

Sammy Davis, Jr. and Chita Rivera, with Fosse at the helm

in 1996. She choreographed the dances "in the style of Bob

of his very first film as director and choreographer.

Fosse" for that revival.

Characteristically generous, Verdon helped with the

After originating the role of Roxie opposite Chita Rivera in

choreography. The numbers include the famed "Big

Chicago, Verdon focused on film acting, playing character

Spender", the fast-paced "Rhythm of Life", the witty "If

roles in movies such as The Cotton Club (1984), Cocoon

My Friends Could See Me Now" and "I'm a Brass Band",

(1985) and Cocoon: The Return (1988). She continued to

in which MacLaine's Charity marched down the middle of

teach dance and musical theater and to act. She receiving

Manhattan's Wall Street district. Verdon would also travel

three Emmy Award nominations for appearances on

to Berlin to help Fosse with Cabaret, the musical film for

Magnum, P.I. (1988), Dream On (1993) and Homicide: Life

which he won an Academy Award for Best Director.

on the Street (1993). Verdon appeared as Alice's mother in

Although estranged as a couple, Verdon and Fosse

the Woody Allen movie Alice (1990) and as Ruth in

continued to collaborate on projects such as Chicago (1975)

Marvin's Room (1996), co-starring Meryl Streep, Diane

(in which she originated the role of murderess Roxie Hart)

Keaton, and Hume Cronyn. In 1999, Verdon served as

and the musical Dancin' (1978), as well as Fosse's

artistic consultant on a plotless Broadway musical designed

autobiographical movie All That Jazz (1979). The

to showcase examples of classic Fosse choreography. Called 51

simply Fosse, the revue was conceived and directed by

received a "special thanks" credit. The show received a

Richard Maltby Jr and Ann Reinking and choreographed

Tony for best musical.

by Reinking and Chet Walker. Verdon's daughter Nicole

52

ANNE REINKING

Reinking was born in Seattle, Washington where she originally trained as a ballet dancer. She studied with Marian and Illaria Ladre, a professional ballet couple who had danced for years with the Ballets Russes which later became the Ballet Russe de Monte Carlo.

After working as a chorus girl in Coco, Wild and Wonderful, and Pippin, Reinking came to critical notice in the role of Maggie in Over Here! (Theatre World Award).

Reinking went on to originate roles in Goodtime Charley (for which she received Tony Award and Drama Desk nominations for Best Actress in a Musical) and Bob Fosse's Dancin' (Tony nomination). She also took over leads in A Chorus Line (1976), Chicago in 1977, and Sweet Charity (1986).

After retiring from performing, Reinking returned to the

Ann Reinking

stage as Roxie Hart in the revival of Chicago in 1996. In 1996, she was asked to create the choreography ("in the

(born November 10, 1949) is an American

style of Bob Fosse") for an all-star four-night-only concert

actress, dancer, and choreographer. She

staging of Chicago for City Center's annual Encores!

has worked extensively in musical

Concert Series. When the producers could not obtain a

theatre, both as a dancer and

suitable actress for the role of Roxie Hart, Reinking agreed

choreographer, as well as appearing in

staging of Chicago was a hit, and a few months later the

to reprise the role again after almost 20 years. This concert

53

production (in its concert staging presentation) was produced on Broadway, along with its cast: Reinking, Bebe Neuwirth, Joel Grey, James Naughton and Marcia Lewis.In November 2009 the revival celebrated its 13th year on Broadway. The revival of Chicago won numerous Tony Awards, and Reinking won the Tony Award for Choreography. She recreated her choreography for the 1997 London transfer of Chicago which starred Ute Lemper and Ruthie Henshall.

In 1998 she co-created, co-directed and co-choreographed the revue Fosse, for which she received a Tony Award conomination for Best Direction of a Musical.

In 1979 Reinking appeared in Bob Fosse's semiautobiographical film All That Jazz, in a role loosely based on her own life and relationship with Fosse. In the film, Reinking starred opposite (actress) Leland Palmer, Jessica Lange, Ben Vereen, John Lithgow, and Roy Scheider as Joe Gideon (Bob Fosse).

She later starred in films such as Annie (as Grace Farrell) and Micki + Maude (as Micki). In 1987 she guest starred on an episode of the top-rated NBC sitcom The Cosby Show.

54

Debbie Allen had her Broadway debut in the chorus of Purlie. Allen

DEBBIE ALLEN

also created the role of Beneatha in the Tony Award-winning musical Raisin. She first began receiving critical attention in 1980 for her appearance in the role of Anita in the Broadway revival of West Side Story which earned her a Tony Award nomination and a Drama Desk Award, she would receive a second Tony Award nomination in 1986

www.debbieallendanceacademy.com

for her performance in the title role of Bob Fosse's Sweet Charity. One of her earlier television appearances was in the TV sitcom Good Times in a memorable 2-part episode titled "J.J's Fiancee'" as J.J's drugaddicted fiancee, Diana.

Allen was first introduced as Lydia Grant in the 1980 film Fame.

Although her role in the film was relatively small, Lydia would become a central figure in the television adaptation, which ran from 1982 to 1987. During the opening montage of each episode, Grant told her students: "You've got big dreams? You want fame? Well, fame costs.

And right here is where you start paying ... in sweat." Allen was nominated for the Emmy Award for Best Actress four times during the show's run. She is the only actress to have appeared in all three screen

Deborrah Kaye “Debbie” Allen (born January 16, 1950) is

incarnations of Fame, playing Lydia Grant in both the 1980 film and

an American actress, dancer, choreographer, television

1982 television series and playing the school principal in the 2009

director, television producer, and a member of the

remake.[television series, winning two Emmy Awards and one Golden

President's Committee on the Arts and Humanities. She is

Globe Award.In an article from the Museum of Broadcast

perhaps best known for her work on the 1982 musical-

Communications, the Hollywood Reporter commented on Allen's

drama television series Fame, where she portrayed dance

impact as the producer-director of the television series, A Different

teacher Lydia Grant, and served as the series' principal

World. The show dealt with the life of students at the fictional

choreographer. She is the younger sister of actress/singer Phylicia Rashād.

historically black college, Hillman, and ran for six seasons on NBC. 55

MICHAEL PETERS

However, he was most recognized for his choreography work in Michael Jackson's videos. Especially the smash hit "Thriller", directed by John Landis, and "Beat It" directed

by Bob Giraldi, which is vaguely reminiscent of West Side Story: Peters co-stars as one of two gang leaders who prepare for a dramatic showdown/knifefight, which is averted at the last moment by Jackson. Peters is dressed all in white, and wears sunglasses during the piece.

Peters choreographed Diana Ross' landmark July, 1983 Central Park concert, "For One & For All", during which, he dances with Ross during her "Maniac" & "Pieces of Ice" numbers.

Peters is also widely credited for the striking transformation

Peters was born in Williamsburg, Brooklyn, in New

of actress Angela Bassett into Tina Turner in the 1993

York City to an African American father and Jewish

biopic What's Love Got to Do with It.

mother. His first major breakthrough came when he

Peters danced with Talley Beatty, Alvin Ailey, Bernice

did choreography for Donna Summer's "Love to Love

Johnson, and Fred Benjamin, and worked with Michael

You Baby" in 1975. He went on to stage other

Bennett. Bennett and Peters shared a 1982 Tony Award for

memorable dance sequences for music videos,

Best Choreography for their work on the Broadway musical

including Pat Benatar's "Love Is a Battlefield" (in which

Dreamgirls. In 1985, he directed and choreographed the

he has a brief cameo) and Lionel Richie's "Hello" (in

Ellie Greenwich jukebox musical Leader of the Pack.

which he also has a brief cameo as the dance instructor

Peters died in Los Angeles, California of an AIDS related

of Lionel Richie's blind love interest).

illness at 46 56

SUSAN STROMAN

Stroman was born in Wilmington, Delaware, to Frances and Charles Stroman. She was exposed to show tunes by her piano-playing salesman father. She began studying dance, concentrating on jazz, tap, and ballet at the age of five. She studied under James Jamieson at the Academy of the Dance in Wilmington. She majored in English at the University of Delaware. She performed, choreographed and directed at community theaters in the Delaware and Philadelphia area. After graduating in 1976, she moved to New York City. Her first professional appearance was in Hit the Deck at the Goodspeed Opera House in 1977. Her first Broadway credit was as an ensemble member in the 1979 musical Whoopee!. In 1980 she was assistant director, assistant choreographer, and dance captain for Musical Chairs. Wanting to direct and choreograph instead of perform, Stroman concentrated on creating for the theater.

She worked in small venues as a director and choreographer in various industrial shows, club acts and

Susan Stroman (born October 17, 1954) is an American theatre director,

commercials.

choreographer, film director, and performer. She has won

Stroman's first big break as a choreographer came when

the Tony Award for both her choreography and direction,

director Scott Ellis hired her for his off-Broadway revival of

notably for the stage musical The Producers.

Flora the Red Menace (music by John Kander and Fred Ebb) at the Vineyard Theatre in Greenwich Village in 57

1987. Her work there was seen by Hal Prince, who hired

Madison Square Garden, which ran for 10 years, and the

her to work on the dance sequences for his New York City

Broadway show Big, The Musical (1996). She returned to

Opera production of Don Giovanni. Her relationship with

her collaboration with Kander and Ebb, Ellis and

Kander and Ebb led to co-creating, with Ellis and David

Thompson on the Broadway show Steel Pier (1997). In

Thompson, the hit off broadway musical And the World

1999, her choreography of Oklahoma!, directed by Trevor

Goes 'Round in 1991. She went on to choreograph Liza

Nunn at The Royal National Theater, won Stroman her

Stepping Out at Radio City Music Hall in 1992 where she

second Olivier Award for her outstanding choreography.

was nominated for an Emmy award. She earned her third

Her husband Mike Ockrent lost his battle with leukemia on

Broadway credit for her collaboration with director, and

December 2, 1999.

then-future husband, Mike Ockrent on Crazy for You in

She immersed herself in her work and directed and

1992. The show won the Tony Award for Best Musical and

choreographed her first Broadway show as director, the

she won her first Tony Award for Best Choreography.

2000 revival of The Music Man. At the same time,

In 1994, Stroman won her second Tony Award when she

Stroman was approached by Lincoln Center Theater's

collaborated with Prince on a revival of Show Boat, where

artistic director Andre Bishop, who offered her assistance in

she unleashed some of her most innovative ideas. She

developing the project of her choice. She and John

added several dance montages to the show, complete with a

Weidman, who had written the book for Big, began

revolving door, to help guide the audience through the

working on what would become the three-part "dance play"

generations that are covered in the show. Stroman heavily

Contact, which she choreographed as well as directed. The

researched the period in which the show takes place and

show opened at Lincoln Center's Mitzi Newhouse Theater

learned African-Americans are credited for inventing the

in the fall of 1999, and later transferred to the larger Vivian

Charleston. She used that information in designing the

Beaumont Theater, where it was reclassified as a musical. It

montages, as the popular dance is introduced by and

won the 2000 Tony Award for Best Musical. Stroman won

eventually appropriated from the black characters. In 1994,

her third Tony Award for best choreography. Contact went

Stroman collaborated again with her husband, Mike

on to win the 2003 Emmy Award. For Lincoln Center

Ockrent on the Holiday Spectacular A Christmas Carol at

Theater, Stroman went on to direct and choreograph Thou 58

Shalt Not (2001) with music by Harry Connick Jr. and The

choreographer of the musical Young Frankenstein. She is

Frogs (2004) with book by Nathan

both director and

Lane. Stroman received the

choreographer of the musical

American Choreography Award

Happiness, which has a book

for her work in Columbia Pictures

by Jo h n We i d m a n . T h e

Feature film Center Stage (2000).

musical opened in 2009 at the

In 2001, Stroman directed and

Mitzi E. Newhouse Theater at

choreog raphed Mel Brooks'

Lincoln Center.

musical The Producers. Stroman's

The musical The Scottsboro

late husband, Ockrent, had

Boys opened at the Vineyard

initially been named to direct. It

Theatre in February 2010.

was a commercial success and won

The music is by Kander and

a record twelve Tony Awards.

Ebb and the book is by David

Stroman won her fourth and fifth

Thompson; Stroman both

Tony Award for Direction and

directed and choreographed.

choreography. She was the first

The show later transferred to

woman to ever win in these two

Broadway at the Lyceum

categories at the same time. In

Theatre for a 49-performance

2005, she made her directorial

run.

debut as a feature filmmaker with

She co-directed a new musical

a film adaptation of the show. The

Paradise Found with Hal

movie was nominated for four

Prince, which premiered at the

Golden Globe Awards. In 2007,

Menier Chocolate Factory

she collaborated with Brooks

(London) on May 19, 2010.

again, as director and 59

KATHLEEN MARSHALL Born in Pittsburgh, Pennsylvania, Marshall graduated from Taylor Allderdice High School in 1980 and Smith College in 1985. She worked in the Pittsburgh theatre scene when she was younger, performing with such companies as Pittsburgh Civic Light Opera. She began her Broadway career as assistant to her brother Rob, the choreographer of Kiss of the Spider Woman, in 1993. The two also collaborated on She Loves Me (1993), Damn Yankees (1994), Victor/Victoria (1995), and Seussical (2000). She was the artistic director for the Encores! Series of staged musical revivals from 1996 through 2000. During that time, she choreographed The Boys from Syracuse, Li'l Abner and Call Me Madam and both directed and choreographed Babes in Arms and Wonderful Town.

Marshall served as a judge on the NBC reality series Grease: You're the One That I Want. Viewer votes selected the stars of the August 2007 Broadway revival of Grease, which she directed and choreographed.

60

JEFF CALHOUN

Calhoun began his association with Deaf West Theatre in 2000 when he directed and choreographed a world premiere adaptation of Oliver!. Calhoun continued his work with Deaf West Theater with Big River the following season. Big River subsequently played Roundabout Theatre Company’s America Airlines Theatre in 2003 on Broadway and garnered the 2004 Tony Award for Excellence in

Jeff Calhoun (born 1960) is

Theater. Calhoun also directed the world premiere of the

an American director,

first original American Sign Language musical, Sleeping

choreographer, producer and

Beauty Wakes, at the Kirk Douglas Theater in 2007. In

dancer.

2009, he directed and choreographed the Deaf West

As a student at Richland

Theatre & Center Theater Group production of Pippin at

High School, now Pine-

the Mark Taper Forum, which included new and revised

Richland High School

material from composer Stephen Schwartz.

(Gibsonia, PA; North of

Calhoun directed both the world premiere and

Pittsburgh), Calhoun was

international productions of Disney’s High School Musical:

interested in both athletics

On Stage and Disney’s High School Musical 2: On Stage.

and performance, playing

He also provided choreography for Xena: Warrior Princess

football and studying tap dance. He danced in the ensemble

(The Bitter Suite), Downtown, Happy Together and

at The Kenley Players in Ohio in the late 1970s where he

Weekend Warriors.

met Tommy Tune. Tune later hired Calhoun to perform in

Calhoun's additional Broadway credits include the first

the First National Tour of The Best Little Whorehouse in

Broadway revival of Grease (1994), Annie Get Your Gun

Texas. Calhoun made his Broadway debut in the stage

(1999), Bells Are Ringing (2001), Brooklyn The Musical 61

(2004), and Grey Gardens (2006). Off-Broadway he

began performances in September 2010 in Nashville,

appeared in One More Song/One More Dance (1983) with

Tennessee.

Ann Reinking, choreographed Bouncers (1987) and Comic

Calhoun's most recent success is Disney's Newsies. After a

Potential (2000), and directed Holy Cross Sucks! (2005). His

critically acclaimed run at the Paper Mill Playhouse in

regional theater credits include the First National Tour of

Millburn, New Jersey in Fall 2011, Disney Theatrical

Irving Berlin’s White Christmas presented by Theater of

Productions announced that the show would transfer to

the Stars (2008), Shenandoah at the Ford’s Theater (2006)

Broadway for a strictly limited engagement. Newsies, which

and Himself and Nora, a musical based on James Joyce and

opened at the Nederlander Theatre on March 29, 2012, is

Nora Barnacle, which he choreographed and co-directed

now an open-ended run. The new musical boasts 8 Tony

(with Joseph Hardy) for the Old Globe Theatre in 2005.

Award nominations, including Best Musical and Best

Calhoun is an Associate Artist at Ford’s Theater,

Director of a Musical for Calhoun.

Washington, DC where he directed both the 2008 Presidential Gala presentation of Frank Wildhorn’s The Civil War, and a new production of that same work as part of the Ford’s Theater 2009 reopening season.

Calhoun recently directed and choreographed the Broadway musical Bonnie & Clyde, a collaboration with composer Frank Wildhorn, lyricist Don Black and librettist Ivan Menchell. The showed opened at the Gerald Schoenfeld Theatre on December 1, 2011 and closed on December 30th. Bonnie & Clyde had its world premiere at La Jolla Playhouse in 2009 and had another out-of-town

Next on Calhoun's plate is the first revival of Jekyll & Hyde

tryout at the Asolo Repertory Theatre in Sarasota, Florida,

(musical). The much-anticipated production, starring

in 2010.Calhoun also directed and choreographed the

Constantine Maroulis and Deborah Cox, will play a 25

national tour of Dolly Parton's 9 to 5: The Musical, which

week national tour before landing on Broadway in Spring .

62

Shankman was a dancer

ADAM SHANKMAN

in Janet Jackson's “Amazing” video, as well as in a MC Skat Kat video with Paula Abdul.

Shankman broke into professional choreography

Adam Michael Shankman (born November 27, 1964) is

in a 1989 music video for

an American film director, producer, dancer, actor, and

rapper MC Shan with

choreographer. He has been a judge on the television

director Julien Temple.

program So You Think You Can Dance since Season 3.

When the hired

He began his professional career in musical theater, and

choreographer fell

was a dancer in music videos for Paula Abdul and Janet

through, Shankman lied and said that he had done

Jackson. Shankman also choreographed one of the Spice

choreography for Janet Jackson and Paula Abdul. He was

Girls' tours. He has directed several feature-length films,

hired on the spot without his story being verified.

including A Walk to Remember, Bringing Down the

Shankman began choreographing movies that included

House, and the 2007 remake of Hairspray.

actors such as Marlon Brando, Sarah Jessica Parker,

Early life

Antonio Banderas, and the cast of Boogie Nights. He is

Shankman was born in Los Angeles, California to an

Brendan Fraser's exclusive choreographer.

upper middle class family. He has said that he had a

In 1996, Shankman was represented by the newly formed

"traditional Jewish upbringing" in Brentwood. He

Sauce Entertainment, a production company for music

attended The Juilliard School, but dropped out to dance

videos and commercial production. In 1998, he was a

in musical theater.

choreographer for the program Win Ben Stein's Money.

63

Shankman's first directing gig was for a short film called

as director for the proposed TV series Cadillac Ranch

Cosmo's Tale, which appeared at the Sundance Film

about the female mayor of a small town. He directed the

Festival. He then helped his sister, Jennifer Gibgot, on a

2012 film adaptation of the Broadway musical Rock of

script, which led to a meeting with the studio producing

Ages for New Line Cinema. With Bill Mechanic,

The Wedding Planner. He was hired for the job ten minutes

Shankman was one of the two producers of the 82nd

into the meeting. In May 2003, Shankman filed a $5

Academy Awards, which took place March 7, 2010.

million lawsuit against Jennifer Lopez, asserting that he

Shankman has also directed and choreographed many

came up with the idea for her adaptation of the opera

episodes of Fox's Glee.

Carmen.

Prior to directing Hairspray, Shankman was known in

On September 16, 2009, it was announced that

Hollywood primarily as a script doctor. His trademarks in

Adam will be a permanent judge on So You Think

his films often features a singing/dancing sequence and a

You Can Dance.

character getting sent to do community service. "I've done so many things I'm not super-proud of," he admitted in an interview with the Los Angeles Times. Having finally received a plum directing role in Hairspray, he added, "Now that I'm finally really proud of something, if [critics] say this one isn't good either, it will be kind of...taxing." In August 2008, Box office Mojo reported that Hairspray had become the fourth-largest grossing American movie musical within the previous 30 years.

Shankman, in affiliation with ABC, worked on a TV pilot called Harmony about a musical town. In 2008, in the wake of former small-town mayor Sarah Palin's emergence

Adam Shankman, Mary Murray and Nigel Lythgoe

on the national political stage, Shankman was announced 64

JAZZ Jazz dance is a classification shared by a broad range of dance styles. Before the 1950s, jazz dance referred to dance styles that originated from African American vernacular dance. In the 1950s, a new genre of jazz dance — 'Modern Jazz Dance'- — emerged, with roots in Caribbean traditional dance. Every individual style of jazz dance has roots traceable to one of these two distinct origins.

CLASSIC JAZZ GREATS! The term "Jazz" was first applied to a style of music and dance during WWI. Jazz in a dance form, however, originates from the vernacular dances of Africans when they were brought to the Americas on slave ships. This dance form developed alongside jazz music in New Orleans in the early 1900s.Beginning in the 1930s and continuing through the 1960s, Jazz dance transformed from this vernacular form into a theatre-based performance form of dance that required a highly trained dancer.

66

GUS GIORDANO

dance teacher Minette Buchman, whom he credits for early

Gus Giordano (July 10, 1923 –

guest artists visiting his area. Giordano took classes in ballet

March 9, 2008 was an

and theater dance. At this time, Giordano did not take jazz

American jazz dancer. He was a

classes as such, because jazz dance as we know it did not

performer on and off Broadway,

exist. Giordano continued to dance through his childhood.

in television, film and stage, and

During World War II, Giordano joined the Marines, where

he is a master teacher, a gifted

he was assigned to a performing group that put on shows at

choreographer, founder of his

the Hollywood Canteen and at military bases around the

company Giordano Jazz Dance

country. After the war, Giordano left the service and moved

Chicago, creator of the Jazz Dance World Congress and

to New York City where he searched for a Broadway job.

the author of Anthology of American Jazz Dance, the first

During this time, he studied with Hanya Holm, Katherine

book on jazz dance. He has taught world-renowned dancers

Dunham and Alwin Nikolais. He also joined a dance group

in schools such as the American Ballet Theater, and he has

at Roxy Theater where they performed four shows a day.

choreographed award winning numbers for television, film,

Giordano did not make it onto Broadway, so he returned to

stage, commercials and industrials. Giordano is considered

St. Louis to finish college. While in St. Louis, he met his

one of the founders of jazz dance, and his influence in jazz

wife Peg whom he married in Detroit after closing a show.

dance training. He also studied with vocal teachers and

dance is still felt.

In 1953, Gus Giordano moved back to Chicago and Gus Giordano was born in St. Louis, Missouri in 1923. At

opened a dance studio where he could teach and

the age of five, Giordano traveled to New Orleans, where

choreograph.

his cousin taught him the Charleston dance step to the song, "The Shoeshiner's Drag", thus introducing him to

Ten years after his studio opened, a dance critic asked

jazz music and dance. After this trip, Giordano was hooked

Giordano to perform with his classes for visiting Bolshoi

on dance. He returned to St. Louis and studied with local

Ballet dancers who wanted to see what jazz dance looked 67

like. Giordano took his senior students and choreographed

professional public performance segment, the Jazz Dance

a number for them to perform. The students did such an

World Festival, attracting some of the most acclaimed

amazing job that they were invited to tour Russia the next

modern dance companies from across the US and around

year. Thus, Gus Giordano Jazz Dance Chicago, his

the world.

company, was born in 1962. Giordano Jazz Dance Chicago is one of Chicago's top professional dance companies.

Giordano was also founder of Jazz Dance World Congress (JDWC)a five-day event celebrating the uniquely American art form of jazz dance. Since its inception in 1990, Congresses have been held in Phoenix, Ariz. (1998), San José, Costa Rica (2004), Chicago (2002, 2005, 2007, 2009), Evanston, Ill. (1990, 1992, 1994), Wiesbaden, Germany (1997), Nagoya, Japan (1995), Monterrey, Mexico (2001), Buffalo, N.Y. (1999, 2000, 2003) and at Washington, D.C.'s Kennedy Center (1996). Giordano's daughter Nan is the artistic director to the Congress. Held in the summer, the Congress gathers dancers, teachers, and performers from across the United States and other countries.

At the

Congress, these jazz dance enthusiasts take classes from world-class Master Teachers, see performances by internationally-known dance companies, witness the judging of new jazz dance choreography in competition for

Gus Giordano and Gregory Hines

the Leo Award, and discuss any topic of interest to jazz dancers in formal panel discussions and informally throughout the Congress. The Congress also includes a 68

Jack Cole

Happened on the Way to the Forum, Kean, Donnybrook!,

(April

27, 1911 – February 17, 1974) was an American

His film work includes Moon Over Miami, Cover Girl,

dancer, choreographer, and theatre director known as the

Tonight and Every Night, Gilda, Down To Earth, The

father of theatrical jazz dance.

Merry Widow, Meet Me After The Show, Gentlemen

Jamaica, and Man of La Mancha.

Cole was born John Ewing Richter in New Brunswick, New Jersey. Early on he decided to pursue dance with the Denishawn Dance Company led by Ruth St. Denis and Ted Shawn. He made his first professional appearance in August 1930, and although he had previously studied ballet, Cole was entranced by the Asian influences Denishawn utilized in its choreography and costuming. Cole also performed with another pair of pioneering modernists, Doris Humphrey and Charles Weidman, but eventually left the modern dance world for commercial dance career in nightclubs, performing with Alice Dudley, Anna Austin and Florence Lessing.

Cole was a performer in Broadway musicals, starting with The Dream of Sganarelle in 1933. His first Broadway credit as a choreographer was Something for the Boys in 1943. Cole is credited with choreographing and/or directing the stage musicals Alive and Kicking, Magdalena, Carnival in Flanders, Zenda, Foxy, Kismet, A Funny Thing

Prefer Blondes, On the Riviera (1951 film with featured dancer Gwen Verdon), There's No Business Like Show Business, The I Don't Care Girl, The Thrill of Brazil,

69

Kismet, Les Girls, Let's Make Love, Some Like it Hot,

influenced all the choreographers in the theater from

Three for the Show, Lydia Bailey, Eadie was a Lady, and

Jerome Robbins, Michael Kidd, Bob Fosse down to Michael

many others. He was famous in Hollywood for his work

Bennett and Ron Field today. When you see dancing on

with Rita Hayworth, Betty Grable, Jane Russell, Mitzi

television, that's Jack Cole." Verdon was Cole's assistant for

Gaynor, and Marilyn Monroe.

seven years.

Cole virtually invented the idiom of American show

If not for Cole, it is unlikely Gwen Verdon would have gone

dancing known as "theatrical jazz dance." He developed a

on to achieve fame as a dancer; without his instruction,

mode of jazz-ethnic-ballet that prevails as the dominant

many now-immortal stage and screen actresses, probably

dancing style in today's musicals, films, nightclub revues,

would not be remembered as dancers today.

television commercials and music videos. According to Martin Gottfried, Cole "won a place in choreographic

One of Cole's most memorable choreographic highlights is

history for developing the basic vocabulary of jazz dancing-

"Diamonds are a Girl's Best Friend" for Marilyn Monroe in

the kind of dancing done in nightclubs and Broadway

the film musical Gentlemen Prefer Blondes. The number

musicals."

has been famously reinterpreted by Madonna for her music

Cole-style dancing is acrobatic and angular, using small

video of "Material Girl."

groups of dancers rather than a large company; it is closer to the glittering nightclub floor show rather than to the ballet stage.

Cole is remembered as the prime innovator of the theatrical jazz dance heritage.

Cole's unmistakable style endures in the work of Gwen Verdon, Bob Fosse, Jerome Robbins, Gower Champion, Peter Gennaro, Michael Bennett, Tommy Tune, Alvin Ailey (who was a dancer in the musical Jamaica), and countless other dancers and choreographers. Verdon said that "Jack 70

Americans. When Ailey was five, his 22-year-old mother

Alvin Ailey-(January 5, 1931 - December 1, 1989) was

was raped by a group of white men, leaving him afraid of

an American choreographer

whites. Early experiences in the Southern Baptist church

and activist who founded the

and jook joints instilled in

Alvin Ailey American Dance

him a fierce sense of black pride that would later figure

Theater in New York. Ailey is

prominently in Ailey's signature works.

credited with popularizing

In the fall of 1942, Ailey's mother, in common with many

modern dance and

African Americans, migrated to Los Angeles, California,

revo l u t i o n i z i n g A f r i c a n American participation in

where she had heard there was lucrative work supporting

20th century concert dance.

the war effort. Ailey joined his mother later by train, having

His company gained the

stayed behind in Texas to finish out the school year. Ailey's

nickname "Cultural Ambassador to the World" because of

first junior high school in California was located in a

its extensive international touring. Ailey's choreographic

primarily white school district. As one of the only black

masterpiece Revelations is believed to be the best known

students, Ailey felt out of place because of his fear of

and most often seen modern dance performance. Ailey

whites, so the Aileys moved to a predominantly black school

received the Kennedy Center Honors in 1988, just one year

district. He matriculated at George Washington Carver

before his death.

Junior High School, and later attended the Thomas Jefferson High School. He sang spirituals in the glee club,

Ailey was born to his 17-year-old mother, Lula Elizabeth

wrote poetry, and demonstrated a talent for languages. He

Ailey, in Rogers, Texas. His father abandoned the family

regularly attended shows at Lincoln Theater and the

when Alvin was only six months old. Like many African

Orpheum Theater. Ailey did not become serious about

Americans living in Texas during the Great Depression,

dance until in 1949 his school friend Carmen De Lavallade

Ailey and his mother moved often and she had a hard time

introduced him to the Hollywood studio of Lester Horton.

finding work. Ailey grew up during a time of racial

Horton would prove to be Ailey's major influence,

segregation, violence and lynchings against African71

becoming a mentor and giving him both a technique and a foundation

with Lena Horne and Ricardo Montalbán. The New York modern

with which to grow artistically.

dance scene in the fifties was not to Ailey's taste. He observed the classes

He was introduced to the company through Carmen, a life-long friend.

of modern dance contemporaries such as Martha Graham, Doris

At the age of twenty-two Ailey began full-time study at Horton's school.

Humphrey, and José Limón. He felt Graham's dancing "finicky and

He joined Horton's company in 1953, making his debut in Horton's

strange" and disliked the techniques of both Humphrey and Limón.

