Why I do what I do

Reading the paper last week, I came across a review of the NYC City ballet's current show, "Founding Choreographers I". I'm always interested in reading reviews and criticism of dance, to see how people think about it and what they notice.

One section caught my eye: "Several members of Tuesday's cast dancers... have aspects of tension across the upper torso that rob the carriage of their necks and heads of the clarity that surely characterizes a true Robbins stylist." Later the reviewer mentions that a dancer's "head is so well-placed that its least shift registers expressively."

(I'm going to keep an eye on Alastair Macauley, the reviewer. He is paying attention to the use of the dancer's body as the tool it is for expressing emotion and story in movement.)

This is why I do what I do, why I teach like I teach.

In my class, it is of vital importance that students focus on turning their bodies into well-trained tools for expressing the emotions and stories inherent in their choreographies. A tense, clumsy, or inflexible body is hampered by these limitations, unable to rise to the peak of its art form, or to live up to the artistic vision of its choreographer.

I see lots and lots of dancers in my travels, visiting festivals and so on. The really good ones are technically AND EXPRESSIVELY stunning. And why? Because they have trained their bodies for clarity of expression as well as of movement. There is nothing in the way of their emotions-- not a clumsy hip, a tight shoulder, a weak thigh holding them back. Most of them probably don't even think about it this way-- these are the dancers we call "naturally gifted."

I believe that these natural gifts can be taught. I believe I am able to teach them, not only to my own body, but to others'. I believe I have no talent for expressing this (see the rest of this post!).

I wish I did. I know so many people who would love to dance the way I can teach them.