Revue Le Bal Caribe. It was during this period that Ailey performed in

Ailey expressed disappointment at not being able to find a technique

several Hollywood films. Like all of Horton's students, Ailey studied

similar to Horton's. Not finding a mentor, he began creating works of

other art forms, including painting, acting, music, set design, and

his own.

costuming, as well as ballet and other forms of modern and ethnic dance.

Ailey formed his own group, Alvin Ailey American Dance Theater, in

When Horton died in November 1953 the tragedy left the company

1958. The group presented its inaugural concert on March 30, 1958.

without an artistic director. The company had outstanding contracts

Notable early work included Blues Suite, a piece deriving from blues

that required and desired new works. When no one else stepped

songs. Ailey's choreography was a dynamic and vibrant mix growing out

forward, Ailey assumed the role of artistic director. Despite his youth

of his previous training in ballet, modern dance, jazz, and African

and lack of experience (Ailey was only twenty-two and had

dance techniques. Ailey insisted upon a complete theatrical experience,

choreographed only one dance in a workshop) he began

including costumes, lighting, and make-up. A work of intense emotional

choreographing, directing scene and costume designs, and running

appeal expressing the pain and anger of African Americans, Blues Suite

rehearsal.

was an instant success and defined Ailey's style.

Ailey designed his first piece in memory of Horton. It was arranged to

For his signature work, Revelations, Ailey drew upon his "blood

showcase James Truitte's physical strength and Carmen de Lavallade's

memories" of Texas, the blues, spirituals, and gospel. These forces

beauty and dramatic abilities.

resulted in the creation of his most popular and critically acclaimed work. Ailey originally intended the dance to be the second part of a

n 1954, he and his friend Carmen De Lavallade were invited to New

larger, evening-length survey of African-American music which he

York to dance in the Broadway show, House of Flowers by Truman

began with Blues Suite.

Capote, starring Pearl Bailey and Diahann Carroll. He also appeared in Sing, Man, Sing (1956, starring Harry Belafonte) and in Jamaica (1957) 72

Although Ailey created 79 works for his dancers, he

world, particularly with the great dramatic ballerina Sallie

maintained that his company was not merely a showcase for

Wilson. ABT, however, insisted that the leading male role be

his own work. Today, the company continues Ailey's vision

danced by the only black man, despite misgivings by Ailey

by performing important works from the past and

and others about the dancer's talent.

commissioning new additions to the repertoire. In all, more

Cry (1971) was one of Ailey's greatest successes. He

than 200 works by over 70 choreographers have been

dedicated it to his mother and

performed by the company.

black women everywhere. It became a signature piece for

Ailey was proud that his company was multi-racial. While

Judith Jamison

he wanted to give opportunities to black dancers, who were frequently excluded from performances by racist attitudes at the time, he also wanted to rise above issues of negritude.

His company always employed artists based solely on artistic talent and integrity regardless of their race.

Ailey continued to create work for his own company and also choreographed for other companies.

In 1962 the U.S. State Department sponsored the Alvin Ailey Dance Company's first overseas tour. Ailey was suspicious of his government benefactors' motives. He suspected they were propagandistic, seeking to advertise a false tolerance by showcasing a modern Negro dance group.

The Alvin Ailey Dance Theater was constructed by

In 1970, Ailey was honored by a commission to create The

Tishman Realty and Construction Corporation of New

River for ABT (ABT). Ailey viewed The River, which he

York, Manhattan's largest builder.

based on the music of composer Duke Ellington, as a chance to work with some of the finest ballet dancers in the 73

Judith Ann Jamison

her dance education. She learned the Cechetti method

(born May 10, 1943,

from Anthony Tudor, founder of the Philadelphia Ballet

Philadelphia, Pennsylvania is an

Guild, and studied with Delores Brown Abelson, a graduate

American dancer and

of Judimar who pursued a performance career in New York

choreographer, best known as the

City before returning to Philadelphia to teach. Throughout

Artistic Director of Alvin Ailey

high school, Jamison was also member of numerous sports

American Dance Theate

organizations, the Glee Club, and the Philadelphia String

Judith Jamison was born on May

Ensemble. She studied Dalcroze Eurhythmics, a system that

10, 1943 and grew up in

teaches rhythm through movement. At age seventeen,

Philadelphia, Pennsylvania with

Jamison graduated from Judimar and began her collegiate

her mother, father, and older

studies at Fisk University in Nashville, Tennessee, where she

brother. Her father taught her to

spent three semesters studying psychology before

play the piano,and violin. She was

transferring to Philadelphia Dance Academy. There she

exposed to the prominent art culture in Philadelphia from a

studied with James Jamieson, Nadia Chilkovsky, and Yuri

very early age. At the age of six, she began her dance

Gottschalk. In addition to her technique classes, she took

training at Judimar School of Dance. There she studied

courses in Labanotation, kinesiology, and other dance

with Marion Cuyjet who became one of Jamison’s early

studies. During this time, she also learned the Horton

mentors. Under Cuyjet’s tutelage, Jamison studied classical

technique from Joan Kerr, which required great strength,

ballet, and modern dance. The Judimar studios were

balance, and concentration.

treated as a “holy place” and there was always a sense of performance and theatricality in Cuyjet’s classes. By age

In 1964, after seeing Jamison in a master class, Agnes de

eight, Jamison began dancing on pointe and started taking

Mille invited her to come to New York to perform in a new

classes in tap dancing, acrobatics, and Dunham technique

work that she was choreographing for American Ballet

(which was referred to as “primitive”). A few years later,

Theatre, ‘’The Four Marys’’. Jamison immediately accepted

Cuyjet began sending Jamison to other teachers to advance

the offer and spent the next few months working with the 74

company. When the performances ended and she found

premiered her famous solo, ‘’Cry’’. Alvin Ailey

herself in New York without a job, Jamison attended an

choreographed this sixteen minute dance as a birthday

audition held by Donald McKayle. She felt that she

present for his mother, Lula Cooper.

performed very poorly in the audition and claimed, “I felt as if I had two left feet.”[ However, a few days later, a friend

Today, ‘’Cry’’ remains a crowd favorite and is still featured

of McKayle’s, Alvin Ailey, called Jamison to offer her a

in the company’s repertoire. Throughout her years with

place in his company – Alvin Ailey Dance Theater. Jamison

Alvin Ailey Dance Theater, Jamison continued to perform

made her premiere with Alvin Ailey Dance Theater at

all over the world. Along with her work with Ailey’s

Chicago’s Harper Theater Dance Festival in 1965 in

company, she also appeared as a guest artist with the

‘’Congo Tango Palace’’, and in 1966, she toured Europe

Cullberg Ballet, Swedish Royal Ballet, San Francisco Ballet,

and Africa with the company. Jamison had always had a

and numerous other companies. She danced alongside

strong interest in African identity; therefore, traveling to

many renowned dancers, including the ballet legend

Africa with the company and having the opportunity to

Mikhail Baryshnikov, in a duet entitled ‘’Pas de Duke’’,

observe the culture first-hand was an exciting and valuable

choreographed by Alvin Ailey in 1976.Finally, in 1980, she

experience for her. Unfortunately, soon afterward, financial

left Ailey’s company to perform in the Broadway musical,

complications forced Ailey to put his company on a

‘’’Sophisticated Ladies’’’

temporary hiatus. During this time, Jamison danced with Harkness Ballet and served as an assistant to the artistic

In 1988, Jamison returned to Alvin Ailey Dance Theater as

director. However, she immediately returned to Alvin Ailey

an artistic associate after a brief stint with her own

Dance Theater when the company re-formed in

company the Jamison Project. Upon Ailey’s death, on

1967.Jamison spent the next thirteen years dancing with

December 1, 1989, she assumed the role of artistic director

Alvin Ailey Dance Theater and learned over seventy ballets.

and dedicated the next 21 years of her life to the company’s

Throughout her performance career with the company she

success. Alvin Ailey Dance Theater continued to thrive as

danced in many of Ailey’s most renowned works, including

Jamison continued to rehearse and restage classics from the

‘’Blues Suite’’ and ‘’Revelations’’. On May 4, 1979, Jamison

company’s repertory, as well as commission distinguished 75

choreographers to create new works for the dancers.

Jamison also continued to choreograph, and created dances such as ‘’Forgotten Time’’, ‘’Hymn’’, ‘’Love Stories’’, and ‘’Among Us’’ for the company. In July 2011, Jamison transitioned into the role of Artistic Director Emerita and appointed Robert Battle to the position of Artistic Director Designate.

76

Aside from teaching, Frank has choreographed for all aspects of the entertainment industry. ABC’s Good Morning America dubbed him “The Doctor of Jazz.”

CNBC’s television documentary, Real Stories featured a series on Frank, which later won an Emmy Award. Mr. Hatchett has also been featured on MTV’s The Real World, and VH1’s Driven. In 2000, Frank Hatchett and Nancy Myers Gitlin co-authored the popular book titled Frank Hatchett’s Jazz Dance. Frank was also honored as

Frank Hatchett

one of the recipients of the Fred Astaire awards in 2002. e.

Entertainers, students, and dance teachers from all over the world come to study with Frank Hatchett. Frank has continuously toured the country giving master classes, and making special guest appearances. In addition, Frank has been one of the featured master teachers for the annual Jazz Dance World Congress.

The Hatchett style is a blend of strength, funk, and individual interpretation, with an emphasis on selling your performance. Associated exclusively to Frank Hatchett, his unique energy and spirit have come to be called VOP. This signature VOP style is also available on DVD or VHS as part of a new series of instructional videos produced in part

by Broadway Dance Center.

77

encourage each of his students, from the absolute beginner

Eugene Louis Faccuito(Luigi)

to the most seasoned professional. “A good teacher teaches from the heart,” says Luigi. “Don’t look for the weaknesses

Founder of the world’s first jazz school and friend and

in people. Instead, find what is best in each student. Even if

mentor to countless students, teachers and celebrities, Luigi

it is a pretty shade of lipstick, tell her you like it.”

has a passion for showing others how to find the passion in themselves. This year we honor him with the Dance

Dancers, singers and actors from every corner of the

Te a c h e r L i f e t i m e A c h i e v e m e n t A w a r d .

entertainment industry study with Luigi at Studio Maestro, home to his school

Even his name is smooth: Luigi. It flows off the tongue as

on Manhattan’s

eloquently as his feet chassé across the floor or his shoulders

Upper West Side. His

roll into an épaulement during a pas de bourrée. Even at

students have

age 78, his dancing is classic, flawless and refined, his body

included John

lithe and trim. Born March 20, 1925, he came into the

Tr avo l t a ,

world as Eugene Louis Faccuito but was dubbed “Luigi” by

Christopher Walken,

the late great Gene Kelly, his employer, mentor and, later,

Barbra Streisand,

peer and friend. Today Luigi is a household name in the

Liza Minelli, Ann

dance world, standing at once for the codified jazz

Reinking, Ben

technique and the legendary man who created it half a

Ve r e e n , P a t r i c i a

century ago.

McBride, Maria C a l e g a r i , Tw y l a

Inventing a technique and teaching around the world would

Tharp, Susan Stroman, Valerie Harper, Alvin Ailey, Robert

have been enough to earn him a chapter in dance history

Morse, Tony Roberts and Jacques d’Amboise. Many of

books. But what is most remarkable about Luigi is the

these celebrities return, when schedules permit, to remind

warmth and humanity that infuse his teaching and

themselves how to realign their bodies. Performers from 78

Hollywood, Broadway and major ballet companies say that the Luigi technique is like an elixir for the body and soul

Eugene Louis Faccuito was the eighth of 11 children, born

because it is a movement style based on the most

to Italian immigrant parents in Steubenville, Ohio. Luigi

demanding and rigid of all techniques—classical ballet—

recalls that his father, who died before his fifth birthday,

but never asks more than the body can do naturally and

nicknamed him his “Valentino,” believing that he was born

c o m f o r t a b l y.

to entertain. The day Luigi was born, Tony, one of his four older brothers, was downstairs dancing and entertaining

“Dance should not hurt if you put the parts in the right

visitors; his father came downstairs and said, “If you think

place,” says Luigi. For him, this requires engaging the

this kid can dance, wait till you see my Valentino upstairs.”

buttocks and stomach, lifting the chest and dropping the shoulders. “Use the strength of your center to give your

Luigi had an idyllic childhood, full of support and love

arms and legs more beauty,” he says, adding that the

from his parents and siblings. Of his older brothers, who he

appendages are meant to derive their impetus from the

says acted more like four fathers, he was particularly close

s tren gth of th e body ’s c ore.

to Tony, seven years his senior. “Tony taught me everything he knew; he was a great dancer with natural talent,” says

To dance the “Luigi” way, a dancer must have the utmost

Luigi. “The two of us were always dancing, tapping and

respect for the classical positions and not embellish them

flip-flopping. We even wore out the cement in my mother’s

with extraneous movements. “Each position is used to make

cellar.” Luigi also trained with the McKean sisters in

the next position more beautiful,” Luigi explains. This

Steubenville, who taught a bit of everything—ballet, tap

simple movement theory has guided him throughout his

and acrobatics. There was no such thing as jazz dancing

career in helping numerous students develop proper

then, he explains. It was just called dancing.

technique, become better artists and recover after injury.

By age 10, he was working professionally in nightclubs, burlesque shows at fairs and festivals and in local theaters.

Born to Dance

By 12 or 13 he was winning amateur contests and even 79

replaced Dean Martin as the singer in Steubenville’s Bernie

coma that lasted several months, doctors told him they

Davis Orchestra. After signing on with a local agent called

hadn’t expected him to live, and that he probably wouldn’t

10% Charlie, he got bookings in cities such as Pittsburgh,

walk again, let alone dance. Luigi preferred to listen to an

Detroit and Buffalo. Tony was there every step of the way,

inner voice that said, “keep moving, never stop moving.”

encouraging and nurturing his career. “He even separated

And indeed, the motto “Never Stop Moving,” emblazoned

me from the girl who was my first love,” reminisces Luigi.

on T-shirts sold at his school, has become the mantra which

“He thought my girlfriends were distractions who interfered

guides him. He knew he would have to work extremely

with my career.” Tony still checks in on him from his home

hard just to walk again. Shunning conventional physical

in Steubenville, asking after his younger brother’s health

therapy, which he found ineffectual, Luigi started to do his

and wondering if he can still dance.

own exercises, which he soon discovered kept him supple and enabled him to have greater control of his body.

Tr a g e d y — a n d Re c ov e r y Through sheer will and hard work, he recovered and was When Luigi moved to Hollywood after serving in the army

soon back in class. “I was always in some class or other and

in World War II, he thought he’d get his big break.

“I

took whatever was available to me.” He studied ballet with

didn’t want to be like Gene Kelly or Fred Astaire, I wanted

Bronislava Nijinska, Adolph Bolm and Eugene Loring, tap

to be another one of them,” he says. “I was good-looking

with Louis Da Pron and character, adagio, acrobatics,

and could do it all. I thought I would become a big star.”

fencing and tap at Edith Jane’s Falcon Studios.

But fate had other plans for him.

He finally got his big break when an MGM talent scout saw In December of 1946, Luigi was riding in a car when a

him dancing at Falcon Studios and asked him to audition

crash threw him from the passenger seat and crushed his

for Gene Kelly in On The Town. He got a part in the

head against the curb. The right side of his body and the

chorus, thus beginning lifelong friendships with mentors

left side of his face were paralyzed, and he suffered a

Kelly and choreographer/dancer Robert Alton. This also

fractured skull and broken jaw. After awakening from a

marked the beginning of an eight-year career performing 80

in such films as Annie Get Your Gun, An American in

New York City to assist another choreographer and to

Paris, Singin’ in the Rain, The Band Wagon, White

perform in three more Broadway productions. After

Christmas and others.

teaching at June Taylor’s studio, he founded his own school, the First World Jazz Centre. Since then, Luigi has directed the school with the indispensable support of Francis J.

B i r t h o f t h e L u i g i J a z z Te c h n i q u e

Roach, his greatest disciple and a well-known teacher of the “When I was on a set, I wanted to be good, I didn’t want to

Luigi technique, who has traveled the world working with

lose my job, so when a choreographer would say ‘Take five,’

him.

I would get up and work out the movements and put my body in the right positions,” Luigi recalls. Gradually, people began to notice that what he was doing was helping him to l e a r n a n d s t a y fi t .

Kelly and Alton would say, “That’s great, Luigi, create a technique for that. That’s not just good for you; let other people learn how to do that.” Buoyed by encouragement from dancers, choreographers and directors, Luigi started teaching his technique informally on stage sets and formally in dance studios in the late ’40s and early ’50s.

In 1956, Alex Romero, Kelly’s assistant and a choreographer, invited Luigi to assist him and appear in the Broadway production of Happy Hunting, starring Ethel Merman and Fernando Lamas. He ended up staying in

81

CONTEMPORARY JAZZ Any type of jazz dance that evolved from deviation from its "standard" shape(such as classic swing) since mid-20th

Mia Michaels is an American choreographer best known for

MIA MICHAELS

her judging and contemporary choreography on the TV show So You Think You Can Dance (SYTYCD). She has worked with musical artists such as Celine Dion, Madonna, Tom Cruise, Catherine Zeta-Jones, Ricky Martin, Gloria Estefan, and Prince. In 2005 she choreographed Cirque du Soleil's world tour, "Delirium" as well as Celine Dion's Las Vegas show "A New Day..." for which she was later nominated for Emmy. In 2007 she won an Emmy Award for Outstanding Choreography for her "Calling You" routine on season 2 of So You Think You Can Dance; she won again in 2010 for her work on season 5.] She was a main judge of So You Think You Can Dance together with Adam Shankman and Nigel Lythgoe for season 7. She choreographed the dance sequence of "Get Happy" in Season 7 Episode 15 of the "House" episode "Bombshells" Michaels was born in Coconut Grove, Florida on February 22, 1966, to a family of dancers. Her father Joe Michaels taught her jazz, tap, and ballet from the age of three at the Miami Dance Center. Her sister Dana Michaels taught her contemporary dance. While growing up she attended summer sessions at Interlochen Center for the Arts and at Jacob's Pillow in Massachusetts.

83

The choreography for Celine Dion’s "A New Day", by Mia, under the direction of Franco Dragone at Caesars’ Palace in Las Vegas has received stunning reviews. The show features a cast of 50 dancers. a Mia's work can be seen in the first touring show by Cirque du Soleil, Delirium, which premiered March 2006. She has created works for numerous recording artists including Madonna, Ricky Martin, Gloria Estefan, Anna Vissi, and Prince.

Mia is a judge and contributing choreographer for the Fox television show, and touring company, “So You Think You Can Dance.”Mia won an Emmy award for her Choreography on a Television Series “Calling You” on SYTYCD. Her other works in film and television include “Cool Women” for AMC/DreamWorks Television and award winning commercials for Mike’s Hard Lemonade, Bacardi, Coldwell Banker, and Ziper. Michaels has been on the faculty of schools including the Harid Conservatory, the Ailey School of the Alvin Ailey American Dance Theater, and Broadway Dance Center, in New York City,[23] and her alma mater, the New World School of the Arts. Her choreography has been enlisted for the Miami City Ballet, Joffrey II, the Kirov Academy and the Jazz Theater of Amsterdam. http://www.miamichaels.com/

84

MANDY MOORE Mandy Moore is an contemporary, jazz choreographer and

Moore choreographed the first group dance of the Top

performer whose work has been seen on television, in film

Twenty dancers in the fourth episode of the second series of

and on the concert stage. She was nominated for an Emmy

So You Think You Can Dance (UK). This episode was

in 2005 and again in 2011 for choreography performed on

broadcasted on the 16 April 2011, on BBC One.

the television show So You Think You Can Dance.Moore was one of the choreographers for Celine Dion's Taking Chances World Tour. In addition to being the choreographer for American Idol (season 6),[2] Moore was a choreographer on season 3, season 4 and season 5 of So You Think You Can Dance; She was also a guest-judge in Salt Lake City for season 4 auditions.

As a performer, Moore has appeared on television shows including Malcolm in the Middle, That '70s Show, and The Drew Carey Show. Film credits include A Time for Dancing and Austin Powers in Goldmember.

Moore was born in St. Louis, Missouri, raised in Breckenridge, Colorado, and currently lives in Los Angeles.

She teaches in Los Angeles at Edge Performing Arts Center and travels internationally to teach and choreograph for JUMP Dance Convention, private studios and independent performers.

85

MODERN

Modern dance was an early 20th century dance form that emerged as expression of rebellion against classical ballet.

MARTHA GRAHAM

Graham was what in the Victorian era was known as an

Martha Graham (May 11,

Grahams were strict Presbyterians. Dr. Graham was a third

1894 – April 1, 1991) was an

generation American of Irish descent and her mother Jane

American modern dancer and

Beers was a tenth generation descendant of Puritan Miles

choreographer whose influence

Standish.

on dance has been compared

In the mid 1910s, she began her studies at the newly

with the influence Picasso had

created Denishawn School of Dancing and Related Arts,

on moder n visual arts,

founded by Ruth St. Denis and Ted Shawn, at which she

Stravinsky had on music, or

would stay till 1923.

Frank Lloyd Wright had on

In 1925, Graham was employed at the Eastman School of

architecture.

Music where Rouben Mamoulian was head of the School

She danced and choreographed for over seventy years.

of Drama. Among other performances, together they

Graham was the first dancer ever to perform at the White

produced a short two-color film called The Flute of

House, travel abroad as a cultural ambassador, and receive

Krishna, featuring Eastman students. Mamoulian left

the highest civilian award of the USA: the Presidential

Eastman shortly thereafter and Graham chose to leave also,

Medal of Freedom. In her lifetime she received honors

even though she was asked to stay on.

ranging from the Key to the City of Paris to Japan's

In 1926, the Martha Graham Center of Contemporary

Imperial Order of the Precious Crown. She said, "I have

Dance was established. On April 18 of the same year,[4] at

spent all my life with dance and being a dancer. It's

the 48th Street Theatre, Graham debuted with her first

permitting life to use you in a very intense way. Sometimes

independent concert, consisting of eighteen short solos and

it is not pleasant. Sometimes it is fearful. But nevertheless it

trios that she had choreographed. She would later say of

is inevitable.

the concert: "Everything I did was influenced by

Graham was born in Allegheny City, which today is part of

Denishawn."

"alienist", a practitioner of an early form of psychiatry. The

Pittsburgh, Pennsylvania, in 1894. Her father George 87

One of Graham's students was heiress Bethsabée de

Her oldest friend and musical collaborator Louis Horst died

Rothschild with whom she became close friends. When

in 1964. She said of Horst "His sympathy and

Rothschild moved to Israel and established the Batsheva

understanding, but primarily his faith, gave me a landscape

Dance Company in 1965, Graham became the company's

to move in. Without it, I should certainly have been lost."

first director.

There were a few notable exceptions to her dances being

In 1936, Graham made her defining work, "Chronicle",

taped. For example, she worked on a limited basis with still

which signaled the beginning of a new era in modern

photographers Imogen Cunningham in the 1930s, and

dance.[citation needed] The dance brought serious issues to

Barbara Morgan in the 1940s. Graham considered Philippe

the stage for the general public in a dramatic manner.

Halsman's photographs of "Dark Meadows" the most

Influenced by the Wall Street Crash, the Great Depression

complete photographic record of any of her dances.

and the Spanish Civil War, it focused on depression and

Halsman also photographed in the 1940s: "Letter to the

isolation, reflected in the dark nature of both the set and

World", "Cave of the Heart", "Night Journey" and "Every

costumes.

Soul is a Circus". In later years her thinking on the matter

In 1938 Erick Hawkins was the first man to dance with her

evolved and others convinced her to let them recreate some

company. The following year, he officially joined her troupe,

of what was lost.

dancing male lead in a number of Graham's works. They

Martha Graham with Bertram Ross (1961)

were married in 1948. He left her troupe in 1951 and they

Graham started her career at an age that was considered

divorced in 1954.

late for a dancer. She was still dancing by the late 1960s and

Her largest-scale work, the evening-length Clytemnestra,

her works from this era included roles for herself which

was created in 1958, with a score by Egyptian-born

were more acted than danced and relied on the movement

composer Halim El-Dabh. She also collaborated with

of the company dancing around her. In her biography

composers including Aaron Copland on Appalachian

Martha Agnes de Mille cites Graham's last performance as

Spring, Louis Horst, Samuel Barber, William Schuman,

the evening of May 25, 1968, in a "Time of Snow". But in

Carlos Surinach, Norman Dello Joio, and Gian Carlo

A Dancer's Life biographer Russell Freedman lists the year

Menotti. Graham's mother died in Santa Barbara in 1958.

of Graham's final performance as 1969. In her 1991 88

autobiography, Blood Memory, Graham herself lists her final performance as her 1970 appearance in "Cortege of Eagles" when she was 76 years old.

In the years that followed her departure from the stage Graham sank into a deep depression fueled by views from the wings of young dancers performing many of the dances she had choreographed for herself and her former husband. Graham's health declined precipitously as she abused alcohol to numb her pain.

After a failed suicide attempt she was hospitalized. Graham not only survived her hospital stay but she rallied. In 1972 she quit drinking, returned to her studio, reorganized her company and went on to choreograph ten new ballets and many revivals. Her last completed ballet was 1990's Maple Leaf Rag. Graham choreographed until her death in New York City from pneumonia in 1991, aged 96.[ She was cremated, and her ashes were spread over the Sangre de Cristo Mountains in northern New Mexico. marthagraham.or 89

LESTER HORTON

Throughout his career, Horton combined dance and drama

Horton, Lester, (1906-53),

costumes, sets, lighting, and music as well as the scenarios

dancer, choreographer, and

and choreography. His fascination with ethnic dance,

teacher is regarded as one of the

human sensuality, and cultural history was expressed in a

founders of American modern

prodigious body of work with themes ranging from the

dance. He developed a unique

classics to melodrama, social concerns to farce.

into a total theatrical experience. He was intimately involved in creating all aspects of a production: the

style of technique and choreography, established the first permanent theater in

Horton demanded a lot from his dancers. He required

America devoted to dance, and organized one of the first

them to study ballet, learn to read music, sew, work the light

integrated modern dance companies.

board, and assist in making scenery and props, participating in virtually all aspects of production, design, and execution.

Lester Horton was born in Indianapolis, Indiana. Choosing

Horton's company members and students included well-

to work in California (three thousand miles away from the

known modern dancers/choreographers such as Alvin

center of modern dance - New York City), Horton

Ailey, Janet Collins, Carmen de Lavallade, Bella Lewitzky,

developed his own approach that incorporated diverse

James Mitchell, Joyce Trisler, and James Truitte. Horton

elements including Native American dances and modern

collaborated with Lewitzky to develop the foundation of his

Jazz. Horton's dance technique (Lester Horton Technique)

technique; they joined forces with several other partners to

emphasises a whole body approach including flexibility,

found the Dance Theater in Hollywood in 1946.

strength, coordination, and body awareness to allow

Paul Taylor (born July 29, 1930) is widely considered to be

freedom of expression.

one of the foremost American choreographers of the 20th century.

90

PAUL TAYLOR

lampooning America’s most treasured icons. In the 1970s

Paul Taylor is among

In the 1980s he looked unflinchingly at marital rape and

the last living members

intimacy among men at war. In the 1990s he warned

of

the second

against religious zealotry and blind conformity to authority.

generation of

In the first decade of the new millennium he condemned

A m e r i c a ’s m o d e r n

American imperialism, poked fun at feminism and looked

dance artists. He has

death square in the face. And yet, while his work has largely

continued to win

been iconoclastic, Taylor has also made some of the most

acclaim for his recent

purely romantic, most astonishingly athletic, and downright

creations as well as stagings of his earlier works. As prolific

funniest dances ever put on stage.

as ever, he may propel his dancers through space for the

In 1954 he assembled a small company of dancers and

sheer beauty of it, or use them to wordlessly illuminate war,

began making his own works. A commanding performer

spirituality, sexuality, morality and mortality. If, as

despite his late start, he joined the Martha Graham Dance

Balanchine said, there are no mothers-in-law in ballet, there

Company in 1955 for the first of seven seasons as soloist

certainly are dysfunctional families, disillusioned idealists,

while continuing to choreograph on his own small troupe.

imperfect religious leaders, angels and insects in Taylor's

In 1959 he was invited by Balanchine to be a guest artist

dances.

with New York City Ballet.

In the 1950s, when Taylor’s work was so cutting-edge that it

Hailed for uncommon musicality and catholic taste, Taylor

often sent confused audience members flocking to the exits,

has set dances to an eclectic mix that includes Ragtime,

Martha Graham dubbed him the “naughty boy” of dance.

Rock, Tango, Tin Pan Alley and Barbershop Quartets;

In the 1960s he shocked the cognoscenti by setting his

Medieval masses, Renaissance dances, baroque concertos,

trailblazing modern movement to music composed 200

classical symphonies, and scores by Debussy, Cage,

years earlier, and he inflamed the establishment by

Feldman, Ligeti and Pärt; telephone time announcements,

he put incest center stage and revealed the primitive nature lurking just below men's and women’s sophisticated veneer.

91

loon calls, and laughter. While he has covered a

Taylor has influenced dozens of men and women who have

breathtaking range of topics, recurring themes have

gone on to choreograph, often on their own troupes. He

included the natural world and man’s place within it; love

has worked closely with such outstanding artists as Robert

and sexuality in all gender combinations; life, death, and

Rauschenberg, Jasper Johns, Ellsworth Kelly, Alex Katz,

what may follow; and iconic moments in American history.

Tharon Musser, Thomas Skelton, Gene Moore, John

His poignant looks at soldiers, those who send them into

Rawlings, William Ivey Long, Jennifer Tipton, Santo

battle, and those they leave behind prompted The New

Loquasto and Matthew Diamond. And as the subject of the

York Times to hail him as “among the great war poets.”

documentar y, Dancemaker, and author of the

Taylor’s first choreographic triumph was the slyly funny 3

autobiography Private Domain and Wall Street Journal

Epitaphs in 1956. He captivated dancegoers in 1962 with

essay Why I Make Dances, he has shed light on the

his virile grace in the landmark Aureole, cheekily set not to

mysteries of the creative process as few artists ever have. He

contemporary music but to a baroque score as Junction had

remains among the most sought-after choreographers

been the year before. He struck chords again with the

working today, commissioned by ballet companies and

apocalyptic Scudorama – intended to be as dark as Aureole

presenting organizations the world over.

was sunny – and the controversial From Sea to Shining Sea

Taylor has received every important honor given to artists

and Big Bertha. After retiring as a performer in 1974,

in the United States. In 1992 he was a recipient of the

Taylor devoted himself fully to choreography, setting

Kennedy Center Honors and received an Emmy Award for

movement exclusively on bodies other than his own. A

Speaking in Tongues, produced by WNET/New York the

string of masterpieces followed, beginning immediately

previous year. He was awarded the National Medal of Arts

with Esplanade and including Cloven Kingdom, Dust, Airs,

by President Clinton in 1993. In 1995 he received the Algur

Mercuric Tidings, Le Sacre du Printemps (The Rehearsal),

H. Meadows Award for Excellence in the Arts and was

Arden Court, Last Look, Musical Offering, Syzygy,

named one of 50 prominent Americans honored in

Speaking in Tongues, Company B, Eventide, Piazzolla

recognition of their outstanding achievement by the

Caldera, Black Tuesday, Promethean Fire, VBanquet of

Library of Congress’s Office of Scholarly Programs. He is

Vultures and Beloved Renegade.

the recipient of three Guggenheim Fellowships and 92

honorary Doctor of Fine Arts degrees from California Institute of the Arts, Connecticut College, Duke University, The Juilliard School, Skidmore College, the State University of New York at Purchase, Syracuse University and Adelphi University. Awards for lifetime achievement include a MacArthur Foundation Fellowship – often called the “genius award” – and the Samuel H. Scripps American Dance Festival Award. Other awards include the New York State Governor's Arts Award and the New York City Mayor's Award of Honor for Art and Culture. In 1989 Taylor was elected one of ten honorary American members of the American Academy and Institute of Arts and Letters.

Having been elected to knighthood by the French government as Chevalier de l'Ordre des Arts et des Lettres in 1969 and elevated to Officier in 1984 and Commandeur in 1990, Taylor was awarded France’s highest honor, the Légion d’Honneur, for exceptional contributions to French culture, in 2000.

Mr. Taylor, was hailed by Time as “perhaps the best dance documentary ever.” www.ptdc.org

93

TWYLA THARP

Bernardino and studied at the Vera Lynn School of Dance.

www.twylatharp.org

in California but later transferred to Barnard College in

Tharp was born in 1941 on a farm in Portland, Indiana,

New York City, where she graduated with a degree in Art

and was named after Twila Thornburg, the "Pig Princess"

History in 1963. It was in New York that she studied with

of the 89th Annual Muncie Fair in Indiana.

Martha Graham and Merce Cunningham. In 1963 Tharp

When Tharp was a young child she spent a few months

joined the Paul Taylor Dance Company.

each year living with her Quaker grandparents on their

In 1969, she formed her own company, Twyla Tharp

farm in Indiana. In 1950 Tharp's family—younger sister

Dance. Her work often utilizes classical music, jazz and

Twanette, twin brothers Stanley and Stanford, mother

contemporary pop music. From 1971 to 1988, Twyla

Lecile and father

Tharp Dance performed original works around the world.

Wi l l i a m — m ove d t o

In 1973, Tharp choreographed Deuce Coupe to the music

Rialto, California. Her

of The Beach Boys for the Joffrey Ballet. Deuce Coupe is

parents opened a drive-

considered to be the first crossover ballet. Later she

in movie theater, where

choreographed Push Comes To Shove (1976), which

Tharp worked from the

featured Mikhail Baryshnikov and is now thought to be the

time she was 8 years old.

best example of the crossover ballet.

The drive-in was on the

In 1988, Twyla Tharp Dance merged with American

corner of Acacia and

Ballet Theatre, since which time ABT has held the world

Foothill, the major east–

premieres of sixteen of Tharp's works. In 2010, they had a

west artery in Rialto

total of twenty of her works in their repertory. Tharp has

and the path of Route

since choreographed dances for: Paris Opera Ballet, The

66.She attended Pacific

Royal Ballet, New York City Ballet, Boston Ballet, Joffrey

High School in San

Ballet, Pacific Northwest Ballet, Miami City Ballet,

Tharp, a "devoted bookworm,"admits that this schedule left little time for a social life. Tharp attended Pomona College

94

American Ballet Theatre, Hubbard Street Dance and

In 1985, her staging of Singin' in the Rain, played at the

Martha Graham Dance Company. Tharp also created the

Gershwin for 367 performances.

dance roadshow Cutting Up, (1991) with Mikhail

Tharp premiered her dance musical Movin' Out, set to the

Baryshnikov, which went on to tour and appeared in 28

music and lyrics of Billy Joel in Chicago in 2001. The show

cities over two months.

opened on Broadway in 2002. Movin' Out ran for 1,331

In the summer of 2000, Twyla Tharp Dance regrouped

performances on Broadway. A national tour opened in

with entirely new dancers. Tharp Dance company

January 2004. Movin' Out received ten Tony nominations

performed Tharp's choreography around the world. With

and Tharp was named Best Choreographer.

this company, Tharp developed the material that would go

Tharp opened a new show titled The Times They Are a-

on to become Movin' Out, a musical featuring the songs of

Changin', to the music of Bob Dylan in 2005 at The Old

Billy Joel and featuring most of the dancers that were in

Globe Theatre in San Diego. The Times they are A-

Tharp Dance.

Changin' set the records or the highest grossing show and

In 2012, Tharp created the full-length ballet The Princess

highest ticket sales as of the date of closing (March 2006). It

and the Goblin., based on the story by George MacDonald.

was also the first time a show received a second extension

The ballet is based on MacDonald's story The Princess and

before the first preview. After this record setting run in

the Goblin and is Tharp's first to include children. The

California, the New York show ran for 35 previews and 28

narrative ballet was co-commissioned by Atlanta Ballet and

performances.

Royal Winnipeg Ballet.

In 2009, Tharp worked with the songs of Frank Sinatra to

In 1980, Tharp's work first appeared on Broadway with

mount Come Fly With Me, which ran at the Alliance

Twyla Tharp Dance performing When We Were Very

Theater in Atlanta and was the best selling four-week run as

Young, followed in 1981 by The Catherine Wheel, her

of the date of closing in 2009. Renamed Come Fly Away

collaboration with David Byrne at the Winter Garden.

the show opened on Broadway in 2010 at the Marquis

"Wheel" was broadcast on PBS, and had its soundtrack

Theatre in New York and ran for 26 previews and 188

released on LP.

performances. Come Fly Away, was retooled and opened under the title Sinatra: Dance With Me at The Wynn Las 95

Vegas in 2011. Come Fly Away National Tour opened in Atlanta, Georgia, in August 2011.

Tharp collaborated with film directors Milos Forman on Hair (1978), Ragtime (1980) and Amadeus (1984); Taylor Hackford on White Nights (1985) and James Brooks on I'll Do Anything (1994).

Television credits include choreographing Sue's Leg (1976) for the inaugural episode of the PBS program Dance in America,; co-producing and directing Making Television Dance (1977), which won the Chicago International Film Festival Award; and directing The Catherine Wheel (1983) for BBC Television. Tharp co-directed the award-winning television special "Baryshnikov by Tharp" in 1984.

Tharp has written three books: an early autobiography, Push Comes to Shove (1992; Bantam Books); The Creative Habit: Learn It and Use It for Life (2003, Simon & Schuster), translated into Spanish, Chinese, Russian, Korean, Thai and Japanese; “The Collaborative Habit” (2009, Simon & Schuster), also translated into Thai, Chinese and Korean.

96

CONCERTS

BAD The Bad World Tour was the debut solo concert tour by American recording artist Michael Jackson. Sponsored by Pepsi and spanning 16 months, the tour included 123 concerts to 4.4 million fans across 15 countries. The tour grossed $125 million, adding two new entries in the Guinness World Records for the largest grossing tour in history and the tour with the largest attended audience.

In April 1989, the tour was nominated for "Tour of the Year 1988". A live album and DVD of the July 16, 1988 concert in London will be released along with the special edition reissue of the Bad album entitled, Bad 25, on September 18, 2012.

98

HISTORY The HIStory World Tour was the third and final worldwide solo concert tour by American artist Michael Jackson, covering Europe, Africa, Asia, Oceania and North America. The tour included a total of 82 concerts and was attended by approximately 4.5 million fans, beating his previous Bad Tour with 4.4 million.

The tour was the largest concert tour ever by a solo artist in terms of attendance at the time grossing a total of over $238 million (excluding free concerts).The HIStory World Tour spanned the globe with stops in 58 cities, 35 countries on 5 continents.

99

BLONDE AMBITION TOUR The Blond Ambition World Tour was the third concert tour by American singer-songwriter, Madonna. The tour was launched in support of her fourth studio album, Like a Prayer, and the soundtrack, I'm Breathless. The tour reached North America, Europe and Asia. It was a highly controversial tour, mainly for its juxtaposition of Catholic iconography and sexuality. Rolling Stone called it an "elaborately choreographed, sexually provocative extravaganza" and proclaimed it "the best tour of 1990."in 1991, a documentary film, Truth or Dare (aka In Bed with Madonna), was released chronicling the tour.

The tour received the "Most Creative Stage Production" at the Pollstar Concert Industry Awards.The tour was named the Greatest Concert of the 1990s by Rolling Stone. The tour grossed over $60 million.

100

DROWNED WORLD The Drowned World Tour was the fifth concert tour by American singer-

When the tour was decided, Madonna appointed Jamie King as choreographer and the tour was planned in a short timespan of three months, including signing up the dancers, musicians and technicians.

Designer Jean-Paul Gaultier was the costume designer who designed the costumes in such way that they indicated different phases of Madonna's career. The poster and logo for the tour included references to Kabbalah, which Madonna studied.

The show was divided into five segments, namely Neo-Punk, Geisha/ Anime, Country/Western, Latin/Gypsy and Urban/Pimp. The setlist

songwriter Madonna in

consisted mainly of songs from the last two studio albums released at

support of her seventh

that point, with two pre-90s song added. The first segment displayed

and eighth studio

high-energy performances with Madonna wearing a kilt and dominatrix style costumes. In the geisha segment performances Madonna wore a

albums Ray of Light

kimono and later performed airborne martial arts. Acoustic songs were

and Music. It was also

performed in the country segment which featured Madonna in cowboy

her first tour in eight years, following The Girlie Show World Tour in 1993. The tour was supposed to start in 1999,

costumes. The Latin segment featured flamenco dancing and the last segment featured ghetto-themed performances. Drowned World Tour was critically appreciated from contemporary critics who complimented her ability to re-invent continuously.

The tour was a commercial success. It went on to become the highest-

but was delayed until 2001 as Madonna gave

grossing concert tour of 2001 by a solo artist. She grossed more than US

birth to her son, got married to Guy Ritchie,

$75 million with summer sold-out shows and eventually played in front

was working on Music, and was busy filming The Next Best Thing.

of 730,000 audience throughout the United States and Europe. It received Major Tour of the Year and Most Creative Stage Production awards nominations at the 2001 Pollstar awards, but lost them to U2.

101

Filmed on May 31 at the Lyceum Theatre in New

LIZA WITH A "Z"

York,after only eight weeks of rehearsals, the concert was shot with eight 16mm film cameras at the insistence of Fosse, in contrast to other television specials of the time which were all shot on videotape.

Throughout the concert Minnelli sings and dances to a variety of popular songs and standards, music from

Liza with a ‘Z’. A Concert for Television is

Cabaret, and songs specifically written for her by Kander

a 1972 concert film, made for television

and Ebb —

and starring Liza Minnelli. The film was

most notably the

produced by Fred Ebb and Bob Fosse. As

t i t l e s o n g.

Minnelli is

well as producing, Fosse also directed

accompanied on stage in many of

and choreographed the concert, and Ebb

t h e s o n g s by

wrote and arranged the music with his

dancers and

song-writing partner John Kander. All

backing singers,

four had previously worked on the

and — in three

successful film adaptation of Cabaret

guitarists, a

numbers — two

earlier in the same year. According to

keyboardist and

Minnelli, it was "the first filmed concert

a drummer. The costumes were

on television".

designed by Halston, who was also a friend of Minnelli. Marvin 102

Hamlisch was selected by Kander and Ebb to be the music coordinator.

The film was first broadcast on NBC on September 10, 1972. Kay Gardella of the New York Daily News reviewed the film as being "sensational with an 'S'" and it went on to win four Emmys and a Peabody Award. However, after the initial broadcast, NBC re-ran the concert only twice more and did not screen it again after 1973. The film was not seen for over thirty years and was thought lost until 1999, when Michael Arick discovered that Minnelli owned the copyright and the two set about restoring the negatives.

103

MONSTER BALL

A revision of the tour occurred after only a few months of performances, due to Gaga's concern that the original version was constructed within a very short span of time.

The Monster Ball Tour

The stage of the original show looked like a frame,

was the second

comparable to that of a hollowed-out television set. Since

worldwide concert tour

The Fame Monster dealt with the paranoias Gaga had

by American recording

faced, the main theme of the original shows became

artist Lady Gaga. Staged

human evolution, while elements of the canceled tour with West were still included in some parts. From 2010 onwards,

in support of her album

the revamped shows had a New York theme and portrayed

The Fame Monster (2009)

a story set in the city, where Gaga and her friends got lost

and comprising a set list

and had to find their way to "the Monster Ball". Both

of songs from that and

versions of the show were divided into five segments, with

her debut album The

the last being the encore. Each of them featured Gaga in

Fame (2008), the tour visited arenas and stadiums from

new outfits, singing songs related to the concept of the

2009 through 2011. Described as "the first-ever pop

segment, as they were followed by a video interlude.

Commentators commended Gaga's singing abilities,

electro opera" by Gaga, the tour was announced in

theatricality of the show, and her sense of style and fashion.

October 2009 after an intended joint concert tour with

The Monster Ball was a commercial success, with sold-out

hip-hop artist Kanye West was suddenly canceled. The

shows and demand for tickets prompting organizers to add

Monster Ball Tour commenced four days after the release

more dates to the itinerary. It ultimately grossed an

of The Fame Monster in November 2009.

estimated US$227.4 million from 200 reported shows and

104

Garden, aired in May and was released on DVD and Bluray on November 21, 2011.

an audience of 2.5 million. The Monster Ball Tour became the highest-grossing tour by a debut headlining artist, and one of the highest grossing tours of all time. At the 2010 Billboard Touring Awards, Gaga won the Breakthrough Performer Award, as well as the Concert Marketing & Promotion Award, the latter being an acknowledgment of her partnership with sponsor Virgin Mobile.

HBO filmed a special of The Monster Ball Tour during Gaga's February 2011 shows at Madison Square Garden in New York City. Documenting the whole concert with intersperses of backstage footage, the special, titled Lady Gaga Presents the Monster Ball Tour: At Madison Square

105

Each show is a synthesis of circus styles from around the

CIRQUE DU SOLEIL

world, with its own central theme and storyline. They draw the audience into the performance through continuous live music, with performers rather than stagehands changing the props. After financial successes and failures in the late 1980s, Nouvelle Expérience was created – with the direction of Franco Dragone – which not only made Cirque profitable by 1990, but allowed it to create new shows.

Cirque expanded rapidly through the 1990s and 2000s, going from one show to 19 shows in over 271 cities on every continent except Antarctica. The shows employ approximately 4,000 people from over 40 countries and generate an estimated annual revenue exceeding US $810 million. The multiple permanent Las Vegas shows alone play to more than 9,000 people a night, 5% of the

Cirque du Soleil ("Circus of the Sun") is a

city's visitors, adding to the 90 million people who have

Canadian entertainment company, self-described

experienced Cirque worldwide. In 2000, Laliberté bought

as a "dramatic mix of circus arts and street

out Gauthier, and with 95% ownership, has continued to

entertainment." Based in Montreal, Quebec,

expand the brand. In 2008, Laliberté split 20% of his share equally between two investment groups Istithmar World

Canada, and located in the inner-city area of

and Nakheel of Dubai, in order to further finance the

Saint-Michel, it was founded in Baie-Saint-Paul in

company's goals. In partnership with these two groups,

1984 by two former street performers, Guy

Cirque plans to build a residency show in the United Arab

Laliberté and Gilles Ste-Croix

Emirates by 2012. However, since Dubai's financial 106

problems in 2010 caused by the 2008 global recession, it

increased weight of rainwater caused the central mast to

has been stated by Laliberté it may be looking for another

snap. Working with a borrowed tent, Laliberté then had to

financial partner to bankroll the company's future plans,

contend with difficulties with the European performers who

even willing to give up another 10% of his share. Several

were so unhappy with the Quebec circus's inexperience,

more shows are in development around the world, along

that they had at one point sent a letter to the media

with a television deal, women's clothing line and the

complaining about how they were being treated.

possible venture into other mediums such as spas,

The problems were only transient, however, and by the

restaurants and nightclubs. Cirque also produces a small

time 1984 had come to a close, Le Grand Tour du Cirque

number of private and corporate events each year (past

du Soleil was a success. Having only $60,000 left in the

clients have been the royal family of Dubai and the 2007

bank, Laliberté went back to the Canadian government to

Super Bowl).

secure funding for a second year. Unfortunately, while the

Cirque's creations have received numerous prizes and

Canadian federal government was enthusiastic, the Quebec

distinctions, including a Bambi Award in 1997, a Rose d'Or

provincial government was resistant to the idea. It was not

in 1989, Drama Desk Awards in 1991 and 1998, three

until Quebec's Premier, René Lévesque, intervened on their

Gemini Awards, four Primetime Emmy Awards, and a star

behalf that the provincial government relented.

on the Hollywood Walk of Fame.

The original big top tent that was used during the 1984 Le

Le Grand Tour du Cirque du Soleil

Grand Tour du Cirque du Soleil tour can now be seen at Carnivàle Lune Bleue, a 1930s-style carnival that is home to the Cirque Maroc acrobats.

On stage at the 1994 finale of Nouvelle Expérience.

La Magie Continue

Originally intended to only be a one-year project, Cirque

After securing funding from the Canadian government for

du Soleil was scheduled to perform in 11 towns in Quebec

a second year, Laliberté took steps to renovate Cirque from

over the course of 13 weeks running concurrent with the

a group of street performers into a "proper circus". To

third La Fête Foraine. The first shows were riddled with

accomplish this he hired the head of the National Circus

difficulty, starting with the collapse of the big top after the

School, Guy Caron, as Cirque du Soleil's artistic director.

107

The influences that Laliberté and Caron had in reshaping

Ste-Croix, dressed in a monkey suit, walked through

their circus were extensive. They wanted strong emotional

downtown Toronto as a desperate publicity stunt. A later

music that was played from beginning to end by musicians.

stop in Niagara Falls turned out to be equally problematic.

They wanted to emulate the Moscow Circus' method of

Several factors prevented Cirque from going bankrupt that

having the acts tell a story. Performers, rather than a

year. The Desjardins Group, which was Cirque du Soleil's

technical crew, move equipment and props on and off stage

financial institution at the time, covered about $200,000 of

so that it did not disrupt the momentum of the "storyline".

bad checks. Also, a financier named Daniel Lamarre, who

Most importantly, their vision was to create a circus with

worked for one of the largest public relations firms in

neither a ring nor animals. The rationale was that the lack

Quebec, represented the company for free, knowing that

of both of these things draws the audience more into the

they didn't have the money to pay his fee. The Quebec

performance.

government itself also came through again, granting

To help design the next major show, Laliberté and Caron

Laliberté enough money to stay solvent for another year.

hired Franco Dragone, another instructor from the National Circus School who had been working in Belgium.

Le Cirque Réinventé

When he joined the troupe in 1985, he brought with him

In 1987, after Laliberté re-privatized Cirque du Soleil, it

his experience in commedia dell'arte techniques, which he

was invited to perform at the Los Angeles Arts Festival.

imparted to the performers. Although his experience would

Although they continued to be plagued by financial

be limited in the next show due to budget restraints, he

difficulties, Normand Latourelle took the gamble and went

would go on to direct every show up to, but not including

to Los Angeles, despite only having enough money to make

Dralion.

a one-way trip. Had the show been a failure, Cirque would

By 1986, the company was once again in serious financial

not have had enough money to get their performers and

trouble. During 1985 they had taken the show outside

equipment back to Montreal.

Quebec to a lukewarm response. In Toronto they

The festival turned out to be a huge success, both critically

performed in front of a 25% capacity crowd after not

and financially. The show attracted the attention of

having enough money to properly market the show. Gilles

entertainment executives, including Columbia Pictures, 108

which met with Laliberté and Gauthier under the pretense

buy out Latourelle. By the end of 1989, Cirque du Soleil

of wanting to make a movie about Cirque du Soleil.

was once again in a deficit.

Laliberté was unhappy with the deal, claiming that it gave

Nouvelle Expérience

too many rights to Columbia, which was only attempting to secure all rights to the production. Laliberté pulled out of the deal before it could be concluded, and that experience

Isabelle Chassé performs in the contortion act of Nouvelle

stands out as a key reason why Cirque du Soleil remains

Expérience.

independent and privately owned today.

Main article: Nouvelle Expérience

In 1988, Guy Caron left the company due to artistic

In that same year, Cirque attempted to revive one of its

differences over what to do with the money generated by

previous shows, Le Cirque Réinventé. The attempt was

Cirque du Soleil's first financially successful tour. Laliberté

abandoned after a weak critical reception. Laliberté and

wanted to use it to expand and start a second show while

Ste-Croix instead created a new show based on the plans

Caron wanted the money to be saved, with a portion going

that had originally been drawn up by Caron before his

back to the National Circus School. An agreement was

departure. Originally intended to be called Eclipse, they

never met and Caron, along with a large number of artists

renamed the show Nouvelle Expérience and launched it in

loyal to him, departed. This stalled plans that year to start a

1990.

new touring show.

Franco Dragone agreed to return—albeit reluctantly—but

Laliberté sought out Gilles Ste-Croix as replacement for the

only if he had full creative control of the show's

artistic director position. Ste-Croix, who had been away

environment. One of the first things he did was to remove

from Cirque since 1985, agreed to return. The company

the curtain that separated the artist from the audience, so

went through more internal troubles, including a failed

that they would both feel part of a larger show. Whereas in

attempt to add Normand Latourelle as a third man to the

a traditional circus the artist could go past the curtain and

partnership. This triumvirate lasted only six months before

drop his role, Dragone had created an environment where

internal disagreements prompted Gauthier and Laliberté to

the artist had to remain in character for the full length of the production.

109

Although Dragone was given full control over the show,

immigration was an issue, the mixing of cultures in cities,

Laliberté oversaw the entire production. He was in favor of

and Saltimbanco reflects that mix, with all of its

Dragone's new ideas. Inspired by Jules Verne's "La Chasse

personalities and colours. It's the challenge we have in

au Météore", Dragone's concept for the show was that the

today's world: respecting each other, living and working

performers were playing the parts of jewels spread around

together, despite our differences."

the Earth.

Idealistic or not, Saltimbanco, (whose title comes from the

Nouvelle Expérience turned out to be Cirque du Soleil's

Italian phrase "Saltare in Banco", which literally means "To

most popular show up to that point and would continue

jump on a bench"),[ was well received. Featuring 47 artists,

running until 1993. It spent one of those years at The

the cast has been assembled from the citizens of 15

Mirage Resort and Hotel on the Las Vegas Strip. By the

different countries. This is, to date, the longest-running

end of 1990, Cirque was profitable again and was prepared

show that Cirque du Soleil has ever produced. It has run for

to start a new show.

15 years and has toured North and South America, Europe, South Africa, Japan and the Pacific Rim.

Saltimbanco

With Saltimbanco finished and touring in the United States

Main article: Saltimbanco

and Canada, Cirque du Soleil toured Japan in the summer of 1992 at the behest of the Fuji Television Network.

Taking acts from Nouvelle Expérience and Cirque

Inside Cirque du Soleil's "grand chapiteau" at Saltimbanco.

Réinventé they created a show for this tour entitled

Created in 1992, Saltimbanco was the first show in which

"Fascination". Although "Fascination" was never seen

Cirque du Soleil would narrow its focus to tell a very

outside of Japan, it represented the first time that Cirque

specific and themed story. Franco Dragone was inspired by

had produced a show that took place in an arena rather

the way multiculturalism shaped the nature and direction

than a big top. It was also the first that Cirque du Soleil

of Cirque du Soleil and wanted the theme of this new show

performed outside of North America.

to be one of "cosmopolitan urbanism". Laliberté stated,

On February 1, 1997, Saltimbanco played its final show at

"For me, Saltimbanco is a message of peace. In the 1990s,

London's Royal Albert Hall. However, the show was 110

restaged and started the following year for a new three-year

the need to set up a permanent infrastructure to meet the

tour throughout Asia and the Pacific.

needs of its employees working in the Las Vegas area.

In 2010, an arena version of the retired big-top show

Dragone's concept for Mystère was an exploration of the

toured in arenas across North America, traveling to regions

origins of life in our universe. The themes for the show are

that have never had a Cirque du Soleil show visit, such as

a conglomerate of multiple mythologies from multiple

Idaho and Newfoundland and Labrador. Furthermore,

cultures. The music was quite different from Cirque's

Cirque du Soleil decided to carry on their tour of

previously traditional style as well, relying on more "ethnic"

Saltimbanco to South Africa and Australia in 2011.

music of Spanish, African and east European inspiration.

Currently (January/February 2012), Saltimbanco is touring

The show represented Cirque's first attempt at moving from

Eastern and Central Europe, in May at Beirut, Lebanon,

the big top into a theater setting. It was also the first time

and July 4–7, 2012 at the Aspire Dome, Doha, Qatar.

that Laliberté and Gauthier were forced to contend with a

Saltimbanco will be performing its arena show at the

major business partner, Treasure Island. The partnership

Singapore Indoor Stadium from July 26, 2012 to August 5,

led to difficulties and Steve Wynn was not initially

2012.

optimistic about the show's chances for success, saying "You guys have made a German opera here." Franco Dragone

Mystère

took Wynn's sarcasm as a compliment. Wynn remained

Main article: Mystère (Cirque du Soleil)

unhappy with the dark and moody feel of Mystère and had

On December 25, 1993, as Cirque was approaching its

even threatened to delay the opening of the show unless

10th anniversary, they unveiled a new show at the then-new

changes were made. Nevertheless, Mystère was successful

Treasure Island Hotel and Casino on the Las Vegas Strip.

and has remained at the hotel ever since.

Mystère was a departure from their standard format much in the way that Fascination was. A deal was made between

Alegría

Cirque du Soleil and Steve Wynn, Treasure Island's

Main article: Alegría (Cirque du Soleil)

developer, to grant permanent residency to Cirque's new

Alegría was a departure from the bright circus atmosphere

show. It posed certain difficulties for the company, such as

seen previously in productions like Saltimbanco. Created 111

for Cirque du Soleil's tenth anniversary, the concept for the

Saltimbanco. Premiering in Halifax on May 27, 2009,

show came to life over a dinner conversation between

Alegría started touring later that year for a new three-year

Franco Dragone and Guy Laliberté. Dragone wanted this

North American tour, including stops in cities such as

show to be dark and heavy. "At one point", Dragone said "I

Edmonton, AB in August 2010 and Victoria, BC in

was with Guy Laliberté at a restaurant in one of the Las

September 2010.

Vegas casinos, and I told him the next show would be sad, heavy, really hard: ' Alegría! Alegría! Alegría!' It's Spanish

Quidam

for 'Joy! Joy! Joy!' Where I come from, it's what you say

Main article: Quidam

when you're in pain. It means life goes on."

Premiering in 1996, Quidam adhered to the trend of

Costing more than $3 million to produce, Alegría makes

bringing darker shows to the big top, previously established

use of darker lighting and music than previous Cirque

by Alegría the year before. Derived from the Latin word for

productions. The stage and the props use gothic arches and

"a nameless passerby", Quidam was Cirque du Soleil's

harsh angular designs to attempt to invoke a feeling of

ninth production and premiered in Montreal on April 23,

oppressiveness.

1996. Dragone's concept for this show is the imagination of

Alegría has toured around the world, including a year in

a young, jaded girl named Zoe. Drawing heavily from

residence at the Beau Rivage resort in Biloxi, Mississippi.

surrealistic artwork, the performers in the show are the

Francesca Gagnon, who played the most famous "The

manifestations of her own magical daydreams.

White Singer" character, has twice been invited to reprise

Designer Michel Crête and director Franco Dragone

the Alegría title song at the Montreal Jazz Festival. The

wanted to find a new way to incorporate acrobatic

music of Alegría has proven extremely popular and the

equipment onstage. One of the ways they did this in

show's soundtrack remains the best-selling Cirque du Soleil

Quidam was to design an overhead rigging system that

album to date.

would allow the performers to enter and exit from above

After a 15-year-long tour, Alegría retired on April 5, 2009,

and across the stage. The system also allowed the ability to

after its month-long engagement in Dubai. The show was

safely suspend cast members in the air using harnesses for

later restaged, following the arena format of Delirium and

extended periods of time.

112

The show premiered in Montreal as Cirque du Soleil's new

On October 19, 1998, at the Bellagio Hotel and Casino on

head office and training center was being inaugurated.

the Las Vegas Strip, Cirque premiered its tenth production

Initial reviews were critical of Quidam, some suggesting

and second resident show. Once again working with hotel

that it "did not feel like Cirque du Soleil". Still, the

entrepreneur Steve Wynn, Cirque du Soleil and Wynn

production scheduled a three-year tour of North America.

financed a $100 million theater within the hotel. As the

By the time the 1000-performance tour was finished,

company was getting more comfortable with theater

Denver, Houston and Dallas were added to the schedule

productions, they wanted to create a show performed in the

and more than 2.5 million people watched Quidam. After

water, a concept not tried in a theater before. O, whose

touring Mexico for five months (November 2007 – March

name is derived from the phonetic spelling of the French

2008), Quidam went back to Europe, to start its second

word eau, meaning water, took more than 400,000 man-

European tour in Lisbon, Portugal, with scheduled dates in

hours of preproduction and production work to prepare,

Spain, Belgium, UK and Ireland. In 2009/2010, the show

not counting the time spent on the construction of the

toured South America, starting in Brazil, then moving to

theater.

Argentina, Chile, Peru and Colombia.

The 1,800-seat theater itself was centered around a 1.5-

The show goes from one country to the other transported

million-US-gallon (5,700 m3) tank of water for the cast to

in 50 trucks. It does not only consist of the Big Top or

perform in and around. It was built using a water pumping

"Grand Chapiteau" where the shows themselves take place

system that is as noiseless as possible to prevent any

but of an entire citadel providing everything necessary for

mechanical noise from detracting from the quality of the

the cast, including a school for the children and a restaurant

show itself. Twelve underwater speakers allow the

that cooks for the 150 people working for the show, directed

performers in the water to hear and react to audio cues

by French Chef Wilfred Gianoly.

when they are submerged.

Water-resistant materials had to be used in the construction

O

of the theater as well as all the props, costumes and

Main article: O (Cirque du Soleil)

makeup. The costumes used by the performers were nearly $10,000 each and needed to be made of material that 113

resisted the effects of the chlorine and bromide in the water.

project the appearance and atmosphere of a travelling

The makeup that had been used in past shows was

show's "Grand Chapiteau".

unsuitable for submerged performers, requiring a new

Conceptually, Dragone and Laliberté decided to portray La

waterproof formulation.

Nouba as a fairy tale. Set designer Michel Crête noted, "We

To support the needs of the performers who would be

were at Disney, so we were influenced by a world of fables."

getting in and out of the water, a directed HVAC system

The set design is built to give the perception of an old attic

was created for this theater to control the heat and

where the performers tell the audience a story. La Nouba,

humidity generated by the water which is approximately 84

whose title originates from the French phrase faire la nouba

°F (29 °C). Blowers were built into the stage to keep warm

("to party"), juxtaposes two groups of characters: one

air circulating on the stage while a silent air movement

colourful and the other monochromatic.

system carried air at 55 °F (13 °C) underneath every seat in

The creative design team of Cirque du Soleil admits that

the theater. The combined systems keep both the

La Nouba was rushed together. They had been working on

performers and the audience at a comfortable temperature.

the previous shows for the past several years and La Nouba was created under near-exhaustion. They countered this by

La Nouba

attempting to instill more youth into the show, in both the

Main article: La Nouba

themes and the age of the performers.

Later that same year in Lake Buena Vista, Florida, Cirque's third resident show was inaugurated at the Downtown

Dralion

Disney section of the Walt Disney World Resort. In a

Main article: Dralion

partnership with Disney's former CEO Michael Eisner,

The years of work had taken their toll on Cirque du Soleil's

Cirque created its first permanent freestanding theater to

creative team. After La Nouba, Franco Dragone and

hold 1,671 attendees. 160 feet (49 m) high and designed to

Michel Crête parted ways from the company. To fill the

resemble a white tower with metal turrets on the outside,

void they left for the creation of the next show, Guy

the 70,000-square-foot (6,500 m2) interior is made to

Laliberté turned to his former artistic director, Guy Caron, who had remained friends with Laliberté after his departure 114

in 1988. Caron was persuaded to leave the National Circus

Varekai

School to return to work with Cirque du Soleil on a new

Main article: Varekai

Eastern-themed show.

Rather than attempt to mimic Dragone's style, Caron decided to revisit the themes of Le Cirque réinventé. "I like

The entrance to Cirque du Soleil's Grand Chapiteau at

a show that's full of energy, without gaps, that's full of

Varekai.

strong acts, funny, with a big punch at the end", Caron

In 2002, Cirque du Soleil premiered Varekai, its first

explained. One of his obstacles was working with a team of

touring show in three years. Laliberté brought in fresh

performers who were almost entirely new to Cirque du

talent to direct this new show: a theater director named

Soleil, including a new set designer named Stéphane Roy

Dominic Champagne. Much like Caron directing Dralion

who had worked with Laliberté and Gauthier back in Baie-

three years earlier, Champagne found himself working with

Saint-Paul at the Balcon Vert youth hostel. Despite the new

a fresh group of performers who had never worked for him

team, many within the company were unenthused about

before. Unlike the intuitive approach to writing productions

Dralion, alarmed at how much the atmosphere and style

of Dragone and Caron, Champagne scripted Varekai from

differed from Dragone's productions. Despite any

start to finish.

misgivings, Dralion went on to be Cirque du Soleil's top-

Varekai, which is a word from the Romany language which

grossing touring show. The television filming of the show

means "wherever", was conceptualized on the basis of

received a Primetime Emmy Award.

mythology like many of the previous productions. The

After a 13-year-long tour, Dralion was briefly retired on

story is about the Greek myth of Icarus. The story picks up

January 17, 2010, after its engagement in Mexico, so that it

where the myth leaves off, telling the story of what

could be converted into an arena format. It started touring

happened to Icarus after he fell from the sky. He lands in

again on October 21, 2010, with the first show playing in

the middle of a jungle at the base of a volcano where he

Trenton, New Jersey.

must learn to fly again.

115

Zumanity

complete odds with the other, more family-oriented Cirque

Main article: Zumanity

du Soleil shows. "Our previous shows have all been family-

On September 20, 2003, Cirque du Soleil unveiled

oriented and politically correct, which is great", Laliberté

Zumanity.[39] This production is a resident cabaret-style

said, "But we're human beings, we won't hide it. We're a

show at the New York-New York Hotel & Casino on the

bunch of happy campers. We like to live new experiences.

Las Vegas Strip. It is the first "adult-themed" Cirque du

Zumanity deals with some of those experiences."

Soleil show, billed as "the sensual side of Cirque du Soleil" or "another side of Cirque du Soleil". Created by René

Kà

Richard Cyr and Dominic Champagne, Zumanity is a

Main article: Kà

departure from the standard Cirque format. Intended to be

After Steve Wynn sold his Mirage Resorts to MGM in

for mature adult audiences only, this show is centered

2000, Laliberté received a call from Terry Lanni, CEO of

around erotic song, dance, and acrobatics.

the MGM Mirage. Lanni had been eager to capitalize on

The inspiration to create Zumanity came from multiple

the previous successes of Cirque du Soleil in Las Vegas and

sources. Laliberté had been offered the chance to create two

offered to fund the production of two more shows,

new shows in Las Vegas, and wanted something completely

Zumanity and Kà.

new and original rather than multiple similar shows that

Directed by Canadian theater veteran Robert Lepage, Kà

would cannibalize off of each other's sales and audiences.

drew heavily on martial arts for its inspiration. The story

Another reason was that the New York-New York Hotel

centers around the adventures of a pair of imperial twins.

and Casino wanted to make their entertainment appear

Unlike most Cirque productions, the story of Kà was more

more "trendy". The hotel liked the concept of a more adult

concrete and linear, more narrative and less abstract.First

Cirque du Soleil performance.

premiering in November 2004 at the MGM Grand, KÀ

Laliberté admits that the biggest reason to produce this

became Cirque's fourth resident show in Las Vegas. It was

show was the chance to create something with riskier

also the largest and most expensive production the

subject matter. He was interested in the idea of creating a

company had created to date. By the time it had been

show that explored human sexuality, something that was at

completed, KÀ had cost more than $220 million, of which 116

more than $30 million was in costumes and $135 million

Delirium

was the theater itself, the bill for which was paid entirely by

Main article: Delirium (Cirque du Soleil)

the MGM Grand.

Delirium was a Cirque du Soleil live music event created in conjunction with Live Nation. Instead of being a standard

Corteo

touring show, it was a multimedia/theatrical arena

Main article: Corteo

production that featured remixes of existing Cirque music

Corteo is a Cirque du Soleil touring production that

and reinterpretations of performances. This show was

premiered in North America in 2005. Corteo—"cortege" in

choreographed by So You Think You Can Dance's Mia

Italian—is a show about a clown who watches his own

Michaels. After an extensive North American tour, and a

funeral taking place in a carnival-like atmosphere. Inspired

short European tour, the show retired on the April 19,

by "The Grand Parade: Portrait of the Artist as Clown" on

2008, in the O2 Arena in London.

display at the National Gallery of Canada, in many ways Corteo is a throwback to the older and more lighthearted

Love

Cirque productions like Saltimbanco.

Main article: Love (Cirque du Soleil)

Directed by Daniele Finzi Pasca, the founder of the Swiss

Love premiered in 2006 at The Mirage, Las Vegas and

clown troupe Teatro Sunil, Corteo takes place on a large

consists of panoramic sound and visuals along with a cast

circular stage, consisting of separate rotating rings set inside

of 60 international artists. Born from a personal friendship

each other. This allows for one area of the stage to move

and mutual admiration between George Harrison and

around the stationary action occurring inside the ring.

Cirque founder Guy Laliberté, Love brings Cirque du

Occasionally during the performance, the stage is divided

Soleil together with the musical legacy of The Beatles

by a large curtain with a painting on it called the "Corteo

through their original recordings. Using the master tapes at

Procession". There are entrance/exits at either side of the

Abbey Road studios, Sir George Martin and his son, Giles

circular stage.

Martin have created a soundscape of Beatles music for Love.

117

Koozå

where they experience the rich culture of the Northern

Main article: Koozå

peoples and bring back snow to the city in a snowstorm.

Koozå is a touring production that premiered in Montreal,

The show was formally retired with its final performance

Quebec, Canada on April 19, 2007. The show's music is

on January 2, 2011.

partly inspired by the music of India. Koozå makes use of a large traveling tower on the stage called a "bataclan". The

Zaia

bataclan moves over the course of the show and

Main article: Zaia

reconfigures the performing space.

Based at The Venetian Macao, Cotai Strip, the 90-minute

This show was directed by David Shiner, who had

production opened in August 2008 and brings together 75

previously worked as a clown in Cirque du Soleil's

high-calibre artists from all four corners of the globe. The

production of Nouvelle Expérience. His experience as a

show is directed by Neilson Vignola and Gilles Maheu.

clown and past work with Switzerland's Circus Knie

Zaia presents a young girl's perception of the stars and

informed his work on Koozå. The show's title is derived

planets, space and infinity, all populated by a panoply of

from a Sanskrit word that means "magical container".

fantastic, out-of-this-world creatures. The title, Zaia, comes from a Greek name meaning "life" and is also reminiscent

Wintuk

of Gaia, the living, self-aware spirit of Earth.

Main article: Wintuk

The final performance of Zaia was on February 19, 2012.[

Wintuk was performed at the Theater at Madison Square Gardens in New York City and ran for 10 weeks each

Zed

winter holiday season from 2007 to 2011. A family-based

Main article: Zed (Cirque du Soleil)

and specifically themed semi-permanent residency show,

Zed was a residency show at the Tokyo Disney Resort that

Wintuk was about a young boy living in a large, snowless

opened on October 1, 2008. Film director François Girard

city waiting for the first snowfall that never comes. With the

created a show surrounded by the titular character, drawn

help of four other companions in search of their place in

on the Tarot and its arcana that holds up a mirror to

the world, they journey to an imaginary Nordic country,

ourselves and the human condition through a variety of 118

other characters as he unites the divisions between the

responded to these complaints by adding numerous

people of the sky and Earth. The show closed December

additional illusions to the performance and revamping the

21, 2011, due to the economic impact caused by the 2011

show in April 2010.

Tōhoku earthquake and tsunami.

Ovo Criss Angel Believe

Main article: Ovo (Cirque du Soleil)

Main article: Criss Angel Believe

Ovo (Portuguese for "egg"), was created and directed by

In late 2008 Cirque du Soleil collaborated with MGM to

Brazilian dancer/choreographer Deborah Colker – the first

create a resident show at the Luxor hotel in Las Vegas,

woman to create a Cirque production—that heavily relies

featuring Criss Angel, fusing his signature illusions and

on Brazilian music and some dance performances mixed in

artistry with acrobatics, dance, puppetry, music and poetry

with the traditional circus arts; premiered in Montreal in

to attempt to tell a story of the exploration of his mind.

2009 and is currently touring North America. The show

Originally scheduled to open on September 26, 2008,

looks at the world of insects and its biodiversity where they

preview performances were delayed due to "technical

go about their daily lives until a mysterious egg appears in

difficulties", and the show eventually hosted its gala opening

their midst, as the insects become awestruck about this

on October 31, 2008.

iconic object that represents the enigma and cycles of their

Despite enthusiastic promotions from Cirque du Soleil and

lives.

Criss Angel, including a guest performance on American reality TV show So You Think You Can Dance, which

Banana Shpeel

resulted in sales of more than $5 million in advance tickets,

Main article: Banana Shpeel

Believe received an uneasy reception from fans and critics

Banana Shpeel was a touring theatre show which

alike. Audience members were quoted saying the

premiered on June 1, 2009, at the Royale Theatre Toone.

production was a "waste of time" and "dead end", while the

The vaudeville-based production was directed by Anthony

show received harsh reviews from critics for lack of magic

Ghantous, who also created XUL. The show only lasted for

and overall cohesion of the production. Producers

a couple of hours, only playing in Brussels.

119

from the company's usual touring routes, the next stop Viva Elvis

usually being San Francisco, as Cirque already has three

Main article: Viva Elvis

touring shows (Ovo, Koozå and Alegría) in the United

Viva Elvis, developed in partnership with Elvis Presley

States.

Enterprises, began previews on December 18, 2009, in a

Cirque describes Totem's theme as the evolution of

specially designed, 2,000-seat theatre at the new Aria

mankind from its primordial, amphibian state toward the

Resort & Casino at CityCenter in Las Vegas.

aspiration of flight, taking inspiration from many of

CKX, Inc., the company that owns the rights to Elvis

mankind's founding myths.

Presley's name, likeness, and music publishing, signed an agreement to have Cirque create the Elvis-themed

Zarkana

residency show. The gala premiere was originally scheduled

Main article: Zarkana

for January 8, 2010 on what would have been Elvis' 75th

Zarkana is a touring arena show which will play in both

birthday, but was postponed until February 19, 2010. The

Radio City Music Hall in New York City as well as the

Elvis Presley Projects will include additional touring and its

Grand Kremlin Palace in Moscow. Zarkana will also tour in

multimedia presentations, along with "Elvis

other cities, although it will be seasonal in New York City

Experiences" (interactive multimedia exhibits). The show

and Moscow. The show began previews on June 9, 2011, at

will end its run in August, 2012, due to low attendance

Radio City Music Hall and premiered on June 29, 2011.

records.

The show will be a reinvention of the variety show, with a

[

story about a magician in an abandoned theatre who has

Totem

lost his love and with her, his magic has disappeared. As he

Main article: Totem (Cirque du Soleil)

cries and begs the Gods for her return he is plunged into a

Totem is a touring show which premiered in Montreal on

world inhabited by surreal creatures.

April 22, 2010. It was created and directed by previous

On March 7, 2012, Cirque du Soleil announced that

collaborator Robert Lepage (Kà). The show began its tour

following its second Radio City Music Hall engagement,

in Canada before heading to Europe. This was a change

Zarkana would replace Viva La Elvis at the Aria Resort & 120

Casino. Previews begin on October 25 for a November 8,

realistic concert experience. The arena show —which is

2012 opening.

very similar to a rock concert— began its tour October 2, 2011, in Montreal. After its North American run for about

Iris

two years, it will continue on to Europe and the rest of the

Main article: Iris (Cirque du Soleil)

world

Iris, a movie-themed permanent show directed by Philippe

At the point in time it leaves North America, a resident

Decouflé, is the first show produced by Cirque du Soleil to

show—which will be more theatrical in nature—will open

be located in Los Angeles, California that premièred on July

in early 2013 at the Mandalay Bay Resort and Casino

21, 2011, at the Dolby Theatre. The show takes spectators

located in Las Vegas, Nevada. In addition to the resident

on a fantastic voyage through the history of cinema and its

show at the Mandalay Bay, Cirque du Soleil will also be

genres, transporting them into the heart of the movie-

opening up a Michael Jackson-inspired lounge as well as a

making process and takes a unique look at the history of

memorabilia gift shop.

cinema and combining that with Cirque du Soleil's traditional artistic works of dance, acrobatics, and modern

Amaluna

circus traditions. The name of the show, Iris, is taken

Main article: Amaluna

directly from both camera diaphragms as well as the

Cirque du Soleil's 32nd production since 1984, Amaluna,

colored iris of the human eye.

premiered April 19, 2012, in Montreal, QC. It is created and directed by Diane Paulus. The story takes place on an

Michael Jackson: The Immortal World Tour

island governed by goddesses. During a storm, a group of

Main article: Michael Jackson: The Immortal

men are washed up on shore. The queen's daughter falls for

World Tour

one of the young men, and the trials of their love are the

Michael Jackson: The Immortal World Tour is the official

elements composing this production

theatrical production by Cirque du Soleil which uses the music and vision of Michael Jackson along with Cirque du Soleil's signature acrobatic performance style to create a 121

TV

It premiered locally in late September 1952 as Bandstand on

AMERICAN BAND STAND

Philadelphia television station WFIL-TV.

American Bandstand is an American musicperformance show that aired in various versions from 1952 to 1989 and was hosted from 1956 until its final season by Dick Clark, who also served as producer. The show featured teenagers dancing to Top 40 music introduced by Clark; at least one popular musical act—over the decades, running the gamut from Jerry Lee Lewis to Run DMC—would usually appear in person to lipsync one of their latest singles. Freddy "Boom Boom" Cannon holds the record for most appearances at 110.

The show's popularity helped Dick Clark become an American media mogul and inspired similar long-running music programs, such as Soul Train and Top of the Pops. Clark eventually assumed ownership of the program through his Dick Clark Productions company.

123

SOUL TRAIN

Despite this, in years on air, Soul Train will continue to hold the honor of the longest, continuously running firstproduced from the show's debut through the the program was widely influential among younger African Americans, many of whom turned to it not only to hear the latest songs by well-known African-American artists, but also for clues about the latest fashions and dance trends. Moreover, for many white Americans in that era who were not living in areas that were racially diverse, Soul Train provided a unique window into African-American culture. Some commentators have called Soul Train a "black American Bandstand", another long-running program with which

Soul Train is an American musical variety show that aired

Soul Train shares some similarities. Cornelius, however,

in syndication from 1971 to 2006. In its 35-year history, the

tended to bristle at the Bandstand comparison.

show primarily featured performances by R&B, soul, and

Dick Clark, host and producer of American Bandstand,

hip hop artists, although funk, jazz, disco, and gospel artists

attempted to divert viewers from Soul Train with a similarly

have also appeared. The series was created by Don

themed program called Soul Unlimited, whose brief run on

Cornelius, very largely inspired by the french variety show

ABC in 1973 was controversial for its pronounced racial

"PULSATIONS" producted by [[Gésip Légitimus]] and

overtures. Clark ended Soul Unlimited after a handful of

broadcast on French national television in may 1968, who

airings and agreed to work with Cornelius on a series of

also served as its first host and executive producer.

network specials featuring R&B and Soul artists.

Production was suspended following the 2005-2006 season,

Cornelius was relatively conservative in his musical tastes

with a rerun package (known as The Best of Soul Train)

and was admittedly not a fan of the emerging hip hop

airing for two years after that., first-run2005-0,6 season.

genre, believing that the genre did not reflect positively on

run syndicated program in television history until Entertainment Tonight, completes its 35th season.

124

African-American culture (one of his stated goals for the

show because the genre was becoming popular among his

series). Even though Cornelius would feature rap artists on

African-American audience, though the decision alienated

Soul Train frequently during the 1980s, he publicly would

middle-aged, more affluent African-Americans like himself.

admit (to the artists' faces such as Kurtis Blow for example)

that the genre was one that he did not understand; as rap

This disconnect eventually led to Cornelius stepping down

continued to move further toward hardcore hip hop,

as host in the early 1990s and the show losing its influence.

Cornelius would admit to be frightened by the antics of groups such as Public Enemy. Rosie Perez testified in the 2010 VH1 documentary Soul Train: The Hippest Trip in America that Cornelius also disliked seeing the show's dancers perform sexually suggestive "East Coast" dance moves. Cornelius admittedly only had rap artists on the 125

FAME

The show was produced by MGM Television and was initially broadcast on the NBC television network in the US on January 7, 1982. Despite glowing reviews from critics, ratings were less than impressive, and NBC cancelled it after only two seasons. However, by special arrangement

Fame is an American television series originally produced between 1982 and 1987. The show is based on the 1980 motion picture of the same name. Using a mixture of drama and music, it followed the lives of the students and faculty at the New York City High School for the Performing Arts. Although fictional, it was based heavily on the actual Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York. Most interior scenes were filmed in Hollywood, California. In all seasons except the 3rd, the show filmed several exterior scenes on location in New York City.

The popularity of the series, particularly in the UK, led to several hit records and live concert tours by the cast.

with LBS Communications, MGM revived the series for

Despite its success, very few of the actors maintained

first-run syndication in the fall of 1983, where it continued

high-profile careers after the series was cancelled. A

for four more seasons, with the last first-run episode airing

number of the cast members were seen again briefly in

in the US on May 18, 1987.

Bring Back...Fame, a reunion special made for UK

Some seasons of the show were produced by the BBC in

television in 2008.

the United Kingdom, RAI in Italy and Channel 7 in

126

Australia, where later seasons of the show were more

Gimpel and Debbie Allen and co-written by Gary Portnoy

popular than in the domestic market, and in order to

who would go on to co-write and sing the Theme from

continue production, they financed the later seasons.

Cheers (Where Everybody Knows Your Name). In the UK,

Following its cancellation, two versions of the series were

two singles credited to The Kids from "Fame", "Hi-

syndicated in reruns: the original hour-long episodes, which

Fidelity" and "Starmaker", reached the top ten.

usually contained a primary plot, a sub plot and two or

There were four cast members from the original movie that

more musical numbers; and a second version, stripped of

appeared in the television series. Lee Curreri portrayed the

the musical numbers and the sub plot and reduced to 30

character Bruno Martelli, an introverted musical genius.

minutes in length.

The second cast

The show's theme song was a pop hit for singer Irene Cara,

member was Gene

having been featured in the motion picture. A re-recorded

Anthony Ray who

version of the theme, using similar instrumentation to the

portrayed Leroy

1980 track, was used in the TV series and sung by co-star

Johnson, a tough

Erica Gimpel, who played Coco Hernandez.

hood from the

Although Gimpel left the series midway through the third

projects with a

season (after the show moved from NBC to first-run

natural talent for

syndication in 1983), her opening vocals were still heard on

dance who muscles

the show for two more seasons. An updated version of the

his way into an

song, featuring a modern, synthesized hard-rock flavor, was

audition and wins. In

introduced in the fall of 1985 and performed by new cast

the film, Leroy is also illiterate, but this was not addressed in

member Loretta Chandler (Dusty). This version ran for the

the television series.

final two seasons of Fame.

The third film castmember was Albert Hague who played

"I Still Believe In Me", from an episode of the series

teacher Benjamin Shorofsky, a German music teacher who

entitled "Passing Grade", was nominated for an Emmy

constantly battled with Bruno Martelli over music styles.

Award for Best Original Song. It was performed by Erica 127

The final castmember from the film was Debbie Allen who played dance instructor Lydia Grant. Although Allen only appeared briefly in the movie, her character was expanded in the series and she also became the show's original choreographer, in addition to directing several episodes and co-producing one season.

There were also several characters carried over from the movie, played by different actors. The character of Coco Hernandez appeared on the show, played by Erica Gimpel and not Irene Cara, who was offered the role by the show's producers, but politely declined as she wanted to focus on developing her budding singing career. Actor P.R. Paul played Montgomery McNeil in the series, while ER actor Paul McCrane portrayed the gay student in the film. The Montgomery character was changed for TV and was no longer gay. The character Doris Schwartz, played by Valerie Landsburg, was in the series while the character of Doris Finsecker appeared in the film version and was portrayed by Maureen Teefy.

The character of Ralph Garcy metamorphosed into the character of Danny Amatullo for the TV version.

Since 2011, reruns of Fame air in the United States on the arts-focused cable network Ovation.

128

SOLID GOLD

The series ran until July 23, 1988 and was usually seen on Saturdays in the early evening. In 1986, Solid Gold added the current year to its title, so in the seventh season the show was known as Solid Gold '86/'87. For the eighth and last season the program became known as Solid Gold In

Solid Gold is an American syndicated music

Concert, reflecting the addition of more live performances

television series that debuted on September 13,

than had previously been featured on the program in the past.

1980. Like many other shows of its genre, such as

Solid Gold was produced by Brad Lachman Productions

American Bandstand, Solid Gold featured musical

for all eight of its seasons and Bob Banner Associates for its

performances and various other elements such as

first four, after which Banner's company began producing

music videos. What set Solid Gold apart was a group of dancers who at various points in the program performed various (and sometimes borderline risqué) dances to the top ten hits of the week. Many other specials aired in which the dancers would dance to older pop hits as well.

Reviews of the show were not always positive, with The New York Times referring to it as "the pop music show that is its own parody...[enacting] mini-dramas...of covetousness, lust and aerobic toning - routines that typically have a minimal 129

Star Search for Television Program Enterprises.

From its debut in 1980 until the end of its fourth season, the show was taped at the Golden West Broadcasters studio facility. Beginning in September 1984 Paramount, who had previously owned the Golden West facility in the early days of television, moved production of Solid Gold to its studios with a redesigned set.

At the start of Solid Gold's first season (1980), Michael Miller was chosen by Dionne Warwick to be the show's musical director. Miller stayed on for the entire series and composed the theme song for Solid Gold with Academy Award winning songwriter Dean Pitchford, who provided the lyrics. The song, re-recorded various times to reflect ongoing music trends, was performed by the show's hosts (with the exception of the 1984-85 season) at the beginning and end of each program, with the closing theme accompanied by a final routine from the Dancers.

Alex Cole Pamela Rossi Darcel Wynne Paula Beyers Deborah Jenssen Tony Fields Lezlie Mogell Beverly Jeanne

130

REALITY TV Reality television is a genre of television programming that presents purportedly unscripted melodramatic or "humorous" situations, documents actual events, and usually features ordinary people instead of professional actors, sometimes in a contest or other situation where a prize is awarded

DANCE FEVER At the end of a 25-week competition, the five semi-final winners

Dance Fever is an American musical variety series that

all came back to face off in the show's annual Grand Prix Finals

aired weekly in syndication from January 1979 to

for cash and prizes worth over $25,000 which included two

September 1987. The series was created and produced by

brand new cars (one for each member of the winning dance

Merv Griffin and written by Tony Garofalo.

team). In September 1984, the grand prize package was raised

Deney Terrio hosted the series until September 1985,

to $50,000.

where he was replaced by Adrian Zmed. The show's

Each week except for the year-end Grand Prix Finals, the show

announcer for the first two years was Freeman King until

also featured a segment in which some of the top Disco, Pop, or

September 1980 where he was replaced by Charlie

R&B artists of the day would perform their latest hit

O'Donnell.

During Terrio's tenure as host, the show's theme was performed by a musical team called Triple "S" Connection.

Each week, four dancing couples competed for a weekly cash prize of $1,000; Each couple performed their dance routine for a total of two minutes and the celebrity judges scored them anywhere between 70 and 100 points. The couple with the highest total score were the winners and advanced into the next round of competition. In the event of a tie, one set of celebrity scores was dropped in an effort to decide a winner; every fifth week was a Semi-Final show where those winning couples from the last four weeks compete for $5,000.

132

DANCING WITH THE

STARS

Dancing with the Stars is a reality show airing on ABC in the United States, and CTV in Canada in 2011.

The show is the American version of the British television series Strictly Come Dancing. Tom Bergeron is the host, with co-hosts Lisa Canning (season one), Samantha Harris (seasons two through nine), and Brooke Burke Charvet (seasons ten onwards).

The contestant pairs consist of a celebrity paired with a professional dancer. Past celebrity contestants include professional and Olympic athletes, supermodels, actors, singers, astronauts, and teen-heartthrobs. Each couple performs predetermined dances and competes against the others for judges' points and audience votes. The couple receiving the lowest combined total of judges' points and audience votes is eliminated each week until only the champion dance pair remains.

133

The show features a broad variety of American and

SYTYCD

international dance styles ranging across a broad spectrum of classical, contemporary, ballroom, hip-hop, street, club, jazz, and musical theatre styles, amongst others, with many sub-genres within these categories represented. Competitors attempt to master these styles—which are generally, but not always, assigned by a luck-of-the-draw system—in an attempt to survive successive weeks of elimination and win a cash prize (typically $250,000) and often other awards, as well as the title of "America's Favorite Dancer". In eight seasons, the winners have been Nick Lazzarini, Benjamin Schwimmer, Sabra Johnson, Joshua Allen, Jeanine Mason, Russell Ferguson, Lauren Froderman, and Melanie Moore.

The show has won seven Emmy Awards for Outstanding

So You Think You Can Dance is an American

Choreography and a total of nine Emmys altogether.

televised dance competition show that airs on Fox

The program became the No. 1 rated show in summer

in the United States and is the flagship series of

2006 for adults aged 18–49 during its second season but starting with season four it has slowly declined in ratings,

the international So You Think You Can Dance

although it still averaged over 5 million viewers per episode,

television franchise.

as of season eight's completion. The show began broadcast

The series first premiered on July 20, 2005, was

of its ninth season, which features a return to a one-show-

created by American Idol producers Simon Fuller

per-week format and other changes, in May 2012 and has seen a slight uptake in ratings over recent seasons, averaging

and Nigel Lythgoe and is produced by 19

between 6 and 7 million viewers per episode and securing a

Entertainment and Dick Clark Productions.

first place rank for ratings in its time slot.

134

ABDC America's Best Dance Crew is a reality show where dance crews showcase their talent, and compete for a $100,000 (USD) grand prize and the Golden ABDC Trophy (a golden statue of a B-Boy doing a freeze, with the legs moving like a bobblehead). Each week, the crews are given a challenge. The challenge is different for each crew, but has the same general concept or shares a specific theme. To begin each episode, Mario Lopez reveals, in no particular order, which crews are safe and which crews are at risk for elimination. After the crews in the bottom perform their routines, the judges decide which crew will advance to the next round.

Another unique aspect of ABDC is the crew banner. Each banner's logo represents its respective crew, appearing during interviews, performances, and on various

The Jabbawockeez is a seven-member, male, hip-hop dance crew

merchandise. It is also used as a transition effect. When a

best known for being the winners of the first season of America's Best

crew is eliminated, their banner falls from the top of the

Dance Crew. They were initially formed by members Kevin "KB"

stadium, where the banners of the crews still in the running

Brewer, Phil "Swagger Boy" Tayag, & Joe "Punkee" Larot under the

stand. The contestants get to dance one final time on the

name "3 Muskee". By 2004, their members included Ben "B-Tek"

stage as they "walk it out" to the song of the same name. If

Chung, Chris "Cristyle" Gatdula, Rynan "Kid Rainen" Paguio, and

a crew is eliminated from the sixth place mark (fifth in

Jeff "Phi" Nguyen. The Jabbawockeez do not have a leader of the

Season 4, 5, and 7), the show will play a compilation video

group; choreography for their performances as well as music and

of their journey on ABDC. 135

design choices are made as a collective unit. They always

Season 1

perform wearing white masks (rare they wear other colour

JabbaWockeeZ

mask) and white gloves.

Michael Jackson Challenge "P.Y.T. (Pretty Young Thing)" by Michael Jackson

On May 7,2010, the Jabbawockeez debuted their own live

2

stage special at the MGM Grand Hollywood Theater in

Season 3

Las Vegas, entitled MÜS.I.C. They are the first dance crew

Quest Crew

to headline a show in Las Vegas. The show ran from May 7

Last Chance Challenge

to May 26 and included members from Super Cr3w, the

"orQUESTra" by Quest Crew and District 78

winners of season two of America's Best Dance Crew.

3

Music for the show was produced by DJ collective, The

Season 1

Bangerz. Since its initial run at the MGM Grand, the show

Top 4 Crews

moved to the Monte Carlo Resort and Casino where it ran

Broadway Remixed Challenge

five nights a week and is now at Jupiters Casino on the Gold

"It's the Hard Knock Life" from Annie

Coast, Queensland, Australia.

4 Season 3 Strikers All-Stars Britney Spears Challenge "Gimme More" by Britney Spears 5 Season 1 Kaba Modern Crew's Choice Challenge "Technologic" by Daft Punk 6 136

Season 3 Beat Freaks Illusion Challenge "Freeze" by T-Pain featuring Chris Brown 7 Season 3 Dynamic Edition Sudden Death Challenge "My Humps" by The Black Eyed Peas 8 Season 1 Breaksk8 Dance Craze Challenge "Cupid Shuffle" by Cupid 9 Season 2 Fanny Pak Missy Elliott Challenge "Get Ur Freak On" by Missy Elliott 10 Season 2 Super Cr3w Crew's Choice Challenge "Get Up Offa That Thing" by James Brown

137

VIDEOS A music video or song video is a short film integrating a song ,dance and imagery, produced for promotional or artistic purposes.

THRILLER

The song's instruments include a bassline and synthesizer.

In the song, sound effects such as a creaking door, thunder, feet walking on wooden planks, winds and howling dogs can be heard, and the lyrics contain frightening themes and elements. "Thriller" received positive reviews from critics, though the song was outshone by its music video. "Thriller" became Jackson's seventh top-ten single on the Billboard Hot 100 Chart from the album, while reaching the top of the charts in France and Belgium and the top ten in other countries.

"Thriller" was adapted into a highly successful music video, known independently as Michael Jackson's Thriller. At fourteen minutes the video is substantially longer than the

"Thriller" is a song recorded by American recording artist

song, which ties together a narrative featuring Jackson and

Michael Jackson, composed by Rod Temperton, and

actress Ola Ray in a setting heavily inspired by horror films

produced by Quincy Jones. It is the seventh and final

of the 1950s. In the video's most iconic scene, Jackson leads

single from his sixth studio album of the same name. It

other actors costumed as zombies in a choreographed

was released on January 23, 1984 by Epic Records. The

dance routine. Though it garnered some criticism for its

song has appeared on multiple greatest hits compilation

occult theme and violent imagery, the video was

albums from Jackson, including HIStory (1995), Number

immediately popular and received high critical acclaim,

Ones (2003), The Essential Michael Jackson (2005), and

being nominated for six MTV Video Music Awards in 1984

Michael Jackson's This Is It (2009) and it was remixed to

and winning three. In 2009 it was added to the National

the Immortal album in 2011. The song, which has a

Film Registry by the Library of Congress, the first music

voice-over from actor Vincent Price, had originally been

video ever selected.

titled "Starlight".

" 139

BEAT IT

A commercial success, "Beat It" was awarded two Grammy Awards and two American Music Awards and was inducted into the Music Video Producers Hall of Fame. "Beat

"Beat It" is a song

It" (along with the song's music video) propelled Thriller

written and

into becoming the best-selling album of all time. The single

performed by

was certified platinum in 1989. Rolling Stone magazine

American recording

placed "Beat It" in the 337th spot on its list of The 500

artist Michael Jackson,

Greatest Songs of All Time. "Beat It" was also ranked No.

and produced by

81 in Rolling Stone's "100 Greatest Guitar Songs of All

Quincy Jones (with

Time".

co-production by

In the decades since its release, "Beat It" has been covered,

Jackson). It is the third single from the singer's

parodied, and sampled by numerous artists including Fall

sixth solo album, Thriller (1982). Eddie Van

Out Boy, Justin Bieber, Nickelback, Alvin and the

Halen was hired to add the song's distinctive

Chipmunks, Chris Cornell, Fergie, "Weird Al" Yankovic

overdriven guitar solo, but was prevented by his

and Eminem. The song was also featured in the National

record label from appearing in the music video.

Highway Safety Commission's anti-drunk driving

He did appear on stage with Jackson in Dallas

campaign.

during the Jackson brothers "Victory Tour."

"Beat It" was written by Michael Jackson for his Thriller

Following the successful chart performances of

album. Producer Quincy Jones had wanted to include a

the Thriller singles "The Girl Is Mine" and "Billie

rock 'n' roll song, though Jackson reportedly had never

Jean", "Beat It" was released on February 3, 1983

previously shown an interest in the genre. Jackson later said of "Beat It", "I wanted to write a song, the type of song that I would buy if I were to buy a rock song... That is how I 140

approached it and I wanted the children to really enjoy it—

Eddie's recording studio. Another story has claimed that the

the school children as well as the college students." Upon

sound was simply the musician knocking on his own guitar.

hearing the first recorded vocals, Jones stated that it was

The sound, however, is that of Jackson knocking on a drum

exactly what he was looking for. Rock guitarist Eddie Van

case, as he is credited in the album's liner notes. The lyrics

Halen, lead guitarist of hard rock band Van Halen, was

of "Beat It" are about defeat and courage, and have been

then requested to add a guitar solo.

described as a "sad commentary on human nature". The

When initially contacted by Jones, Van Halen thought he

line "don't be a macho man" is said to express Jackson's

was receiving a prank call. Having established that the call

dislike of violence, whilst also referring to the childhood

was genuine, Van Halen recorded his guitar solo free of any

abuse he faced at the hands of his father Joseph. The song

charge. "I did it as a favor", the musician later said. "I was a

is played in the key of E flat minor at a moderately fast

complete fool, according to the rest of the band, our

tempo of 132 beats per minute. In the song, Jackson's vocal

manager and everyone else. I was not used. I knew what I

range is B3 to D5.

was doing – I don't do something unless I want to do it."

Van Halen recorded his contribution following Jones and Jackson arriving at the guitarist's house with a "skeleton version" of the song. Fellow guitarist Steve Lukather recalled, "Initially, we rocked it out as Eddie had played a good solo—but Quincy thought it was too tough. So I had to reduce the distorted guitar sound and that is what was released." The song was among the last four completed for Thriller; the others were "Human Nature", "P.Y.T. (Pretty Young Thing)" and "The Lady in My Life".

On the record, right before Van Halen's guitar solo begins, a noise is heard that sounds like somebody knocking at a door. It is reported that the knock was a person walking into 141

"Billie Jean" became a worldwide commercial and critical

BILLIE JEAN

success; "Billie Jean" was one of the best-selling singles of 1983 and is one of the best-selling singles worldwide. The song topped both the US and UK charts simultaneously. In

"Billie Jean" is

other countries, "Billie Jean" topped the charts of Spain

a song by

and Switzerland, reached the top ten in Austria, Italy, New

American

Zealand, Norway and Sweden, and peaked at number 45

recording

in France. Considered to be one of the most revolutionary

artist Michael

songs in history, "Billie Jean" was certified platinum by the

Jackson. It is

Recording Industry Association of America (RIAA) in

the second

1989.

single from the

Awarded numerous honors—including two Grammy

singer's sixth

Awards, one American Music Award and an induction into

solo album,

the Music Video Producers Hall of Fame—the song and

Thriller (1982). It was written by Jackson and

corresponding music video propelled Thriller to the status

produced by him and Quincy Jones. Originally

of best-selling album of all time. The song was promoted

disliked by Jones, the track was almost removed

with a short film that broke down MTV's racial barrier as

from the album after he and Jackson had

the first video by a black artist to be aired in heavy

disagreements regarding it. There are

rotation. Also, Jackson's Emmy-nominated performance on

contradictory claims to what the song's lyrics refer

Motown 25: Yesterday, Today, Forever, in which Jackson

to. One suggests that they are derived from a real-

premiered his "moonwalk" also helped to popularize the

life experience, in which a mentally ill female fan

song. The song was also promoted through Jackson's Pepsi commercials; during the filming of one commercial, Jackson's scalp was severely burned. Covered by modern artists, "Billie Jean" sealed Jackson's status as an international pop icon.

142

143

VOGUE

"Vogue" is an upbeat dance-pop song which contains a house beat and groove. Noted to contain influences of deep house, it is a contemporary track which followed the trends

Vogue" is a song by

of dance music in the 1990s; nevertheless, it has strong

American singer-

influences of 70s disco within its composition. The song

songwriter

also contains a spoken section, in which the singer

Madonna from her

namechecks various golden era Hollywood celebrities.

soundtrack album

Lyrically, the song is about enjoying oneself on the dance

I'm Breathless

floor no matter who one is, and it contains a theme of

(Music from and

escapism. Critically, "Vogue" has been met with

Inspired by the film

appreciation ever since its release; reviewers have praised its

Dick Tracy) and

anthemic nature, calling it a funky and catchy song, and

was released on

listed it as one of the singer's musical highlights. Critics also

March 20, 1990, by

noticed that the song, which bears strong resemblances to

Sire Records.

classic disco music, was still successful despite the genre's

Madonna was

commercial death several years before. The song also won

inspired by vogue dancer and choreographers Jose and

several music awards. Commercially, the song remains one

Luis Xtravaganza from the Harlem "House Ball"

of Madonna's biggest international hits, topping the charts

community, the origin of the dance Vogue, and they

in over 30 countries, including Australia, Canada, Japan,

introduced "Vogueing" to her at the New York City club

the United Kingdom and the United States. It became the

"Sound Factory". Jose Xtravaganza is featured in the

world's best-selling single of 1990, selling over six million

Historic Art Documentary How Do I Look, directed by

copies.

Wolfgang Busch.

144

The music video for "Vogue", directed by David Fincher, showed Madonna paying homage to numerous golden era Hollywood actresses. Shot in black-and-white, the video takes stylistic inspiration from the 1920s and 30s; in it, Madonna and her dancers can be seen voguing different choreographed scenes. Critics noted the way in which Madonna used her postmodern influence to expose an underground subcultural movement to the masses. The video has been ranked as one of the greatest of all times in different critic lists and polls, and won three awards at the 1990 MTV Video Music Awards out of a total of nine nominations.

145

RHYTHM NATION

The song inspired the name of English DJ Trevor Nelson's BBC Radio 1 show "Rhythm Nation". Nelson told Jackson this during their 1998 interview which aired on the same show. The show also spawned several compilation albums under the same name. The countdown in the song was

Rhythm Nation" is the second single from American

heard in various NBA Live games produced by EA Sports,

R&B and pop singer Janet Jackson's fourth studio

played before each 3-point shootout.

album, Janet Jackson's Rhythm Nation 1814 (1989).

The song became the second of the historic seven top

Music video

five singles released off the Janet Jackson's Rhythm

The famous black-and-white,

Nation 1814 album. Jackson composed the lyrics while

military-inspired dance video

Jimmy Jam and Terry Lewis composed the music,

was directed by Dominic

which featured a sample from Sly & the Family Stone's

Sena in August 1989. It was

1969 song "Thank You (Falettinme Be Mice Elf Agin)".

the finale in the Rhythm

The song preached racial unity and harmony among

Nation 1814 Film. Famous

nations and in promise of "looking for a better way of

for its high-octane

life" and a way to stop "social injustice". The song

choreography in an abandoned factory, the video won for

became as famous for its countdown in both the song

Best Choreography (shared by Jackson and choreographer

and the video as it was for its message. It peaked at

Anthony Thomas) and was nominated for Best Dance

number two on the Billboard Hot 100 (behind Phil

Video at the 1990 MTV Video Music Awards, where

Collins' "Another Day in Paradise") and number one on

Jackson also received the MTV Video Vanguard Award.

the Billboard Hot R&B/Hip-Hop Songs during late

"Rhythm Nation" ranked thirty-seven on VH1's Greatest

1989 and early 1990.

146

100 Videos and forty-four on MTV: 100 Greatest Videos

In 2003, it was named one of the 100 Greatest Music

Ever Made. The video features a young Tyrin Turner.

Videos of all time by Slant Magazine, ranked at number

Through her choice of Anthony Thomas, a black

87. In a 2011 poll by Billboard, the song's music video was

American street dancer, as her choreographer, Janet

voted the tenth best music video of the 1980s.

Jackson secures a threefold achievement: she satisfies the dictates of commercial pop music industry by creating a dance image which is significantly different from her earlier work; she demonstrates that, despite fame, she is still in touch with contemporary youth pop culture and its fashions; and finally, she utilizes, not the dance traditions of the Hollywood musical which, although often black in inspiration, remained very much under the control of white choreographers, but the work of a black young man who's training is outside the institutions of Western theatre and clearly an Afro-American cultural expression of the late 1980s.

—Stephanie Jordan and Dave Allen, Parallel Lines: Media Representations of Dance, 1993 During MTV's first ever mtvICON in 2001, singers Pink, Mýa, and Usher each paid tribute to Jackson by performing dance moves from Jackson's earlier hits including "Pleasure Principle", "Miss You Much", and "Alright". At the end of the performance they all gathered together and performed "Rhythm Nation".

147

OPPOSITES ATTRACT

The lyrics are about a couple who love each other despite being different in just about every way possible.

Opposites Attract" is a song recorded by Paula Abdul,

The song is distinctive for its colorful music video created

featured on her debut album Forever Your Girl. It was

and directed by Candace Reckinger & Michael Patterson,

written

in which Abdul dances with cartoon character MC Skat

and

Kat, voiced by 'The Wild Pair'. The music video adds an

produced

intro rap performed by Romany Malco. An additional rap

by Oliver

was provided by Derrick 'Delite' Stevens for the Street mix

Leiber,

version of the song, which was edited for the 7"/video.

who

The idea of MC Skat Kat came from the Gene Kelly film

came up

Anchors Aweigh, where Kelly dances with Jerry Mouse

with the

from the Tom and Jerry cartoon series. Paula even

title after

choreographed the animated character's moves to match

browsing

her live-action dance moves in the video. MC Skat Kat was

a

animated by members of the Disney animation team, working outside the studio between major projects, under

bookstore. Vocals on the song, in addition to Abdul,

the direction of Chris Bailey. Also shown in the video are

were provided by Bruce DeShazer and Marv Gunn,

Micetro, Taboo, and Fatz, yet their names weren't revealed

aka 'The Wild Pair'. "Opposites Attract" was the sixth

until the release of The Adventures of MC Skat Kat and

and final single from the album, and achieved success

the Stray Mob.

in many countries, including the US and Australia

The video won Abdul a Grammy Award in 1991 for "Best

where it was a #1 hit.

Short Form Music Video".

148

IF

"If" deals with a female narrator's fantasies of being someone's girlfriend. The track contains a sample from Diana Ross & the Supremes' 1969 song "Someday We'll Be Together", and is built on a heavy metal guitar riff heard throughout the song. The combination of heavy hip hop/ "If" is a song

new jack swing beats with an electric guitar and a trip hop

by American

sound was a relative departure in sound for Jackson, and an

recording artist

extension of styles she developed on her previous album,

Janet Jackson

Rhythm Nation 1814.

from her fifth

Jackson performed the song as a medley with "That's the

studio album,

Way Love Goes" at the 1993 MTV Video Music Awards;

janet. (1993).

the audio recording of which appears on the limited edition

Written and

double disc edition of janet. A remix of "If" entitled

produced by

Brothers in Rhythm House Mix appears on Jackson's 1995

Jackson and

remix album janet. Remixed.

Jimmy Jam

The single contains a B-side called "One More Chance", a

and Terry

cover of a song her brother Randy wrote, produced, and

Lewis, it was

performed for The Jacksons' 1984 Victory album.

released as the

Jackson has performed the song on all of her tours since

album's second single in July 1993, and became

1993—the janet. Tour, The Velvet Rope Tour, All for You

Jackson's second top five hit from the janet. album.

Tour, Rock Witchu Tour, and Number Ones: Up Close and Personal.

149

CULTURAL DANCES A cultural dance is a dance from a specific country or culture, often passed down through generations. They are usually performed happily and with pride. Some examples are: Highlander dancing (Scotland), Ukrainian dancing (Ukraine), or the dancing performed at a Powwow (Aboriginal).

HULA Terminology for two main additional categories is beginning to enter the hula lexicon: "Monarchy" includes any hula which were composed and choreographed during the 19th century. During that time the influx of Western culture created significant changes in the formal Hawaiian arts, including hula. "Ai Kahiko", meaning "in the ancient style" are those hula written in the 20th and 21st centuries that follow the stylistic protocols of the ancient hula kahiko.

There are also two main positions of a hula dance - either

Hula ( /ˈhuːlə/) is a dance form accompanied by

sitting (noho dance) or standing (luna dance). Some dances

chant (oli) or song (mele). It was developed in the

utilize both forms.

Hawaiian Islands by the Polynesians who originally

Hula is taught in schools or groups called hālau. The

settled there. The hula dramatizes or portrays the

teacher of hula is the kumu hula, where kumu means

words of the oli or mele in a visual dance form.

source of knowledge, or literally just teacher. Often you will

There are many sub-styles of hula, with the main

find that there is a hierarchy in hula schools - starting with

two categories being Hula 'Auana and Hula Kahiko.

the kumu (teacher), alaka'i (leader), kokua (helpers), and

Ancient hula, as performed before Western

then the 'olapa (dancers) or haumana (students). This is not

encounters with Hawaiʻi, is called kahiko. It is

true for every hālau, but it does occur often. Most, if not

accompanied by chant and traditional instruments.

all, hula halau(s) have a permission chant in order to enter

Hula, as it evolved under Western influence in the

wherever they may practice. They will collectively chant

19th and 20th centuries, is called ʻauana (a word

their entrance chant, then wait for the kumu to respond

that means "to wander" or "drift"). It is

with the entrance chant, once he or she is finished, the

accompanied by song and Western-influenced

students may enter. One well known and often used 151

entrance or permission chant is Kunihi Ka Mauna/Tunihi

For example, hand movements can signify aspects of

Ta Mauna.

nature, such as the swaying of a tree in the breeze or a wave

Hula dancing is a complex art form, and there are many

in the ocean, or a feeling or emotion, such as fondness or

hand motions used to represent the words in a song or

yearning. Foot and hip movements often pull from a basic

chant.

library of steps including the kaholo, ka'o, kawelu, hela, 'uwehe, and 'ami.

There are other related dances (tamure, hura, 'aparima, 'ote'a, haka, kapa haka, poi, Fa'ataupati, Tau'olunga, and Lakalaka) that come from other Polynesian islands such as Tahiti, The Cook Islands, Samoa, Tonga and Aotearoa (New Zealand); however, the hula is unique to the Hawaiian Islands.

152

RIVER DANCE

IRISH STEP DANCING

Riverdance is a theatrical show consisting of traditional Irish stepdancing, known for its rapid leg movements while body and arms are kept largely stationary. It originated as an interval performance during the 1994 Eurovision Song Contest, a moment that is considered a significant watershed in Irish culture. Riverdance is, in summary form, the story of the Irish culture and of the Irish immigration to America.

Riverdance has its roots in a three-part suite of baroqueinfluenced traditional music

Irish stepdance is a style

called "Timedance"

of dance with its roots

composed, recorded and

in traditional Irish

perfor med for the 1981

dance. It can be

Eurovision Song Contest,

performed solo or by troupes. Two types of shoes are

which was hosted by Ireland.

worn; hard shoes, which make sounds similar to tap

At the time members of Irish folk band Planxty, Bill

shoes, and soft shoes, which are similar to ballet

Whelan and Donal Lunny composed the music[citation

slippers. Dancers stiffen their upper bodies while

needed], augmenting the band with a rock rhythm section

performing quick, intricate footwork. Costumes are

of electric bass and drums and a four-piece horn section.

considered important for stage presence in competitive

The piece was performed, with accompanying ballet

Irish stepdance. There are several levels of

dancers, during the interval of the contest, and later

competition available for both individuals and groups.

released as a Planxty single. In a book about Planxty ("The 153

Humours of Planxty", by Leagues O'Toole), Whelan says "It was no mistake of mine to call it Riverdance because it connected absolutely to Timedance. It was a nod in the direction of where I believed it came from".Riverdance is produced and directed by husband and wife team John McColgan and Moya Doherty, controlled through their production company Abhann Productions, based in Dublin.[citation needed] In November 1994 tickets were sold in Dublin for the first full-length performance of Riverdance, which opened at the Point Theatre on 9 February 1995. The show ran for five weeks and was a sellout with ticket sales of over 120,000.

On 8 May 1995 Riverdance performed at the Royal Gala 50th Anniversary of VE Day celebrations at the special invitation of Prince Charles. This attracted a television audience of 20 million.

A video release of Riverdance occurred in the UK on 5 June 1995 which immediately debuted at #2 before rising to #1 the following week. For a total of seven months the Riverdance UK video remained in the charts and became the all time highest selling music video in the UK.

154

BALLET FOLKLORICO

From the group's founding by Amalia Hernández in 1952, the group grew from eight performers to a fifty piece ensemble by the end of the decade. In 1959 the group officially represented Mexico at the Pan American Games in Chicago, United States. In 1963 Guillermo Keys-Arenas was the Assistant to the Director of Ballet Folklorico de Mexico, while in 1969 he was its Artistic Coordinator.See concert programs.

The ballet works and musical pieces reflect various regions and folk music genres of Mexico. Many of the ensemble's works reflect the traditions of indigenous Mesoamerican culture. Numbers of performers in individual dance numbers range from two to over thirty-five. Under Amalia Hernández the group was a pioneer of Baile Folklórico in Mexico. It is practiced by many people in America as well

Ballet Folklórico de México is a Mexican folkloric ballet

as Mexico.

ensemble in Mexico City. For six decades it has

The ensemble performs three times weekly at the Palace of

presented dances in costumes that reflect the traditional

Fine Arts in Mexico City. Additionally, it has toured widely

culture of Mexico. The ensemble has appeared under

in the United States and has appeared in over 80 other

the name, Ballet Folklórico de México de Amalia

countries.

Hernández. The women usually go bare foot while

There are three types of Ballet Folklorico: Danza, Mestizo,

dancing.

and Bailes Rejionales (Regional dances).

155

Tinikling involves five steps; during the first four steps, the

TINIKLING

dancers dance opposite each other, and during the last step, they start from the same side of the poles. The bamboo is also used as a percussive instrument as it is banged against the ground (or a piece of wood to make it easier to hold) and each other in a pattern. The bamboo has to be closed hard enough to make a sound, and the dancers must be quick enough to not get their foot (or feet) caught. As the dance continues, the banging of the bamboo becomes faster and harder, the sound of the clashing bamboo and the quickness of feet demonstrated by the dancers thrilling and awing the crowd. In the United States, this dance had been altered into a four-beat rhythm to adjust to popular

The tinikling dance is one of the most popular and

music. In some cases, it has been used in conjunction with

well-known of traditional Philippine

traditional Filipino martial arts to demonstrate fleetness of

dances.livepage.apple.com The tinikling is a pre-

foot and flow of movement.

Spanish dance from the Philippines that involves

The dance originated in Leyte among the Visayan islands

two people beating, tapping, and sliding bamboo

in the central Philippines as an imitation of the tikling bird

poles on the ground and against each other in

dodging bamboo traps set by rice farmers. The dance

coordination with one or more dancers who step

imitates the movement of the tikling birds as they walk

over and in between the poles in a dance. The

between grass stems, run over tree branches, or dodge

name is a reference to birds locally known as

bamboo traps set by rice farmers. Dancers imitate the

tikling, which can be any of a number of rail

tikling bird's legendary grace and speed by skillfully

species; the term tinikling literally means "tikling-

maneuvering between large bamboo poles.

like."

156

BELLY DANCING

▪

Raqs sharqi (Arabic: !"#$$ % &$$ "‫ ;ر‬literally "eastern/

Belly dance or bellydance is a "Western"-coined name for a

oriental dancing") is the style more familiar to Westerners,

traditional "West Asian" dance, especially raqs sharqi (Arabic:

performed in restaurants and cabarets around the world. It is

!"#% &"‫)ر‬.[citation needed], (Turkish: Dansöz) It is

more commonly performed by female dancers but is also

sometimes also called Middle Eastern dance or Arabic dance

sometimes danced by men. dancing", or "folk" dance) is the

in the West.

folkloric style, danced socially by men and women of all ages

The term "belly dance" is a

in some Middle Eastern countries, usually at festive occasions

translation of the French

such as weddings. However, this naming is used synonymously

"danse du ventre" which

in Egypt with Raqs sharqi as a generic term for "belly

was applied to the dance in

dancing". It is a solo

the Victorian era. It is

improvisational dance,

something of a misnomer

although students often

as every part of the body is

perform choreographed

involved in the dance; the

dances in a group.

▪

most featured body part

Raqs baladi,

usually is the hips. Belly

(Arabic: ‫*)ي‬$+ &$"‫ ;ر‬literally

dance takes many different

"local dancing", or "folk"

forms depending on

dance) is the folkloric

country and region, both in

style, danced socially by

costume and dance style,

men and women of all

and new styles have evolved in the West as its popularity has

ages in some Middle

spread globally. Although contemporary forms of the dance

Eastern countries, usually

have generally been performed by women, some of the

at festive occasions such

dances, particularly the cane dance, have origins in male

as weddings. However, this naming is used synonymously in

forms of performance.

Egypt with Raqs sharqi as a generic term for "belly dancing".

157

BREAK DANCING B-boying or breaking, often called "breakdancing", is a style of street dance that originated as a part of hip hop culture among African American and Latino youths in New York City during the early 1970s. Fast to gain popularity in the media, the dance style also gained popularity worldwide especially in South Korea, France, Russia, Japan, and Brazil. While extremely diverse in the amount of variation available in the dance, b-boying consists of four primary elements: toprock, downrock, power moves, and freezes. B-boying is The terminology used to refer to b-boying changed after

typically danced to hip-hop and especially

promotion by the mainstream media. Although widespread,

breakbeats, although modern trends allow for

the term "breakdancing" is looked down upon by those

much wider varieties of music along certain ranges

immer sed in hip-hop culture. Purists consider

of tempo and beat patterns.

"breakdancing" an ignorant term invented by the media 158

that connotes exploitation of the art and is used to

Breakers and filmmaker Michael Holman refer to these

sensationalize breaking. The term "breakdancing" is also

dancers as "breakers". Frosty Freeze of the Rock Steady

problematic because it has become a diluted umbrella term

Crew says, "we were known as b-boys", and hip-hop

that incorrectly includes popping, locking, and electric

pioneer Afrika Bambaataa says, "b-boys, [are] what you call

boogaloo, which are not styles of "breakdance", but are

break boys... or b-girls, what you call break girls." In

funk styles that were developed separately from breaking in

addition, co-founder of Rock Steady Crew Santiago "Jo Jo"

California. The dance itself is properly called "breaking"

Torres, Rock Steady Crew member Mr. Freeze, and hip-

according to rappers such as KRS-One, Talib Kweli, Mos Def, and Darryl McDaniels of Run-DMC.The terms "bboy" (break-boy), "b-girl" (break-girl), and "breaker" are the original terms used to describe the dancers. The original terms arose to describe the dancers who performed to DJ Kool Herc's breakbeats. DJ Kool Herc is a JamaicanAmerican DJ who is responsible for developing the foundational aspects of hip-hop music. The obvious connection of the term "breaking" is to the word "breakbeat", but DJ Kool Herc has commented that the term "breaking" was slang at the time for "getting excited", "acting energetically" or "causing a disturbance". Most bboying pioneers and practitioners prefer the terms "b-boy", "b-girl", and/or "breaker" when referring to these dancers.

hop historian Fab 5 Freddy use the term "b-boy", as do

For those immersed in hip-hop culture, the term

rappers Big Daddy Kane and Tech N9ne.

"breakdancer" may be used to disparage those who learn the dance for personal gain rather than for commitment to the culture.:61 B-boy London of the New York City 159

KICKLINES A precision dance company or team with emphasis on unison kicks.

The group was founded in St. Louis, Missouri by Russell

RADIO CITY ROCKETTES

Markert in 1925, originally performing as the "Missouri Rockets." Markert had been inspired by the John Tiller Girls in the Ziegfeld Follies of 1922, and was convinced that "If I ever got a chance to get a group of American girls who would be taller and have longer legs and could do really complicated tap routines and eye-high kicks... they'd knock your socks off !" The group was brought to New York City by Samuel Roxy Rothafel to perform at his Roxy Theatre and renamed the "Roxyettes." When Rothafell left the Roxy Theatre to open Radio City Music Hall, the dance troupe followed and later became known as the Rockettes.

The group perfor med as part of opening night at

The Rockettes are a precision dance company performing

Radio City

out of the Radio City Music Hall in Manhattan, New

Music Hall

York City. During the Christmas season, the Rockettes

o n

have performed five shows a day, seven days a week, for

December

77 years. Perhaps their best-known routine is an eye-high

27, 1932.

161

In 1936, the troupe won the grand prize at the "Paris

The justification for the policy against hiring African-

Exposition de Dance."

Americans was that they would distract from the consistent

The Rockettes have long been represented by the American

look of the dance group. The first African-American

Guild of Variety Artists (AGVA). In 1967 they won a

Rockette was Jennifer Jones; she made her debut in 1988.

month-long strike for better working conditions, which was

During the halftime show of Super Bowl XXII in 1988, the

led by AGVA salaried officer Penny Singleton.

Rockettes were seen by a television audience of 150 million

The first Asian Rockette, a Japan-born woman named

viewers. George W. Bush's 2001 Presidential Inauguration

Setsuko Maruhashi, was hired in 1985. The Rockettes did

Ceremony featured the performers prancing down the steps

not allow African-Americans into the dance line until 1987.

of the Lincoln Memorial.

162

Every Rockette must be between 5'6" and 5'101⁄2" tall.

Dancers under the height requirement are ineligible to audition.

163

DALLAS COWBOYS CHEERLEADERS The original cheerleading squad was a made up of a male-female group called the CowBelles & Beaux. The group made its sidelines debut in 1960 during the Cowboys' inaugural season. Local high school students made up the squad, which was typical of other high school and college cheerleading squads throughout the 1960s, rarely getting much attention.

During a game between the Cowboys and the Atlanta Falcons at the Cotton Bowl during the 1967 season, the scantily clad, well-endowed Bubbles Cash, a stripper by profession, caused a tremendous stir in the crowd that turned to cheers when she walked down the staircase stands on the 50 yard line carrying cotton candy in each hand.She became an instant public sensation in Dallas, and Cowboys General Manager Tex Schramm noted all of this. Understanding the importance of the entertainment industry to the Cowboys' profitability, Schramm was inspired to form a cheerleading squad dressed in similar fashion to Cash.

In 1969, it was decided that the cheerleading squad needed a new image and the decision was made to drop the male cheerleaders and select an all female squad from local high school cheerleaders in the Dallas-Fort Worth area. It was at this period that the CowBelles & Beaux became the Dallas Cowboys Cheerleaders.

164

TAP Tap dance is a form of dance characterized by using the sound of one's tap shoes hitting the floor as a percussive instrument. As such, it is also commonly considered to be a form of music. Two major variations on tap dance exist: rhythm (Jazz) tap and Broadway tap. Broadway tap focuses more on the dance. It is widely performed as a part of musical theater. Rhythm tap focuses more on musicality, and practitioners consider themselves to be a part of the Jazz tradition.

The sound is made by shoes with a metal "tap" on the heel and toe. Tap shoes can be bought at most dance shops.

NICHOLAS BROTHERS

Fayard Antonio Nicholas was born October 20, 1914 in Mobile, Alabama. Harold Lloyd Nicholas was born March 17, 1921 in Winston-Salem, North Carolina.

The Nicholas Brothers grew up in Philadelphia, the sons of musicians who played in their own band at the old Standard Theater, their mother at the piano and father on drums. At the age of three, Fayard was always seated in the front row while his parents worked, and by the time he was ten, he had seen most of the great African American Vaudeville acts, particularly the dancers, including such notables of the time as Alice Whitman, Willie Bryant and Bill Robinson.Neither Fayard nor Harold had any formal dance training.

They became the featured act at Harlem's Cotton Club in

The Nicholas Brothers were a famous African

1932, when Harold was 11 and Fayard was 18. They were

American team of dancing brothers, Fayard (1914–

the only entertainers in the African American cast allowed

2006) and Harold (1921–2000). With their highly

to mingle with white patrons.

acrobatic technique ("flash dancing"), high level of

In that exhilarating hybrid of tap dance, ballet and

artistry and daring innovations, they were considered by

acrobatics, sometimes called acrobatic dancing or "flash

many the greatest tap dancers of their day. Growing up

dancing," no individual or group surpassed the effect that

surrounded by Vaudeville acts as children, they became

the Nicholas Brothers had on audiences and on other

stars of the jazz circuit during the heyday of the

dancers.

Harlem Renaissance and went on to have successful careers performing on stage, film, and television well into the 1990s.

166

The brothers made their Broadway debut in the Ziegfeld

brothers that the "Jumpin' Jive" dance number in Stormy

Follies of 1936 and also appeared in Richard Rodgers and

Weather was the greatest movie musical sequence he had

Lorenz Hart's legendary musical Babes in Arms in 1937.

ever seen. In that famous routine, the Nicholas Brothers

By 1940, they were in Hollywood and for several decades

fearlessly and exuberantly leap across the music stands of

alternated between movies, nightclubs, concerts, Broadway,

the orchestra and dance on the top of a grand piano in a

television, and extensive tours of Latin America, Africa,

call and response act with the pianist.

and Europe.

One of their signature moves was a "no-hands" splits,

The Nicholas Brothers taught master classes in tap dance as

where they went into the splits and returned to their feet

teachers-in-residence at Harvard University and Radcliffe

without using their hands. Gregory Hines declared that if

as Ruth Page Visiting Artists. Among their known students

their biography was ever filmed, their dance numbers

are Debbie Allen, Janet Jackson, and Michael Jackson.

would have to be computer generated because no one could

Several of today's master tap dancers have performed with

duplicate them.Ballet legend Mikhail Baryshnikov once

or been taught by the brothers: Dianne Walker, Sam Weber,

called them the most amazing dancers he had ever seen in

Lane Alexander, Mark Mendonca, Terry Brock,Colburn

his life.

Kids Tap/L.A, Channing Cook Holmes, Chris Baker, Artis Brienzo, Chester Whitmore, Tobius Tak, Carol Zee and

The Nicholas Brothers filmography was exceptional by any

Steve Zee. Harold died July 3, 2000 of a heart attack

standards. Some of their credits include:

following minor surgery. Fayard died January 24, 2006 of

P i e, P i e

pneumonia after having a stroke.

Blackbird" (1932) (short subject) ▪

One of their signature moves was to dance down a huge

T

h

e

flight of broad stairs, leapfrogging over each other and

E m p e ro r Jo n e s

landing in a complete split on each step. This move was

(1933) (Harold

performed in the finale of their most famous performance,

Nicholas)

the movie Stormy Weather Fred Astaire once told the 167

▪

"Syncopancy" (1933) (short subject) (Harold Nicholas)

▪

El Misterio del carro express (1953)

▪

Kid Millions (1934)

▪

El Mensaje de la muerte (1953)

▪

"An All-Colored Vaudeville Show" (1935) (short

▪

Musik im Blut (1955)

▪

Bonjour Kathrin (1956)

subject) ▪

The Big Broadcast of 1936 (1935)

▪

L'Empire de la nuit (1963) (Harold Nicholas)

▪

Coronado (1936)

▪

The Liberation of L.B. Jones (1970) (Fayard Nicholas)

▪

"The Black Network" (1936) (short subject)

▪

Uptown Saturday Night (1974) (Harold Nicholas)

▪

My American Wife (1936)

▪

That's Entertainment! (1974) (archive footage)

▪

Babes in Arms (1937)

▪

Brother, Can You Spare a Dime? (1975) (archive

▪

Calling All Stars (1937)

▪

My Son Is Guilty (1939)

▪

Disco 9000 (1976) (Harold Nicholas)

▪

Down Argentine Way (1940)

▪

That's Dancing! (1985) (archive footage)

▪

Tin Pan Alley (1940)

▪

Tap (1989) (Harold Nicholas)

▪

The Great American Broadcast (1941)

▪

That's Black Entertainment (1990) (archive footage)

▪

Sun Valley Serenade (1941)

▪

The Five Heartbeats (1990) (Harold Nicholas)

▪

Orchestra Wives (1942)

▪

"Alright" (Janet Jackson song) and video (1992)

▪

Stormy Weather (1943)

▪

The Nicholas Brothers: We Sing and We Dance

▪

Take It or Leave It (1944)

▪

The Reckless Age (1944) (Harold Nicholas)

▪

Funny Bones (1995) (Harold Nicholas)

▪

Carolina Blues (1944) (Harold Nicholas)

▪

I Used to Be in Pictures (2000)

▪

"Dixieland Jamboree" (1946) (short subject)

▪

Night at the Golden Eagle (2002) (Fayard Nicholas)

▪

The Pirate (1948)

▪

Broadway: The Golden Age, by the Legends Who

▪

Pathe News Reel (1948)

▪

Botta e Riposta (1951)

footage)

(1992)

Were There (2003)

▪

168

Hard Four (2005)

GREGORY HINES

Gregory Oliver Hines (February 14, 1946 – August 9, 2003) was an American actor, singer, dancer and choreographer.

Early years Born in New York City to Maurice Hines Sr. and Alma Hines, Gregory Hines began tapping when he was around three years old, and began dancing semi-professionally at the age of five.

Since then, he and his older brother Maurice performed together, studying with choreographer Henry LeTang. The two brothers were known as "The Hines Kids", making nightclub appearances, and later as "The Hines Brothers". When their father joined, Maurice Hines, Sr., the name changed again in 1963 to "Hines, Hines, and Dad".

Hines performed as the lead singer and musician in a rock band called Severance in 1975/1976 based in Venice, California.

Severance was one of the house bands at an original music club called Honky Hoagies Handy Hangout, otherwise known as the 4H Club. In 1986, he sang a duet with Luther Vandross, entitled "There's Nothing Better Than Love", which reached the #1 position on the Billboard R&B charts.

Hines made his movie debut in Mel Brooks' History of the World, Part 1. Critics took note of Hines's comedic charm, and he later appeared in such movies as The Cotton Club, White 169

Nights, Running Scared, Tap, and Waiting to Exhale. On

with, mainly based on sound produced. A laid back dancer,

television, he starred in his own series in 1997 called The

he usually wore nice pants and a loose-fitting shirt.

Gregory Hines Show on CBS, as well as in the recurring

Although he inherited the roots and tradition of the black

role of Ben Doucette on Will & Grace. In 1999, Hines

rhythmic tap, he also influenced the new black rhythmic

made his return on television with Nick Jr.'s Little Bill, as the voice of Big Bill.

Hines made his Broadway debut with his brother in The Girl in Pink Tights in 1954. He earned Tony Award nominations for Eubie! (1979), Comin' Uptown (1980) and Sophisticated Ladies (1981), and won the Tony Award and Drama Desk Award for Jelly's Last Jam (1992) and the Theatre World Award for Eubie!. He also co-hosted the Tony Awards ceremony in 1995 and 2002.

In 1990, Hines visited with his idol, Sammy Davis, Jr., as he was dying of throat cancer, unable to speak. After Davis died, an emotional Hines spoke at Davis's funeral of how Sammy had made a gesture to him, "as if passing a basketball … and I caught it." Hines spoke of the honor that Sammy thought that Hines could carry on from where he left off.

Hines was an avid improviser. He did a lot of improvisation of tap steps, tap sounds, and tap rhythms alike. His improvisation was like that of a drummer, doing a solo and coming up with all sorts of rhythms. He also improvised the phrasing of a number of tap steps that he would come up 170

experiments in jazz and new music and postmodern dance.'"

Throughout his career, Hines wanted to and continued to be an advocate for tap in America. In 1988, he successfully petitioned the creation of National Tap Dance Day, which is now celebrated in 40 cities in the United States. It is also celebrated in eight other nations. Gregory Hines was on the Board of Directors of Manhattan Tap, he was a member of the Jazz Tap Ensemble, and a member of the American Tap Foundation (formerly the American Tap Dance Orchestra). He was a good teacher, influencing tap dance artists Savion Glover, Dianne Walker, Ted Levy, and Jane Goldberg.

Hines died of liver cancer at 57, on August 9, 2003, en route to hospital from his home in Los Angeles.

tap, as a proponent. "'He purposely obliterated the tempos,' wrote tap historian Sally Sommer, 'throwing down a cascade of taps like pebbles tossed across the floor. In that moment, he aligned tap with the latest free-form

171

TOMMY TUNE

In 1965, Tune made his Broadway debut as a performer in the musical Baker Street. His first Broadway directing and choreography credits were for the original production of

Thomas James "Tommy"

The Best Little Whorehouse in Texas in 1978. He has gone

Tune (born February 28,

on to direct or choreograph, or both, some eight Broadway

1939) is an American actor,

musicals. He directed a new musical titled Turn of the

dancer, singer, theatre

Century, which premiered at the Goodman Theatre in

director, producer, and

Chicago on September 19, 2008 and closed on November

choreographer. Over the

2, 2008.

course of his career, he has

Off-Broadway, Tune has directed The Club and Cloud

won nine Tony Awards and the National Medal of

Nine. Tune toured the United States in the Sherman

Arts.

Brothers musical Busker Alley in 1994-1995 and in the

Tune was born in Texas to oil rig worker, horse

stage adaptation of the film Dr. Dolittle in 2006.

trainer, and restaurateur, Jim Tune, and Eva Mae

Tune is the only person to win Tony Awards in the same

Clark (the family name was shortened from

categories (Best Choreography and Best Direction of a

"Tunesmith"). He attended Lamar High School in

Musical) in consecutive years (1990 and 1991), and the first

Houston and the Methodist-affiliated Lon Morris

to win in four different categories. He has won nine Tony

College in Jacksonville, Texas. He studied dance with

Awards.

Patsy Swayze in Houston. He went on to earn his

Tune appeared in a 1975 TV special titled Welcome to the

Bachelor's degree from the University of Texas at

"World" along with Lucie Arnaz and Lyle Waggoner to

Austin in 1962, and take graduate courses at the

promote the Walt Disney World resort.

University of Houston. Tune later moved to New

Tune's film credits include Hello, Dolly! (1969) and The

York to start his career.

Boy Friend with Twiggy (1971). Tune released his first 172

record album, Slow Dancing, in 1997 on the RCA label, featuring a collection of his favorite romantic ballads.

In 1999, he made his Las Vegas debut as the star of EFX at the MGM Grand Hotel.

Tune staged an elaborate musical entitled Paparazzi for the Holland America Line cruise ship the Oosterdam in 2003. He works often with The Manhattan Rhythm Kings, for example touring in a Big Band revue entitled Song and Dance Man and White Tie and Tails (2002).

Tune has been performing in his musical revue, Steps in Time: A Broadway Biography in Song and Dance, in Boston in April 2008 and continuing in various venues from Bethesda, Maryland in January 2009 to California in February 2009.

The Tommy Tune Awards, presented annually by Theatre Under The Stars (TUTS) honor excellence in high school musical theatre in Houston. The current home of the Tommy Tune Awards is the Hobby Center for the Performing Arts in 173

SAVION GLOVER

Gregory Hines, a tap legend, was once one of Glover's tap teachers. Hines states that, "Savion is possibly the best tap dancer that ever lived." Savion likes to start his pieces with some old school moves from famous tappers and then work his way into his own style. Hines says it’s like paying homage to those he respects, those he looks up to. When Honi Coles died, Savion performed at his memorial service.

He finished his dance with a famous Coles move, a backflip into a split from standing position, then getting up without using one's hands. Savion rarely does this move because it wasn't his style, but he did it because it was Coles' style that Savion wanted to keep alive, "I feel like it's one of my

(born November 19, 1973) is an American tap dancer,

responsibilities to keep the dance alive, to keep it out there,

actor, and choreographer. As a learning prodigy, he was

to keep the style."

taught by notable dancers from previous generations.

Henry Le Tang calls Glover the Sponge because he learns

Glover is currently interested in restoring African roots

very quickly with everything that is thrown at him. Le Tang

to tap. He wants to put tap back into the contemporary

taught the Hines brothers back in the 1950s and taught

black context.

Glover for a little while before having him work for "Black

Savion claims his style is young and funk. When asked

and Blue," a tap revue in Paris in 1987. Glover is the future

to describe what funk is, he says it is the bass line. Funk

of tap. Many legendary tappers taught Glover such as Le

is anything that gets one's head on beat. It is riding with

Tang, the Hines brothers, Jimmy Slyde, Chuck Green, Lon

the rhythm. It is a pulse that keeps one rolling with the

Chaney, Honi Coles, Sammy Davis, Jr., Buster Brown,

beat.

Howard Sims, and Arthur Duncan. They all passed on 174

their moves and talents to Savion after he went public with his

In the pre-Civil War South, slaves were forbidden to use drums

career with the Broadway performance in, "The Tap Dance Kid"

because their owners feared of rebellion. Because drums were

at the age of ten.. Savion

unattainable, the rhythm of the beat was relocated to their feet in

has taught tap since he

the form of tap. There was a connection of the tap beat and the

was fourteen years old.

subversive liberation. Many tappers have played the drums in their

Glover created Real Tap

lifetime. In addition to Savion, Harold Nicholas, Fred Astaire,

Skills. He started

Gregory Hines, and Bill “Bojangles” Robinson went from drums to

HooFeRzCLuB School

tap. At the age of seven, Savion drummed in a group called Three

for Tap Newark, New

Plus One. In the group, he demanded that he danced while he

Jersey.

played the drum. Tap is like a drum solo where one may create

Wants to bring back the

many tones from the foot. The heel may be used as the bass drum,

real essence of tap.

the ball as the snare, and the side of the foot as a rim shot. A

Savion claims he is on a

regular tap dancer knows the typical ball and heel movement, but

mission to reclaim the

not many know about the side of the arch, the inside of the foot.

rhythm that was lost

Glover has a heavy foot for tap. He dances hard and loud in every

when tap dancing was

step. He teaches his mentees that one must learn how to hit.

recycled after many

"Hitting" is a term related to one's ability to express oneself, to

generations. It started in Harlem with Sissle and Blake's 1921

complete a tap sequence, to say something. One can't hit if he or

musical "Shuffle Along," then to Broadway, and then in

she cannot express themselves. Savion claims that tap won't go

Hollywood. There in Hollywood, it lost its meaning amongst the

anywhere if tap is kept within the classroom. One must reach that

entertainment and jazz hands. Savion wants to keep the tap real,

point where one can hit by incorporating all the classroom moves,

keeping the rhythm below the waist without having to incorporate

but converting it into his or her own style. Savion likes to see what

the jazz smiles and jazz hands. He wants to honor that authentic

one has learned in the class, but he only likes to see one's true self

African-rooted sound.

behind the new moves, how one feels, how one hears the rhythms, without any restrictions.

175

Broadway

The dancers and choreography were raved with terrific work by restraining the remarkable and favoring a collective

"The Tap Dance Kid" (1985)

brilliance of sound. The opening scene sets the tone. The

This play was based on the novel "Nobody's Family is

audiences were astonished with the capabilities and talents

Going to Change" by Louise Fitzhugh. Savion's Broadway

of tap dancers. Savion Glover and his teenage partners,

debut started at the age of ten with this show. He was

Cyd Glover and Dormeshia Sumbry, were in charge of

directed and choreographed by Danny Daniels. Glover has

wooing their spectators in the staircase dance with foot

been captivating audiences ever since this play for almost

shaking resilience. Black and Blue was a luxuriant show.

thirty years now. Reviews of this show were given mediocre

"Jelly's Last Jam" (1992)

ratings. The New York Times claimed it was a traditional

It was said that this play was a predecessor to the uprising

story to give children a dream to look forward to, but it

of jazz music. The dancing was choreographed by Ted

wasn't anything exceptional. The lyrics by Robert Lorick

Levy and Mr. Hines. Every step as well as every hand and

were generally too conventional to strengthen the script.

head motion was rehearsed to the very inch. Savion played

The music was led by Henry Krieger, a brilliant

as Jelly. It was the story of a man who rose to fame. He

orchestrator who failed this time to keep his audiences

came of age playing piano in a brothel then later took to

singing proceeding the show. The design aspect was given

travel among the railroad after his caretaker, his great

good reviews because it portrayed a life like collage of a

grandmother, disowned him. He scavenged to survive. Jelly

bright Broadway.

made his unique genre of music, jazz, known to the world

"Black and Blue" (1989)

and captivating his spectators in his travels.

Performed at the age of fifteen. After this performance, he was nominated as one of the youngest performers nominated for a Tony at the time.

The play celebrates the talents of black musicians, singers, and dancers. The tap dance sequences were specifically tied to the elegance of the class acts, insisting on stylish dignity.

176

"Bring in 'Da Noise,

blends them all into an exultant

Bring in 'Da

stylistic brew that belongs to no

Funk" (1996)

one but him. As dance, as

Won a Tony award for

musical, as theater, as art, as

his Broadway show.

history and entertainment,

New York times claims

there's nothing Noise/Funk

that Glover nor his

cannot and should not do." -

dancers can be faulted

New York Times.

in their performance.

This Broadway presentation showed the power of dance.

Glover found ways to show an equivalence through tap of urban industrialization, the early days of plantations, HarlemRenaissance, and the race riots. "Mr. Glover meticulously and respectfully demonstrates the techniques made famous by each, then 177

STOMP Stomp was created in Brighton, U.K., in the summer of 1991.

It was the result of a 10 year collaboration between its creators, Steve McNicholas and Luke Cresswell. Stomp uses a variety of everyday percussion instruments in their shows They first worked together in 1981, as members of the street Between 1987 and 1990, Cresswell directed staged four

band Pookiesnackenburger and the theatre group Cliff Hanger. Together, these groups presented a series of street

large-scale outdoor events, including "Beat the Clyde".

comedy musicals at the Edinburgh Festival throughout the

which involved floating a drum orchestra on a pontoon in

early ‘80s. After two albums, a UK TV series and extensive

the center of Glasgow; the largest of these events, the

touring throughout Europe, Pookiesnackenburger also

"Heineken Hove Lagoon Show", involved a 120 piece drum

produced the highly acclaimed “Bins” commercial for

orchestra featuring the Brighton Festival Chorus and a full

Heineken lager. The piece was originally written and

orchestral string section.

choreographed by Cresswell as part of the band’s stage show.

In the summer of 1991, Cresswell and McNicholas

It proved to be the starting point for Stomp’s climactic dustbin

produced, financed and directed the original Stomp show,

dance.

previewing at London’s Bloomsbury Theatre and

McNicholas created an eight-minute percussive movie for

premiering at the Assembly Rooms in Edinburgh, where it

Bette Midler’s HBO special, "Mondo Beyondo".

became the Guardian’s "Critic's Choice" and won the Daily

178

Express's "Best of the Fringe" award. Originally a seven-

Orpheum, freeing the original cast for a sell-out tour of

piece (with Luke Cresswell, Theseus Gerard, Fraser

North America and Japan.

Morrison, Carl Smith, Nick Dwyer, David Olrod and Sarah Eddy) Stomp grew to be an eight person outfit with the

1995~2000

addition of Fiona Wilkes in the fall of ‘91.

Between 1991 and 1994, the original cast of Stomp played to capacity audiences around the world from Hong Kong to Barcelona, from Dublin to Sydney. The touring culminated in a sell-out season at Sadler's Wells Theatre in London in January 1994, where Stomp received an Olivier nomination for the "Best Entertainment Award" and won "Best Choreography Award in a West End show".

An extended version of Stomp, involving up to 30 cast members, was originally created for the Brighton Festival UK and was subsequently presented in Melbourne, Australia. It was most recently seen in September 1995 in an open air production at the Acropolis in Athens and at the Royal Festival Hall in London. This production broke all box office records, which had been established by Frank Sinatra in 1972.

In the summer of 1995, two more American productions

Stomp began its run at the Orpheum Theatre in New York

were created for the sole purpose of US touring which

in February 1994 winning an Obie Award and a Drama

continues to this day. US casts have also debuted Stomp in

Desk Award for Most Unique Theatre Experience. By the

Chile, Brazil and Korea. Meanwhile, a fifth Stomp

summer of 1994, the first American cast was in place at the

company, also touring from the UK, was formed in 1997 and has consistently toured the world ever since. This 179

company presented Stomp for the first time in Scandinavia

In the summer of 1997, Cresswell and McNicholas created

and South Africa and has been a regular visitor to

and directed Stomp Out Loud, a 45 minute television

Germany, The Netherlands and France. Another Stomp

special for HBO, which combined stage material with new

production opened in San Francisco in May 2000 running

pieces created for TV. It was in the USA in December 1997

for two and a half years.

and subsequently received four Emmy Award nominations,

The original cast of Stomp have recorded music for the

for direction, sound mixing, multi-camera editing and art

Tank Girl movie soundtrack and appeared on the Quincy

direction. 1998 saw the release of the Stomp Out Loud

Jones album Q's Jook Joint. A soundtrack recorded by

video and DVD around the world. Another unique blend

Cresswell and McNicholas for the Showtime Movie Riot

of live action and film footage was created for the Emmy

was released in the Spring of 1997.

awards, in which Stomp effectively performed with Spike

Stomp has also been featured in a number of commercials,

Jones.

including Coca-Cola's "Ice Pick", numerous spots for

2000~

Target stores in the US, Toyota in Japan, and SEAT in

Stomp performed after midnight on the steps of the

Europe.

Lincoln Memorial at President Clinton's Millennium

Stomp also created the "Mr. Frears' Ears" series of short

celebrations. During 2000, a Sesame Street special "Let's

films created for Nickelodeon. "Brooms", a 15-minute short

Make Music", a collaboration between Stomp and the

film based on the opening routine, was nominated for an

Muppets, was released on TV and video in North America.

Academy Award. This Stomp-oriented film was also

Cresswell and McNicholas began production of their

selected for screening at the Sundance Festival and for

IMAX movie, Pulse: A Stomp Odyssey, in Brazil during

competition at the Cannes Film Festival.

Carnaval 2000 and completed it in the summer of 2002.

Stomp made a special appearance on the Academy Awards

Pulse features an international cast, with performances

in March 1996, with an acclaimed original piece involving

from Kodo, Timbalada and Eva Yerbabuena. It was

the live synchronization of classic film clips and on-stage

released to critical acclaim in the fall of 2002 and won two

action, featuring 20 performers from all five productions.

awards at La Geode's film festival in Paris the following year. In 2004 it received the ultimate IMAX Award for Best 180

television called "Stomp Out Litter", which featured the cast "sweeping up" at iconic locations in the five boroughs.

They also began filming an IMAX 3D movie about South Africa’s Sardine run, to be released in early 2008.

In addition, they were commissioned to create and produce Pandemonium: the Lost and Found Orchestra, which takes the ideas behind Stomp to a symphonic level, in celebration of 40 years of the Brighton Festival. The LFO subsequently performed at the Sydney Opera House as part of the Sydney Festival early in 2007 and at the Royal Festival Hall in London. The show was reworked and Film at the GSTA in Montreal. Pulse is still playing in

renamed for a US tour in 2010: Pandemonium: the Lost

IMAX theatres worldwide.

and Found Orchestra.

In September 2002, Stomp finally entered London’s West

In 2007, Stomp Out Loud opened in Las Vegas at Planet

End at the Vaudeville Theatre, and later that year

Hollywood Resort & Casino with an expanded cast and

performed as part of the Royal Variety Show for the second

performed inside a new $28 million theater specifically

time. Stomp is now in its fifth year in London.

created for the production.

In 2003, a Dolby Digital trailer featuring Stomp performances debuted in cinemas across the globe, and the following year an Emmy nominated sequence was created for ABC Sports coverage of the World Figure Skating Championships.

In 2006, Stomp’s New York production passed its 5000th performance mark. In the same year, Cresswell and McNicholas directed a public service announcement for 181

FILM A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects.

Flashdance (1983) — Jennifer Beals wasn’t the greatest dancer, and three body doubles were used, but who can forget the onstage dance scene under the shower head? The critics hated the film, but it did well at the box office. In an ironic twist, Miss Beals played a welder in a steel mill seeking to be a ballet dancer. http://www.imdb.com/title/tt0085549/ Jailhouse Rock (1957) — The dance scene for the title song in this Elvis Presley film was one of the great rock dance scenes ever, made long before MTV invented the music video. http://www.imdb.com/title/tt0050556/ Saturday Night Fever (1977) — When “Saturday Night Fever” opened on Dec. 16, 1977, a whole generation saw itself reflected in a mirrored disco ball. John Travolta taught us how to dance disco, while the Bee Gees’ music dominated the pop charts.

http://www.imdb.com/title/tt0076666/ High School Musical (2006) — The plot was sweet and simple. The catchy song-anddance numbers had teens jumping on their parents’ furniture. This honest-togoodness made-for-TV product, starring Zac Efron, became the most successful Disney Channel Original Movie ever produced. http://www.imdb.com/title/tt0475293/ 183

Step up (2006) — Channing Tatum starred with his future wife, Jenna Dewan, in this wholesome dance-themed romance. Mr. Tatum plays the rebellious hip-hop dancer who must partner with a ballerina played by Miss Dewan. http://www.imdb.com/title/tt0462590/ Dirty Dancing (1987) — This was one of Patrick Swayze’s most iconic roles. The actor, dancer and singer-songwriter put all his talents to use as the dance instructor in “Dirty Dancing.” The movie’s finale, in which Mr. Swayze finally lifts Jennifer Grey up in the air, has been described more than once as “goose-bump-inducing” and is one of the best dance scenes in a nonmusical film. http://www.imdb.com/title/tt0092890/

Mary Poppins (1964) — There are a number of great dance scenes in this Disney movie: Julie Andrews and Dick Van Dyke dancing with animated penguins. But by far the best one is the chimney-sweep dance scene on the rooftops of London to the song “Chim Chim Cher-ee.” http://www.imdb.com/title/tt0058331/ The Red Shoes (1948) — Loosely based on a Hans Christian Andersen tale, the film is beautifully crafted and magic on the eyes. http://www.imdb.com/title/tt0040725/

184

Footloose (1984) — The pop-culture phenomenon grossed $80 million, made actor Kevin Bacon a household name and helped sell Kenny Loggins millions of albums. http://www.imdb.com/title/tt0087277/ White Night (1985) — Mikhail Baryshnikov (a Russian defector) and Gregory Hines (an American tap dancer) combine to escape the Soviet Union. Artistic vision and political idealism collide as the two great dancers make a decision that will change their lives forever. In one scene, Mr. Baryshnikov performs 11 pirouettes in a row. http://www.imdb.com/title/tt0090319/ Shall We Dance (1937) — A great Fred Astaire-Ginger Rogers film from the set that included most of the duo’s best work: “Top Hat,” “Follow the Fleet” and “Swing Time” in the mid-1930s. http://www.imdb.com/title/tt0029546/ Top Hat (1935) — A best-dance movie list would not be complete without this Fred Astaire and Ginger Rogers film. It turned out to be their most successful movie. Astaire performs his most celebrated tap solo to the song “Top Hat, White Tie and Tails.” http://www.imdb.com/title/tt0027125/

185

West Side Story (1961) — Whoever thought a gang film could look so charming? The dance scenes with Russ Tamblyn, the leader of the Jets gang, and George Chakiris, the leader of the Sharks, made this “Romeo and Juliet” story a film classic. http://www.imdb.com/title/tt0055614/

Singing in the Rain (1952) — The undisputed greatest dance movie of all time. It’s been written that on the day the iconic dance scene was shot, Gene Kelly had a temperature of 103 F but refused to go home. It only took one take. http://www.imdb.com/title/tt0045152/

186

3-BEAT RIFF WALK (SLAM, FLAM, SLURP, THIRD) &a1 - touch dig toe or brush dig toe See Riff

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4-BEAT RIFF WALK a1 a2 - touch scuff dig toe or brush scuff dig toe See Riff

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5-BEAT RIFF WALK a1&a2 - touch scuff HEEL dig toe or brush scuff HEEL dig toe See Riff

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6-BEAT RIFF WALK &a1&a2 - touch scuff HEEL dig toe heel or brush scuff HEEL dig toe heel See Riff

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7-BEAT RIFF WALK &a1e&a2 - touch scuff HEEL dig toe HEEL heel or brush scuff HEEL dig toe HEEL heel See Riff

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ADAGIO(ADAGE) [French: a-DAHZH] Adage is a French word derived from the Italian ad agio, meaning at ease or leisure. English ballet teachers use "adage," the French adaptation, while Americans prefer the original Italian.

In dancing it has two meanings: (1) A series of exercises following the centre practice, consisting of a succession of slow and graceful movements which may be simple or of the most complex character, performed with fluidity and apparent ease. These exercises develop a sustaining power, sense of line, balance and the beautiful poise which enables the dancer to perform with majesty and grace. The principal steps of adagio are pliés, développés, grand fouetté en tournant, dégagés, grand rond de jambe, rond de jambe en l'air, coupés, battements tendus, attitudes, arabesques, preparations for pirouettes and all types of pirouettes. (2) The opening section of the classical pas de deux, in which the ballerina assisted by her male partner, performs the slow movements and enlèvements in which the danseur lifts, supports or carries the danseuse. The danseuse thus supported exhibits her grace, line and perfect balance while executing développés, pirouettes, arabesques and so on, and achieves combinations of steps and poses which would be impossible without the aid of her partner.

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AIR,EN I [ahn lehr] In the air. Indicates: (1) that a movement is to be made in the air; for example, rond de jambe en l'air; (2) that the working leg, after being opened to the second or fourth position à terre, is to be raised to a horizontal position with the toe on the level of the hip.

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ALEXANDER (BROADWAY SHIRLEY TEMPLE) &1&2&3&4 or a1 a2 a3 a4 - flap HEEL heel SPANK heel TOE (TIP) heel

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ALLÉGRO [a-lay-GROH; Italian: al-LAY-groh] Brisk, lively. A term applied to all bright and brisk movements. All steps of elevation such as the entrechat, cabriole, assemblé, jeté and so on, come under this classification. The majority of dances, both solo and group, are built on allegro. The most important qualities to aim at in allégro are lightness, smoothness and ballon.

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ARABESQUE [a-ra-BESK] One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament.

In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-plié, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes.

The shoulders must be held square to the line of direction. The forms of arabesque are varied to infinity. The Cecchetti method uses five principal arabesques; the Russian School (Vaganova), four; and the French School, two. Arabesques are generally used to conclude a phrase of steps, both in the slow movements of adagio and the brisk, gay movements of allégro.

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ARRIÉRE,EN [ah na-RYEHR] Backward. Used to indicate that a step is executed moving away from the audience. As, for example, in glissade en arrière.

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ASSEMBLÉ [a-sahn-BLAY] Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. Both legs come to the ground simultaneously in the fifth position. If an assemblé is porté it requires a preparatory step such as a glissade to precede it. If an assemblé is en tournant it must be preceded by a preparatory step. Assemblés are done petit or grand according to the height of the battement and are executed dessus, dessous, devant, derrière, en avant, en arrière and en tournant. They may be done en face, croisé, effacé or écarté. Assemblé may also be done with a beat for greater brilliance. In the Cecchetti assemblé both knees are bent and drawn up after the battement so that the flat of the toes of both feet meet while the body is in the air.

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ASSEMBLÉ EN TOURNANT Big assemblé, turning. This assemblé is done in the same manner as grand assemblé. It is taken only dessus or derrière. It is traveled directly to the side, on a diagonal traveling upstage, in a circle, etc. It is usually preceded by a pas couru or a chassé. The battement at 90 degrees to the second position is taken facing upstage, then the dancer completes the turn en dedans and finishes the assemblé facing the audience.

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ATTITUDE [a-tee-TEWD] A particular pose in dancing derived by Carlo Blasis from the statue of Mercury by Giovanni da Bologna. It is a position on one leg with the other lifted in back, the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot. The supporting foot may be à terre, sur la pointe or sur la demi-pointe. The arm on the side of the raised leg is held over the head in a curved position while the other arm is extended to the side. There are a number of attitudes according to the position of the body in relation to the audience.

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AVANT [ah na-VAHN] Forward. A direction for the execution of a step. Used to indicate that a given step is executed moving forward, toward the audience.

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BACK ESSENCE &1&2 or a1 a2 - spank step (cross behind) STEP step See Double Back Essence

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BALANCÉ [ba-lahn-SAY] Rocking step. This step is very much like a pas de valse and is an alternation of balance, shifting the weight from one foot to the other. Balancé may be done crossing the foot either front or back. Fifth position R foot front. Demi-plié, dégagé the R foot to the second position and jump on it lightly in demi-plié, crossing the L foot behind the R ankle and inclining the head and body to the right. Step on the L demi-pointe behind the R foot, slightly lifting the R foot off the ground; then fall on the R foot again in demi-plié with the L foot raised sur le cou-de-pied derrière. The next balancé will be to the left side. Balancé may also be done en avant or en arrière facing croisé or effacé and en tournant.

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BALLERINA [bahl-lay-REE-rlah (Italian)] A principal female dancer in a ballet company. In the days of the Russian Imperial Theatres the title was given to the outstanding soloists who danced the chief classical roles.

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BALLET [ba-LAY] A theatrical work or entertainment in which a choreographer has expressed his ideas in group and solo dancing to a musical accompaniment with appropriate costumes, scenery and lighting.

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BALLET MASTER,BALLET MISTRESS The person in a ballet company whose duty is to give the daily company class and to rehearse the ballets in the company repertoire.

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BALLETOMANE A ballet fan or enthusiast. The word was invented in Russia in the early nineteenth century.

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BALLON [ba-LAWN] Bounce. Ballon is the light, elastic quality in jumping in which the dancer bounds up from the floor, pauses a moment in the air and descends lightly and softly, only to rebound in the air like the smooth bouncing of a ball.

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BALLONNÉ,PAS [pah ba-law-NAY] Ball-like or bouncing step. A step in which the dancer springs into the air extending one leg to the front, side or back and lands with the extended leg either sur le cou-de-pied or retiré. There are two kinds of ballonné: ballonné simple, which may be performed petit or grand; and ballonné compose, which is a compound step consisting of three movements. Ballonné may be executed in all the directions of the body.

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BALLOTTÉ [ba-law-TAY] Tossed. This step consists of coupé dessous and coupé dessus performed in a series with a rocking, swinging movement. The step may be performed with straight knees at 45 degrees or with développés at 90 degrees. The direction of the body is effacé with the body inclining backward or forward with each change of weight. In the Russian School, ballotté is performed traveling forward on ballotté en avant and backward on ballotté en arrière to the place from which the first jump began. In the French School and the Cecchetti method, ballotté is performed on one spot.

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BARRE [bar] The horizontal wooden bar fastened to the walls of the ballet classroom or rehearsal hall which the dancer holds for support. Every ballet class begins with exercises at the bar.

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BATTEMENT [bat-MAHN] Beating. A beating action of the extended or bent leg. There are two types of battements, grands battements and petits battements. The petis battements are: Battements tendus, dégagés, frappés and tendus relevés: stretched, disengaged, struck and stretched-and- lifted .

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BATTEMENT DÉGAGÉ [bat-MAHN day-ga-ZHAY] Disengaged battement. A term of the Cecchetti method. The battement dégagé is similar to the battement tendu but is done at twice the speed and the working foot rises about four inches from the floor with a well-pointed toe, then slides back into the the first or fifth position.

Battements dégagés strengthen the toes, develop the instep and improve the flexibility of the ankle joint. Same as battement tendu jeté (Russian School), battement glissé (French School).

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BATTEMENT EN CLOCHE,GRAND [grahn bat-MAHN ahn klawsh] Large battement like a bell. A term of the French School and the Cecchetti method. Grands battements en cloche are continuous grands battements executed from the fourth position front or back en l'air to the fourth position back or front en l'air, passing through the first position.

Same as grand battement jeté balancé, but the body remains upright as the leg swings.

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BATTEMENT FONDU DÉVELOPPÉ [bat-MAHN fawn-DEW dayv-law-PAY] Battement, sinking down, developed. This is an exercise in which the supporting leg is slowly bent in fondu with the working foot pointing on the ankle. As the supporting leg is straightened, the working leg unfolds and is extended to point on the floor or in the air. The movement is done devant, derrière and à la seconde. In fondu forward, the conditional position sur le coude-pied devant is used. In fondu back, the basic position sur le cou-de-pied derrière is used.

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BATTEMENT FRAPPÉ [bat-MAHN fra-PAY] Struck battement. An exercise in which the dancer forcefully extends the working leg from a cou-de-pied position to the front, side or back. This exercise strengthens the toes and insteps and develops the power of elevation. It is the basis of the allegro step, the jeté.

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BATTEMENT SUR LE COU-DE-PIED,PETIT [puh-TEE bat-MAHN sewr luh koo-duh-PYAY] Small battement on the ankle. This is an exercise at the bar in which the working foot is held sur le cou-de-pied and the lower part of the leg moves out and in, changing the foot from sur le cou-de-pied devant to sur le cou-de-pied derrière and vice versa. Petits battements are executed with the supporting foot à terre, sur la demi-pointe or sur la pointe.

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BATTEMENT TENDU bat-MAHN tahn-DEW] Battement stretched. A battement tendu is the commencing portion and ending portion of a grand battement and is an exercise to force the insteps well outward. The working foot slides from the first or fifth position to the second or fourth position without lifting the toe from the ground. Both knees must be kept straight. When the foot reaches the position pointe tendue, it then returns to the first or fifth position. Battements tendus may also be done with a demi-plié in the first or fifth position. They should be practiced en croix.

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BATTEMENT,GRAND [grahn bat-MAHN] Large battement. An exercise in which the working leg is raised from the hip into the air and brought down again, the accent being on the downward movement, both knees straight. This must be done with apparent ease, the rest of the body remaining quiet. The function of grands battements is to loosen the hip joints and turn out the legs from the hips. Grands battements can be taken devant, derrière and à la seconde.

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BATTU [ba-TEW] Beaten. Any step embellished with a beat is called a pas battu. As, for example, in jeté battu.

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BOMBERSHAY (Bombershe, Toe Clip) - 1&a - step SPANK DIG

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BRAS [brah] Arms.

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BRAS BAS [brah bah] Arms low or down. This is the dancer's "attention." The arms form a circle with the palms facing each other and the back edge of the hands resting on the thighs. The arms should hang quite loosely but not allowing the elbows to touch the sides.

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BRAS,POSITON DES [paw-zee-SYAWN day brah] Positions of the arms. Although the positions of the feet are standard in all methods, the positions of the arms are not, each method having its own set of arm positions. The Cecchetti method has five standard positions with a derivative of the fourth position and two derivatives of the fifth position. The French School has a preparatory position and five standard positions.

These positions are used in some Russian schools. The Russian School (Vaganova) has a preparatory position and three standard positions of the arms.

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BRISÉ [bree-ZAY] Broken, breaking. A small beating step in which the movement is broken. Brisés are commenced on one or two feet and end on one or two feet. They are done dessus, dessous, en avant and en arrière. Fundamentally a brisé is an assemblé beaten and traveled. The working leg brushes from the fifth position to the second position so that the point of the foot is a few inches off the ground, and beats in front of or behind the other leg, which has come to meet it; then both feet return to the ground simultaneously in demi-plié in the fifth position.

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BRISÉ VOLÉ [bree-ZAY vaw-LAY] Flying brisé. In this brisé the dancer finishes on one foot after the beat, the other leg crossed either front or back. The foundation of this step is a fouetté movement with a jeté battu. In the Russian and French Schools the raised leg finishes sur le cou-de-pied devant or derrière and the brisé volé is done like a jeté battu. In the Cecchetti method, the working foot passes through the first position to the fourth position, the calves are beaten together and on alighting the free leg is extended forward or back with a straight knee.

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BROADWAY &1&2&3&4 - flap HEEL heel SPANK heel TOE (TIP) heel See Alexander

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BRUSH swing foot forward (front or diagonally side) hitting only the ball tap

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BUCK DOUBLE TIME STEP 8 1&2&3&4 5&6&7& - stomp (some people add a spank after the stomp) HOP flap FLAP step

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BUCK SINGLE TIME STEP 8 1 2&3&4 5 6&7& - stomp (some people add a spank after the stomp) HOP step FLAP step

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BUCK TRIPLE TIME STEP 8 1&a2&3&4 5&a6&7& - stomp (some people add a spank after the stomp) HOP shuffle step FLAP step

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BUFFALO 1&a2 - (cross foot in front) step (leap) SHUFFLE STEP See Double Buffalo

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CABRIOLE [ka-bree-AWL] Caper. An allegro step in which the extended legs are beaten in the air. Cabrioles are divided into two categories: petite, which are executed at 45 degrees, and grande, which are executed at 90 degrees. The working leg is thrust into the air, the underneath leg follows and beats against the first leg, sending it higher. The landing is then made on the underneath leg. Cabriole may be done devant, derrière and à la seconde in any given position of the body such as croisé, effacé, écarté, etc.

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CABRIOLE, DOUBLE [DOO-bluh ka-bree-AWL] Double cabriole. This is a cabriole in which one leg strikes the other in the air two or more times before landing.

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CAVALIER The male partner of the ballerina

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CECCHETTI METHOD Enrico Cecchetti, one of the world's outstanding teachers of ballet, established a system of passing on the tradition of ballet to future generations of dancers. This system, the Cecchetti method, was codified and recorded by Cyril Beaumont, Stanislas Idzikowski, Margaret Craske and Derra de Moroda. The method has a definite program of strict routine and includes a table of principal set daily exercises for each day of the week. The Cecchetti Society was formed in London in 1922 to perpetuate his method of teaching. In 1924 the Society was incorporated into the Imperial Society of Teachers of Dancing. Entrance to the Society is by examination and students must pass through a carefully graded system which has done much to raise the standard of dancing and teaching throughout the British Empire.

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CECCHETTI, ENRICO [en-REE-koh cheh-KET-tee] This Italian dancer and ballet master (1850-1928) was born in Rome, son of Cesare Cecchetti and Serafina Casagli. He studied with Giovanni Lepri, who was a pupil of the great Carlo Blasis, and made his debut at La Scala, Milan, in 1870. He toured Europe as a premier danseur and made his debut at the Maryinski Theatre, St. Petersburg, in 1887. He accepted the position of second ballet master at the Maryinski Theatre in 1890 and two years later became instructor at the Imperial School. His pupils included Pavlova, Nijinsky, Karsavina, Fokine, Preobrajenska, Kchessinska and Egorova. In 1902 he left for Warsaw, where he became director of the Imperial School, and in 1905 returned to Italy. Returning to Russia, he opened a-private school and later became the private tutor of Anna Pavlova, touring the world with her. From 1909 to 1918 he was the official instructor to the Diaghilev Ballet Company. From 1918 until 1923 he had a private school in London. He then returned to Italy and became ballet master at La Scala in 1925. He devoted the rest of his life to teaching and perfecting his teaching methods.

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CENTRE PRACTICE Centre practice, or exercices au milieu, is the name given to a group of exercises similar to those à la barre but performed in the centre of the room without the support of the bar. These exercises are usually performed with alternate feet and are invaluable for obtaining good balance and control.

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CHAINÉS [sheh-NAY] Chains, links. This is an abbreviation of the term "tours chaînés déboulés": a series of rapid turns on the points or demi-pointes done in a straight line or in a circle.

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CHANGEMENT [shahnzh-MAHN duh pyay] Change of feet. The term is usually abbreviated to changement. Changements are springing steps in the fifth position, the dancer changing feet in the air and alighting in the fifth position with the opposite foot in the front. They are done petit and grand.

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CHASSÉ [sha-SAY] Chased. A step in which one foot literally chases the other foot out of its position; done in a series.

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CHOREOGRAPHER This is the term applied to one who composes or invents ballets or dances.

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CHOREOGRAPHY This is a term used to describe the actual steps, groupings and patterns of a ballet or dance composition.

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CHUG lift heels, slide forward and then drop the heels at the end of the slide forward

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CINCINNATI &1&2&3 - spank HEEL shuffle HEEL step

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CINQ [senk] Five.

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CINQUIÉME [sen-KYEM] Fifth.

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CLASSICAL BALLET (1) The traditional style of ballet, which stresses the academic technique developed through the centuries of the existence of ballet.

(2) A ballet in which the style and structure adhere to the definite framework established in the nineteenth century. Examples of classical ballets are Coppélia, The Sleeping Beauty, The Nutcracker and Swan Lake.

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CLICK click either the toe taps together or the heel taps together

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CLOCHE, EN [ahn klawsh] Like a bell. Refers to grands battements executed continuously devant and derrière through the first position.

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CLUNK hit the inside of the toe and heel tap against the floor at the same time

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CODA (1) The finale of a classical ballet in which all the principal dancers appear separately or with their partners.

(2) The final dance of the classic pas de deux, pas de trois or pas de quatre.

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CORPS [kawr] Body.

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CORPS DE BALLET [kawr duh ba-LAY] The dancers in a ballet who do not appear as soloists.

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CÔTÉ, DE [duh koh-TAY] Sideways. Used to indicate that a step is to be made to the side, either to the right or to the left.

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COU-DE-PIED POSITION [sewr luh koo-duh-PYAY] On the "Neck" of the foot. The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle.

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COUPÉ JETÉ EN TOURNANT koo-PAY zhuh-TAY ahn toor-NAHN] A compound step consisting of a coupé dessous making a three-quarter turn and a grand jeté en avant to complete the turn. The step is usually done in a series either en manège or en diagonale.

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COURU [koo-REW] Running.

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CRAMP ROLL 1&a2 - step STEP heel HEEL

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CROISÉ, CROISÉE [kmJah-ZAY] Crossed. One of the directions of épaulement. The crossing of the legs with the body placed at an oblique angle to the audience. The disengaged leg may be crossed in the front or in the back.

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CROIX, EN [ahn krwah] In the shape of a cross. Indicates that an exercise is to be executed to the fourth position front, to the second position and to the fourth position back, or vice versa. As, for example, in battements tendus en croix.

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DANSE [dahnss] Dance.

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DANSE DE CARACTÈRE [dahnss duh ka-rak-TEHR] Dance of character, character dance. Any national or folk dance, or a dance based on movements associated with a particular profession, trade, personality or mode of living.

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DEDANS, EN [ahn duh-DAHN] Inward. In steps and exercises the term en dedans indicates that the leg, in a position à terre or en l'air, moves in a circular direction, counterclockwise from back to front. As, for example, in rond de jambe à terre en dedans. In pirouettes the term indicates that a pirouette is made inward toward the supporting leg.

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DEHORS, EN [ahn duh-AWR] Outward. In steps and exercises the term en dehors indicates that the leg, in a position à terre or en l'air, moves in a circular direction, clockwise. As, for example, in rond de jambe à terre en dehors. In pirouettes the term indicates that a pirouette is made outward toward the working leg.

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DEMI-PLIÉ [duh-MEE-plee-AY] Half-bend of the knees. All steps of elevation begin and end with a demi-plié. See Plié.

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DEMI-POINTES, SUR LES [sewr lay duh-mee-PWENT] On the half-points. Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. Also used in the singular, "sur la demi-pointe."

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DERRIÈRE The back; rear

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DESSOUS [duh-SOO] Under. Indicates that the working foot passes behind the supporting foot. As, for example, in pas de bourrée dessous.

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DESSUS [duh-SEW] Over. Indicates that the working foot passes in front of the supporting foot. As, for example, in pas de bourrée dessus.

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DEUX [duh] Two.

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DEUXIÉME [duh-ZYEM] Second.

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DEVANT [duh-VAHN] In front. This term may refer to a step, movement or the placing of a limb in front of the body.

In reference to a particular step the addition of the word "devant" implies that the working foot is closed in the front.

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DÉVELOPPÉ [tahn dayv-law-PAY] Time developed, developing movement. Through common usage the term has become abridged to développé. A développé is a movement in which the working leg is drawn up to the knee of the supporting leg and slowly extended to an open position en l'air and held there with perfect control. The hips are kept level and square to the direction in which the dancer is facing.

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DIAGONALE, EN [ahn dya-gaw-NAL] In a diagonal. Indicates that a step is to be done traveling in a diagonal direction.

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DIG (HEEL) 1 - hit the back edge of the heel tap against the floor

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DIG TOE (HEEL TOE) 1& - dig toe See Dig

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DIG TOE STEP HEEL (HEEL TOE TOE HEEL) 1&2& - dig toe STEP HEEL

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DIVERTISSEMENT [dee-vehr-tees-MAHNLAY] Diversion, enjoyment. A suite of numbers called "entrées," inserted into a classic ballet. These short dances are calculated to display the talents of individuals or groups of dancers.

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DOUBLE [DOO-bluh] Double. As, for example, in pirouette double (a double pirouette).

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DOUBLE BACK ESSENCE a1&a2 - spank step (cross behind) FLAP step See Back Essence

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DOUBLE BUFFALO a1&a2 - (cross foot in front) flap SHUFFLE STEP See Buffalo

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DOUBLE CRAMP ROLL (FLAP CRAMP ROLL) a1&a2 - flap STEP heel HEEL See Cramp Roll

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DOUBLE IRISH &1&2&3&4 or a1 a2 a3 a4 - shuffle ball change, shuffle HOP step

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DOUBLE MAXIE FORD &1&2&3 or a1e&a2 - flap SHUFFLE STEP toe (tip) See Maxie Ford

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DOUBLE PULL BACK 1&a2 - pull PULL step STEP See Pullback

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DOUBLE TIME STEP 8&1&2&3&4&5&6&7& - shuffle HOP flap FLAP step See Time Step

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DOUBLE TRAVELING TIME STEP 8&1&2&3&4 5&6&7& - shuffle step SHUFFLE BALL CHANGE BALL CHANGE hop FLAP shuffle step (some people start it with the hop) See Single Traveling Time Step

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DOUBLE WALTZ CLOG &1&2&3 or a1e&a2 - flap SHUFFLE BALL CHANGE See Waltz Clog

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DOUBLE WING &a***1 - start on the balls of the feet with feet together, scrape both feet outwards and into the air - one before the other, then spank both feet inwards - one before the other, then land on the balls of the feet - one before the other See Wing

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DRAWBACK &a1 - spank HEEL step

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ÉCARTÉ [ay-har-TAY] Separated, thrown wide apart. Écarté is one of the eight directions of the body, Cecchetti method. In this position the dancer faces either one of the two front corners of the room. The leg nearer the audience is pointed in the second position à terre or raised to the second position en l'air. The torso is held perpendicular. The arms are held en attitude with the raised arm being on the same side as the extended leg.

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ÉCHAPPÉ [ay-sha-PAY] Escaping or slipping movement. An échappé is a level opening of both feet from a closed to an open position. There are two kinds of échappés: échappé sauté, which is done with a spring from the fifth position and finishes in a demi-plié in the open position, and échappé sur les pointes, or demi-pointes, which is done with a relevé and has straight knees when in the open position. In each case échappés are done to the second or fourth position, both feet traveling an equal distance from the original center of gravity.

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ÉCHAPPÉ SUR LES POINTES [ay-sha-PAY sewr lay pwent] Échappé on the points or toes. Fifth position R foot front. Demi-plié and, with a little spring, open the feet to the second or fourth position sur les pointes. The feet should glide rapidly to the open position and both feet must move evenly. On reaching the open position both knees must be held taut. With a little spring return to the fifth position in demi-plié. If the échappé is done in the second position the R foot may be closed either front or back. In échappé to the fourth position facing en face, croisé or effacé, the movement is done from the fifth position to the fourth position without change.

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EFFACÉ, EFFACÉE [eh-fa-SAY] Shaded. One of the directions of épaulement in which the dancer stands at an oblique angle to the audience so that a part of the body is taken back and almost hidden from view. This direction is termed "ouvert" in the French method. Effacé is also used to qualify a pose in which the legs are open (not crossed). This pose may be taken devant or derrière, either à terre or en l'air.

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ÉLÉVATION [ay-lay-va-SYAWN] Élévation is the ability of a dancer to attain height in dancing. It is a term used to describe the height attained in springing steps such as entrechats, grands jetés and so on, combined with ballon so that the dancer jumps with a graceful elasticity like the bouncing movement of a rubber ball which touches the ground a moment and then rebounds into the air. The elevation is reckoned by the distance between the pointed toes of the dancer in the air and the ground. In alighting after a pas d'élévation the tips of the toes should reach the ground first, quickly followed by the sole and then the heel. All steps of' elevation begin and end with a demi-plié.

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ENTRECHAT [ahn-truh-SHAH] Interweaving or braiding. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other. Entrechats are counted from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg; that is, in an entrechat quatre each leg makes two distinct movements. Entrechats are divided into two general classes: the even-numbered entrechats, or those which land on two feet-- deux, quatre, six, huit and dix-- and the odd-numbered entrechats, or those which land on one foot-- trois, cinq, sept and neuf.

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ENTRECHAT SIX [ahn-truh-SHAH seess] Six crossings. Demi-plié in the fifth position R foot front. With a strong jump open the legs, beat the R leg behind the L, open the legs, beat the R leg in front of the L, open the legs and finish in demi-plié in the fifth position R foot back.

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ÉPAULEMENT [ay-pohl-MAHN]] Shouldering. The placing of the shoulders. A term used to indicate a movement of the torso from the waist upward, bringing one shoulder forward and the other back with the head turned or inclined over the forward shoulder. The two fundamental positions of épaulement are croisé and effacé. When épaulement is used the position of the head depends upon the position of the shoulders and the shoulder position depends upon the position of the legs. Épaulement gives the finishing artistic touch to every movement and is a characteristic feature of the modern classical style compared to the old French style. which has little épaulement.

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EXTENSION [eks-tahn-SYAWN] Term used to describe the ability of a dancer to raise and hold her extended leg en l'air. A dancer is said to have a good extension if, when doing a développé à la seconde, she is able to hold and sustain the raised leg above shoulder level.

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FACE, EN [ahn fahss] Opposite (the audience); facing the audience.

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FISH DIVE This is a term used in double (supported) work for various lifts in which the danseuse is supported by the danseur in a poisson position. He may hold her above his head in a horizontal fish dive or she may fall from a sitting position on his shoulder and be caught in a fish dive, and so on.

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FLAP &1 or a1 - brush step

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FLAP BALL CHANGE a1 a2 or &1&2 - brush step STEP step

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FLAP HEEL &1 2 or &a1 - brush step heel

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FLAP HEEL TURN &1 2 or &a1 - brush step heel (turning)

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FONDU, FONDUE [fawn-DEW] Sinking down. A term used to describe a lowering of the body made by bending the knee of the supporting leg. Saint-Léon wrote, "Fondu is on one leg what a plié is on two." In some instances the term fondu is also used to describe the ending of a step when the working leg is placed on the ground with a soft and gradual movement.

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FOUETTÉ [fweh-TAY] Whipped. A term applied to a whipping movement. The movement may be a short whipped movement of the raised foot as it passes rapidly in front of or behind the supporting foot or the sharp whipping around of the body from one direction to another. There is a great variety of fouettés: petit fouetté, which may be devant, à la seconde or derrière and executed à terre, sur la demi-pointe or sauté; and grand fouetté, which may be sauté, relevé and en tournant.

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FOUETTÉ EN TOURANT [grahn fweh-TAY ahn toor-NAHN] Large fouetté, turning. This fouetté may be done on demi-pointe, on point or with a jump. It is usually done en dedans and may be finished in attitude croisée, attitude effacée or any of the arabesques.

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FOUETTÉ ROND DE JAMBE EN TOURNANT [fweh-TAY rawn duh zhahnb ahn toor-NAHN] Whipped circle of the leg turning. This is the popular turn in which the dancer executes a series of turns on the supporting leg while being propelled by a whipping movement of the working leg. The whipping leg should be at hip level, with the foot closing in to the knee of the supporting leg. Fouettés are usually done in a series. They may be executed en dehors or en dedans.

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FRENCH SCHOOL The French School of ballet began in the court ceremonies of the French monarchs. Louis XIV studied with the famous ballet master Pierre Beauchamp and established the first academy of dancing, known as the Académie Royale de Musique et de Danse, in Paris in 1661. The École de Danse de l'Opéra was founded in 1713 and is now known as the École de Danse du Théâtre National de l'Opéra. Among its most famous ballet masters were Beauchamp, Pécour, Lany, Noverre, G. and A. Vestris, M. and P. Gardel, F. Taglioni, Mazilier, Saint-Léon, Mérante, Staats, Aveline and Lifar. The French School was known for its elegance and soft, graceful movements rather than technical virtuosity. Its influence spread throughout Europe and is the basis of all ballet training.

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GATEWAY, THE This is a position of the arms in which the arms are held rounded in front of the body with the fingertips on a level with the bottom of the breastbone. The backs of the hands face outward with the arms rounded so that the elbows are a little below the shoulders and the wrists a little below the elbows with the point of the elbows imperceptible. This position corresponds to the fifth position en avant of the Cecchetti method and the first position of the Russian and French Schools. When the arms are raised from a low position to a high one, the arms generally pass through the gateway. See Port de bras.

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GLISSADE [glee-SAD] Glide. A traveling step executed by gliding the working foot from the fifth position in the required direction, the other foot closing to it. Glissade is a terre à terre step and is used to link other steps. After a demi-plié in the fifth position the working foot glides along the floor to a strong point a few inches from the floor. The other foot then pushes away from the floor so that both knees are straight and both feet strongly pointed for a moment; then the weight is shifted to the working foot with a fondu. The other foot, which is pointed a few inches from the floor, slides into the fifth position in demi-plié. When a glissade is used as an auxiliary step for small or big jumps, it is done with a quick movement on the upbeat. Glissades are done with or without change of feet, and all begin and end with a demi-plié. There are six glissades: devant, derrière, dessous, dessus, en avant, en arrière, the difference between them depending on the starting and finishing positions as well as the direction. Glissade may also be done sur les pointes.

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GRAB OFF a1 - jump backwards and "spank" both your feet as they leave the floor then land on the balls of both feet See Pullback

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GRAND, GRANDE [grahn, grahnd] Big, large. As, for example; in grand battement. (To find terms starting with "grand," look up the second word of the term.)

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HEEL hit your heel against the floor

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HEEL STAND jump onto the back edges of your heels and balance

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HOP propel yourself into the air off of one foot and land on the ball of that same foot

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HOP SHUFFLE 1&a - hop BRUSH SPANK

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IRISH a1 a2 or e&a1 - shuffle HOP step

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IRISH PULLBACK a1&a2 - shuffle SINGLE-PULLBACK step

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IRISH STEP TURN 1e&a2 - step SHUFFLE hop STEP (turning)

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ITALIAN SCHOOL The Imperial Dancing Academy connected with La Scala in Milan was opened in 1812. Its greatest period began when Carlo Blasis, Italian dancer and teacher, became its director in 1837. Blasis published two textbooks, Treatise on the Art of Dancing and Code of Terpischore, in which he codified his teaching methods and all that was known of ballet technique. These books form the basis of our modern classical training. Blasis trained most of the famous Italian dancers ot the era, and his pupil Giovanni Lepri was the teacher of Enrico Cecchetti, one of the greatest teachers in the history of ballet. It was Cecchetti who brought the Italian School to its peak. The Italian School was known for its strong, brilliant technique and the virtuosity of its dancers, who astonished the audience with their difficult steps and brilliant turns.

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JAMBE [zhahnb] Leg.

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JETÉ BATTU Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

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JETÉ EN AVANT, GRAND [grahn zhuh-TAY ah na-VAHN] Large jeté forward. A big leap forward preceded by a preliminary movement such as a pas couru or a glissade, which gives the necessary push-off. The jump is done on the foot which is thrown forward as in grand battement at 90 degrees, the height of the jump depending on the strength of the thrust and the length of the jump depending on the strong push-off of the other leg which is thrust up and back. The dancer tries to remain in the air in a definitely expressed attitude or arabesque and descends to the ground in the same pose. It is important to start the jump with a springy plié and finish it with a soft and controlled plié.

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JETÉ ENTRELACÉ [zhuh-TAY ahn-truh-la-SAY] Jeté interlaced. A term of the Russian School. This jeté is done in all directions and in a circle.

It is usually preceded by a chassé or a pas couru to give impetus to the jump. In the French School this is called "grand jeté dessus en tournant"; in the Cecchetti method, "grand jeté en tournant en arrière."

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JETÉ, GRAND [grahn zhuh-TAV] Large jeté. In this step the legs are thrown to 90 degrees with a corresponding high jump. It is done forward to attitude croisée or effacée, and to all the arabesques. It may also be done backward with the leg raised either croisé or effacé devant. Grand jeté is always preceded by a preliminary movement such as a glissade, pas couru or coupe.

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JETÉ, PAS [pah zhuh-TAY] Throwing step. A jump from one foot to the other in which the working leg is brushed into the air and appears to have been thrown. There is a wide variety of pas jetés (usually called merely jetés) and they may be performed in all directions.

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JETÉ, PETITE [puh-TEE zhuh-TAY] Small jeté. From a demi-plié in the fifth position the working foot glides along the floor until it reaches a position à la demi-hauteur. The supporting foot springs from the floor and the landing is made in fondu on the working leg with the other foot extended in the air or sur le cou-depied. Petit jeté is done dessus, dessous, en avant, en arrière and en tournant.

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JUMP propel yourself into the air and land on the balls of both feet at the same time

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LABANOTATION This is a system of dance notation invented by the Hungarian-born teacher Rudolf von Laban.

This system has been developed and perfected by the Dance Notation Bureau, which was founded in New York in 1940 and introduced the term in 1953. Many ballets have been notated by the Bureau, which has compiled a library of works in Labanotation, including the previous edition of the present book (notated by Allan Miles).

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LEAP push off of one foot and into the air and land on the ball of the other foot

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LEÇON (CLASS) Lesson. The daily class taken by dancers throughout their career to continue learning and to maintain technical proficiency. It consists of exercices à la barre (side practice) followed by exercices au milieu (centre practice), port de bras, pirouette practice and petit and grand allégro.

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LIGNE [LEEN-yuh] Line. The outline presented by a dancer while executing steps and poses. A dancer is said to have a good or bad sense of line according to the arrangement of head, body, legs and arms in a pose or movement. A good line is absolutely indispensable to the classlcal dancer.

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MANÈGES [ma-NEZH] Circular. A term applied to steps or enchaînements executed in a circle.

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MAXIE FORD 1&2&3 or 1e&a2 or 1 a2 a3 - step SHUFFLE STEP toe (tip) (toe-tip crosses in back)

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MAXIE FORD PULLBACK 1e&a*2 - step SHUFFLE switching-pullback toe (tip)

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MAXIE FORD TURN 1e&a2 - step SHUFFLE STEP toe (tip) (turning)

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MAZURKA (MAZUREK) A Polish folk dance in 3/4 time which has been introduced into a number of ballets as a character dance.

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METHODS (French: Méthodes [may-TAWD]) Academic ballet as we know it today came into being in the year 1661, when King Louis XIV of France founded the Académie Royale de Musique et de Danse. Although individual Milanese dancing-masters had been renowned since the fifteenth century, the permanent Imperial Dancing Academy connected with La Scala Theatre was not opened until 1812. The Academy at Milan influenced Paris and especially Russia through the rules of education drawn up by Carlo Blasis, who became director of the Academy in 1837 and rapidly made it the centre of ballet activity.

By the middle of the nineteenth century the ballet centres of the world had shifted from Paris and Milan to St. Petersburg and Moscow. The Russian School first derived its technique from France but by the middle of the nineteenth century it had acquired an international aspect through the influence of international artists. From the beginning of the second half of the nineteenth century Russian ballet was dominated by Marius Petipa, a Frenchman, and Christian Johannsen, a Swede. Then in 1874 Enrico Cecchetti, the last great exponent of the Italian School, arrived in Russia. These three men working on generations of Russian dancers developed Russian ballet, making it as much a system as Italian or French ballet. Actually the French method is in the greatest proportion in the Russian School.

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MIME The art of using the face and body to express emotion and dramatic action.

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NEUF [nuhf] Nine.

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NOTATION There is no universally accepted system of recording the choreography of ballets although many systems of dance notation have been devised by dancers and choreographers. At present, there are two systems of notation in general use, Labanotation and Benesh notation.

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OUVERT, OUVERTE [oo-VEHR, oo-VEHRT] Open, opened. This may refer to positions (the second and fourth positions of the feet are positions ouvertes), limbs, directions, or certain exercises or steps. In the French School the term is used to indicate a position or direction of the body similar to effacé.

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OVER THE TOP 1 2 - step KICK LEG INTO THE AIR, jump over the airborne leg and land on the original stepping foot

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PADDLE AND ROLL 1e&a - dig spank step heel See Scuffle Step Heel

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PADDLE TURN 1&a - spank step STEP (turning)

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PADDLES 1&a - dig spank step See scuffle step

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PARADIDDLE 1e&a - dig spank step heel See Scuffle Step Heel

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PAS [pah] Step. A simple step or a compound movement which involves a transfer of weight. Example: pas de bourrée. "Pas" also refers to a dance executed by a soloist (pas seul), a duet (pas de deux). and so on.

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PAS DE BOURRÉE [pah duh boo-RAY] Bourrée step. Pas de bourrée is done dessous, dessus, devant, derrière, en avant, en arrière and en tournant, en dedans and en dehors, on the point or demi-pointe.

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PAS DE BOURRÉE COURU [pah duh boo-RAY koo-REW] Pas de bourrée, running. A term of the French School. This is a progression on the points or demi-pointes by a series of small, even steps with the feet close together. It may be done in all directions or in a circle.

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PAS DE CHAT [pah duh shah] Cat's-step. The step owes its name to the likeness of the movement to a cat's leap.

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PAS DE DEUX [pah duh duh] Dance for two.

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PAS DE DEUX, GRAND [grahn pah duh duh] Grand dance for two. It differs from the simple pas de deux in that it has a definite structure. As a general rule the grand pas de deux falls into five parts: entrée, adage, variation for the danseuse, variation for the danseur, and the coda, in which both dancers dance together.

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PAS DE QUATRE [pah duh KA-truh] A dance for four. The most famous pas de quatre in ballet history took place in London on July 12, 1845, at a command performance for Queen Victoria, when the four greatest ballerinas of the nineteenth century, Marie Taglioni, Carlotta Grisi, Fanny Cerrito and Lucile Grahn, appeared together.

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PAS DE TROIS [pah duh trwah] A dance for three. Similarly, a pas de cinq is a dance for five people; a pas de six is a dance for six people; etc.

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PAS DE VALSE [pah duh valss] Waltz step. Done with a graceful swaying of the body with various arm movements. May be done facing or en tournant. The step is like a balancé, but the feet do not cross.

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PAS MARCHÉ [pah mar-SHAY] Marching step. This is the dignified, classical walk of the ballerina and the premier danseur.

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PENCHÉ, PENCHÉE [pahn-SHAY] Leaning, inclining. As, for example, in arabesque penchée.

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PENDULUM SHUFFLE a1 a2 - brush to the front then spank in front of the standing foot, then brush back out to the front and then spank diagonally back to the side See Shuffle

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PETIT, PETITIE [puh-TEE, puh-TEET] Little, small. As, for example, in petit battement. (To find terms starting with "petit," look up the second word of the term.)

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PIEDS, CINQ POSITIONS DES (FIVE POSITIONS OF THE FEET) [sen paw-zee-SYAWN day pyay] Five positions of the feet. There are five basic positions of the feet in classical ballet, and every step or movement is begun and ended in one or another of these positions, which were established by Pierre Beauchamp, maître de ballet of the Académie Royale de Musique et de Danse from 1671 to 1687.

First position (Première position): In this position the feet form one line, heels touching one another.

Second position (Seconde position): The feet are on the same line but with a distance of about one foot between the heels.

Third position (Troisième position): In the third position one foot is in front of the other, heels touching the middle of the other foot.

Fourth position (Quatrième position): In the fourth position the placement of the feet is similar to that in the third position, the feet being parallel and separated by the length of one foot. This is the classical fourth position but it may also be done with the feet in the first position, only separated by the space of one foot. The former is known as quatrième position croisée (crossed fourth position), while the latter is called quatrième position ouverte (open fourth position). Today quatrième position croisée is done with the feet placed as in the fifth position, parallel and separated by the length of one foot, instead of the third position.

Fifth position (Cinquième position): In the fifth position, Cecchetti method, the feet are crossed so that the first joint of the big toe shows beyond either heel. In the French and Russian Schools the feet are completely crossed so that the heel of the front foot touches the toe of the back foot and vice versa.

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PIQUÉ [pee-KAY] Pricked, pricking. Executed by stepping directly on the point or demi-pointe of the working foot in any desired direction or position with the other foot raised in the air. As, for example, in piqué en arabesque, piqué développé and so on.

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PIROUETTE [peer-WET] Whirl or spin. A complete turn of the body on one foot, on point or demi-pointe. Pirouettes are performed en dedans, turning inward toward the supporting leg, or en dehors, turning outward in the direction of the raised leg. Correct body placement is essential in all kinds of pirouettes.

The body must be well centered over the supporting leg with the back held strongly and the hips and shoulders aligned. The force of momentum is furnished by the arms, which remain immobile during the turn. The head is the last to move as the body turns away from the spectator and the first to arrive as the body comes around to the spectator, with the eyes focused at a definite point which must be at eye level. This use of the eyes while turning is called "spotting." Pirouettes may be performed in any given position, such as sur le cou-de-pied, en attitude, en arabesque, à la seconde, etc.

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PIROUETTE À LA SECOND, GRANDE [grahrul peer-WET a lah suh-GAWND] Large pirouette in the second position. This pirouette is usually performed by male dancers. It is a series of turns on one foot with the free leg raised to the second position en l'air at 90 degrees.

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PIROUETTE PIQUÉE [peer-WET pee-KAY] Pricked pirouette. A term of the French School. Same as piqué tour en dedans. This is a pirouette in which the dancer steps directly onto the point or demi-pointe with the raised leg sur le cou-de-pied devant or derrière, in attitude, arabesque or any given position. This turn is executed either en dedans or en dehors.

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PLIÉ [plee-AY] Bent, bending. A bending of the knee or knees. This is an exercise to render the joints and muscles soft and pliable and the tendons flexible and elastic, and to develop a sense of balance.

There are two principal pliés: grand plié or full bending of the knees (the knees should be bent until the thighs are horizontal) and demi-plié or half-bending of the knees. Pliés are done at the bar and in the centre in all five positions of the feet. The third position is usually omitted. When a grand plié is executed in either the first, third or fourth position croisé (feet in the fifth position but separated by the space of one foot) or the fifth position, the heels always rise off the ground and are lowered again as the knees straighten. The bending movement should be gradual and free from jerks, and the knees should be at least half-bent before the heels are allowed to rise.

The body should rise at the same speed at which it descended, pressing the heels into the floor.

In the grand plié in the second position or the fourth position ouverte (feet in the first position but separated by the space of one foot) the heels do not rise off the ground. All demi-pliés are done without lifting the heels from the ground. In all pliés the legs must be well turned out from the hips, the knees open and well over the toes, and the weight of the body evenly distributed on both feet, with the whole foot grasping the floor.

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POINTE SHOES The satin ballet shoes used by dancers when dancing sur les pointes. The ballet shoes of Marie Taglioni, the first major ballerina to dance on her points, were not blocked but were padded with cotton wool. Later (about 1862) the toes of the ballet slippers were stiffened (blocked) with glue and darned to give the dancer additional support. Today the toes of pointe shoes are reinforced with a box constructed of several layers of strong glue in between layers of material.

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POINTES, SUR LES [sewr lay pwent] On the points. The raising of the body on the tips of the toes. Also used in the singular, "sur la pointe." First introduced in the late 1820s or early 1830s at the time of Taglioni. There are three ways of reaching the points, by piqué, relevé or sauté.

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POISSON [pwa-SAWN] Fish. A position of the body in which the legs are crossed in the fifth position and held tightly together with the back arched. This pose is taken while jumping into the air or in double work when the danseuse is supported in a poisson position by her partner. See Fish dive.

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POLONAISE A processional dance in 3/4 time with which the court ballets of the seventeenth century were opened. It may be seen today in such ballets as The Sleeping Beauty and Swan Lake. The polonaise is a march in which two steps are taken forward on the demi-pointes and then the third step is taken flat with the supporting knee bent in fondu and the other leg raised in front.

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PORT DE BRAS [pawr duh brah] Carriage of the arms. The term port de bras has two meanings: (1) A movement or series of movements made by passing the arm or arms through various positions. The passage of the arms from one position to another constitutes a port de bras. (2) A term for a group of exercises designed to make the arms move gracefully and harmoniously. In the Cecchetti method there are eight set exercises on port de bras.

In the execution of port de bras the arms should move from the shoulder and not from the elbow and the movement should be smooth and flowing. The arms should be softly rounded so that the points of the elbows are imperceptible and the hands must be simple, graceful and never flowery. The body and head should come into play and a suggestion of épaulement should be used. In raising the arms from one position to another the arms must pass through a position known in dancing as the gateway. This position corresponds to the fifth position en avant, Cecchetti method, or the first position, French and Russian Schools. In passing from a high position to a low one, the arms are generally lowered in a line with the sides. Exercises on port de bras can be varied to infinity by combining their basic elements according to the taste of the professor and the needs of the pupil.

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PORTÉ, PORTÉE [pawr-TAY] Carried. Refers either to a step which is traveled in the air from one spot to another (such as assemblé dessus porté) or to the carrying of a danseuse by a danseur.

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PREMIER, PREMIÉRE [pruh-MYAY, pruh-MYEHR] First.

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PROMENADE, TOUR DE [toor duh prawm-NAD] Turn in a walk. A term of the French School used to indicate that the dancer turns slowly in place on one foot by a series of slight movements of the heel to the required side while maintaining a definite pose such as an arabesque or attitude. The turn may be performed either en dedans or en dehors. In a pas de deux, the ballerina on point holds her pose and is slowly turned by her partner who walks around her holding her hand.

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PULLBACK a1 - jump backwards and as your feet leave the floor they both do a spank at the same time then both feet land on the balls of the feet at the same time

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QUATRE [KA-truh] Four.

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QUATRIÈME [ka-tree-EM] Fourth.

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RELEVÉ [ruhl-VAY] Raised. A raising of the body on the points or demi-pointes, point or demi-pointe. There are two ways to relevé. In the French School, relevé is done with a smooth, continuous rise while the Cecchetti method and the Russian School use a little spring. Relevé may be done in the first, second, fourth or fifth position, en attitude, en arabesque, devant, derrière, en tournant, passé en avant, passé en arrière and so on.

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RETIRÉ [ruh-tee-RAY] Withdrawn. A position in which the thigh is raised to the second position en l'air with the knee bent so that the pointed toe rests in front of, behind or to the side of the supporting knee.

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RIFF a1 - (this is taught many different ways) touch dig or touch scuff or brush scuff

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RIFFLE &a1 - touch dig spank or brush dig spank

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RIFFLE STEP e&a1 - touch dig spank step or brush dig spank step

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RISE This is a smooth relevé from a position à terre through all the levels of the foot (quarter-point, half-point and three-quarter point). The toes do not move from the spot at which the rise began.

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ROLLING Dancers who do not have a good turn-out should not force their legs to turn out too much at first, as this usually results in rolling ankles. If the weight is on the inside of the feet. dancers call this rolling in; if the weight is on the outside of the feet, it is called rolling out. The toes and heels should be flat on the floor and the turn-out must come from the hip joints.

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ROMANTIC BALLET A style of ballet produced during the early nineteenth century in which the accent was on the conveyance of a mood to a story. Example of romantic ballets are La Sylphide and Giselle.

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ROND DE JAMBE [rawn duh zhahnb] Round of the leg, that is, a circular movement of the leg. Ronds de jambe are used as an exercise at the bar, in the centre and in the adage, and are done à terre or en l'air. When used as a step, ronds de jambe are done en l'air and may be sauté or relevé. All are done clockwise (en dehors) and counterclockwise (en dedans).

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ROND DE JAMBE À TERRE [rawn duh zhahnb a tehr] Rond de jambe on the ground. An exercise at the bar or in the centre in which one leg is made to describe a series of circular movements on the ground. Both legs must be kept perfectly straight and all movement must come from the hip, along with the arching and relaxing of the instep. The toe of the working foot does not rise off the ground and does not pass beyond the fourth position front (fourth position ouvert) or the fourth position back. This is an exercise to turn the legs out from the hips, to loosen the hips and to keep the toe well back and heel forward. There are two kinds of ronds de jambe à terre: those done en dedans (inward) and those done en dehors (outward).

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RONDE DE JAMBE EN L'AIR [rawn duh zhahnb ahn lehr] Rond de jambe in the air. Ronds de jambe en l'air are done at the bar and in centre practice and may be single, or double, en dehors or en dedans. The toe of the working foot describes an oval, the extreme ends of which are the second position en l'air and the supporting leg. The thigh must be kept motionless and the hips well turned out, the whole movement being made by the leg below the knee. The thigh should also be held horizontal so that the pointed toe of the working foot passes at (approximately) the height of the supporting knee. Ronds de jambe en l'air may also be done with the leg extended to the second position en l'air (demi-position) and closed to the calf of the supporting leg. The accent of the movement comes when the foot is in the second position en l'air. The movement is done en dehors and en dedans.

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ROYALE [ruah-YAL] Royal. A changement in which the calves are beaten together before the feet change position.

Also termed "changement battu."

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RUSSIAN SCHOOL The Russian School was founded in St. Petersburg in 1738 by the French dancerJean-Baptiste Landé. The French influence continued under such great teachers as Charles Le Picq, Charles Didelot, Christian Johanssen, Jules Perrot, Arthur Saint-Léon and Marius Petipa.

In 1885 Virginia Zucchi, a famous Italian ballerina, appeared in St. Petersburg and created a sensation with her forceful and brilliant Italian technique which differed from the soft, graceful elegance of the French technique prevalent in Russia until then. Other Italian dancers such as Enrico Cecchetti arrived in Russia and continued to astound the Russians with their amazing dexterity, brilliant pirouettes, tours and fouettés. The Russian dancers rapidly absorbed everything the Italians had to teach and incorporated it into the Russian system. Thus, the Russian School of Ballet is a development of the French and Italian Schools.

During the 1 920s the Russian ballerina and teacher Agrippina Vaganova developed a planned instructional system which later became known to the whole world as the Vaganova system.

This svstem has become the basic method of the entire Soviet choreographic school.

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SAUT DE BASQUE [soh duh bask] (French and Russian Schools). Basque jump. A traveling step in which the dancer turns in the air with one foot drawn up to the knee of the other leg. Fifth position R foot front. Demi-plié with R foot retiré devant; step on the R foot in demi-plié to the second position, turning en dedans one half-turn and thrusting the L leg to the second position en l'air; push off the floor with the R foot and complete the turn, traveling to the side of the extended leg and landing on the L foot in fondu with the R leg bent in retiré devant. Both legs should be fully turned out during the jump. Saut de basque may also be performed with a double turn in the air.

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SAUTÉ, SAUTÉE [soh-TAY] Jumped, jumping. When this term is added to the name of a step, the movement is performed while jumping. As, for example, échappé sauté. Note: In all jumping movements the tips of the toes should be the first to reach the ground after the jump, then the sole of the foot followed by the heel. In rising from the ground the foot moves in the reverse order.

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SCUFF wing your foot forward and hit the back edge of the heel tap as the foot swings

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SCUFFLE &1 or a1 - dig spank

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SCUFFLE STEP 1&a or &a1 - dig spank step

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SCUFFLE STEP HEEL 1&2& or 1e&a - dig spank step heel

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SECONDE, À LA [ah la suh-GAWND] To the second. A term to imply that the foot is to be placed in the second position, or that a movement is to be made to the second position en l'air. As, for example, in grand battement à la seconde.

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SEPT [set] Seven.

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SHIRLEY TEMPLE &1&2&3&4 - flap HEEL heel SPANK heel TOE (TIP) heel See Alexander

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SHUFFLE &1 or a1 - brush spank

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SHUFFLE BALL CHANGE &1&2 or a1 a2 - brush spank step STEP

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SHUFFLE BALL CHANGE DUPLICATE &1&2 or a1 a2 - brush spank step STEP

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SHUFFLE PULLBACK e&a1 - brush spank SWITCHING-PULLBACK

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SHUFFLE PULLBACK DUPLICATE e&a1 - brush spank SWITCHING-PULLBACK

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SHUFFLE STEP &a1 - brush spank step

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SHUFFLE STEP HEEL &1&2 or e&a1 - brush spank step heel

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SICKLING This term is used for a fault in which the dancer turns his or her foot in from the ankle, thereby breaking the straight line of the leg.

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SINGLE PULLBACK (ONE-FOOT PULLBACK) a1 - start on one foot, push off the floor into the air and as your foot leaves the floor do a spank then land on the ball of the foot See pullback

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SINGLE TRAVELING TIME STEP 8&1&2&3&4 5 6&7& - shuffle step SHUFFLE BALL CHANGE BALL CHANGE hop STEP shuffle step (some people start it with the hop)

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SINGLE WING (ONE FOOT) &a1 - start on the ball of one foot, scrape your foot outwards and into the air, then spank it in and land on the ball of the foot

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SISSONNE [see-SAWN] Sissonne is named for the originator of the step. It is a jump from both feet onto one foot with the exception of sissonne fermée, sissonne tombée and sissonne fondue, which finish on two feet. Sissonne may be performed petite or grande. The petites sissonnes are sissonne simple, sissonne fermée, sissonne ouverte at 45 degrees and sissonne tombée at 45 degrees. The grandes sissonnes are sissonne ouverte at 90 degrees, sissonne renversée and sissonne soubresaut.

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SISSONNE FERMÉE [see-SAWN fehr-MAY] Closed sissonne. A step of low elevation performed to a quick tempo. This sissonne finishes on two feet with the working foot gliding along the floor into the demi-plié in the fitth position. It may be performed en avant, en arrière and de côté in all directions, such as croisé, effacé, écarté, etc.

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SISSONNE OUVERTE, GRAND [grahnd see-SAWN oo-VEHRT] Big open sissonne. This sissonne is usually performed with high elevation and is done from a demi-plié on both feet and finished on one foot with the other leg raised in the desired pose, such as attitude, arabesque, à la seconde, etc. It is performed en avant, en arrière, de côté, en tournant and is done with a développé or a grand battement at 90 degrees.

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SIX [seess] Six.

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SLAM jump-out with straight legs and barely go into the air (it's more like a scoot back on your toes)

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SLAP a1 - brush touch

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SLIDE run or push off of one leg and allow your feet to glide along the floor without leaving the floor

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SMACK step on the ball of the foot with a straight leg (can also be done without weight)

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SPANK swing the foot back (coming from the front or diagonally side) hitting only the ball tap

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SPANK (BRUSH BACK, DRAW, PULL) swing foot back hitting only the ball tap

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SPANK STEP &1 or a1 - swing the foot back (coming from the front or diagonally side) hitting only the ball tap, step

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SPANK STEP BALL CHANGE &1&2 or a1 a2 - spank step STEP step

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SPANK STEP HEEL a1 2 or a&a1 - spank step heel

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STAMP lift the foot and place flat against the floor with your weight on it

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STAMP (ALTERNATING) CRAMP ROLL TURN 1 2&a3 - stamp STEP step heel HEEL (turning) See Cramp Roll

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STAMP STEP RIFF HEEL TURN 1 2&a3 - stamp STEP touch scuff HEEL or stamp STEP brush scuff HEEL See Riff

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STEP (LEAP) Lift the foot and place the ball of the foot on the floor with weight on it (leap is the same except you are "jumping" onto the foot instead of just placing it down)

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STEP HEEL 1& - step heel

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STEP HEEL TURN 1&2& - step heel (turning - 2 step heels per rotation)

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STEP RIFF HEEL 1&a2 - step TOUCH DIG heel or step BRUSH DIG heel See Riff

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STEP TOE (TIP) HOP TURN 1&a2&a - step TOE (TIP) hop (turning -2 sets per rotation)

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STOMP lift the foot and place it flat against the floor with NO weight on it

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SUPPORTING LEG A term used by dancers and teachers for the leg which supports the body so that the working leg is free to execute a given movement.

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SWITCHING PULLBACK a1 - start on one foot, push off the floor into the air and as your foot leaves the floor do a spank then land on the ball of the other foot See Pullback

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SWITCHING WING &a1 - start on the ball of one foot, scrape your foot outwards and into the air, then spank it in and land on the ball of the other foot See Wing

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TEMPS LIÉ SUR LES POINTE [tahn Iyay sewr lay pwent] Connected movement on the points.

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TERRE,À [a tehr] On the ground. This term indicates: (1) that the entire base of the supporting foot or feet touches the ground; (2) that the foot usually raised in a pose is to remain on the ground with the toes extended.

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TIME STEP-SINGLE (TRADITIONAL) 8&1 2&3&4&5 6&7& - shuffle HOP step FLAP step

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TOE (FLAT) lift the toe but keep the heel on the floor, then drop the toe to the floor. There is another toe that I call a toe (tip) where you lift your foot all the way off the floor and hit the very front edge of the toe on the floor - see toe (tip) below

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TOE (TIP) lift the foot all the way off the floor and hit the very front edge of the toe on the floor

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TOE (TIP) STAND "jump" up to the tip of your toes and balance on them

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TOUCH Lift the foot and place the ball of the foot on the floor with NO weight on it

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TOUR DE FORCE [toor duh fawrss] An arresting, vital step; a feat of technical skill such as a series of brilliant pirouettes or a combination of outstanding jumps and beats.

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TOUR EN L'AIR [toor ahn lehr] Turn in the air. This is essentially a male dancer's step although contemporary choreographers use this tour for girls. lt is a turn in the air in which the dancer rises straight into the air from a demi-plié, makes a complete turn and lands in the fifth position with the feet reversed. The turn may be single, double or triple according to the ability of the dancer. The arms assist and the head must spot as in pirouettes. Tour en l'air may also be finished in various poses such as attitude, arabesque, grande seconde or on one knee. It may also be done in a series.

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TOURNANT, EN [ahn toor-NAHN] Turning. Indicates that the body is to turn while executing a given step. As, for example, in assemblé en tournant.

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TRAVEL STEP 1&a - step out to the side, SPANK, STEP IN

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TRENCHES step on one foot while the other slides backwards coming off the floor at the end of the slide

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TRIPLE TIME STEP 8&1&a2&3&4&5&a6&7& - shuffle HOP shuffle step FLAP step See Time Step

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TRIPLE TRAVELING TIME STEP 8&1&2&3&4 5&a6&7& - shuffle step SHUFFLE BALL CHANGE BALL CHANGE hop SHUFFLE STEP shuffle step (some people start it with the hop) See Single Traveling Time Step

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TROIS [trwah] Three. As, for example, in entrechat trois.

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TROISIÈME [trwah-ZYEM] Third. As, for example, in troisième arabesque.

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TURN-OUT This is the ability of the dancer to turn his or her feet and legs out from the hip joints to a 90degree position. This turn-out, or en-dehors, is one of the essential principles of the classical dance, giving the dancer freedom of movement in every direction.

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TUTU [tew-TEW] This is the short classical ballet skirt made of many layers of tarlatan or net. The romantic tutu is the long skirt reaching below the calf.

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VAGANOVA, AGRIPPINA [ah-gree-PEE-nah vah-GAH-naw-vah] The greatest Russian teacher of her day (1879-1951). She was a graduate of the St. Petersburg Imperial Ballet School, where she studied under Ivanov, Vazem, Gerdt, Legat and others. She was accepted into the corps de ballet of the Maryinski Theatre in 1897 and became a ballerina in 1915. She left the stage in 1917 to devote herself to teaching. In 1921 she became a teacher at the Leningrad State Ballet School (formerly the Imperial Ballet School, St. Petersburg) and began developing the instructional system that later became known to the world as the Vaganova system. In 1934 she became head of the Leningrad Choreographic Technicum and published her textbook Fundamentals of the Classic Dance Vaganova's method has become the basic method of the entire Soviet choreographic school. This method is still being developed by Vaganova's followers.

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VARIATION [va-rya-SYAWN] Variation. A solo dance in a classic ballet.

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VIRTUOSO A performer with great technical ability.

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WALTZ CLOG 1&2&3 or 1e&a2 or 1 a2 a3 - step SHUFFLE BALL CHANGE

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WALTZ CLOG PULLBACK 1e&a*2 - step SHUFFLE switching-pullback step

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WING &a1 - start on the balls of the feet with feet together, scrape both feet outwards and into the air, then spank both feet inwards at the same time and land on the balls of the feet with your feet together

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WORKING LEG A term used by dancers and teachers to denote the leg that is executing a given movement while the weight of the body is on the supporting leg.

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