Squeeze those thighs: an update

I'm going on 10 days in Fairbanks, nine of those spent dancing.

I've become more comfortable in Krenly's modern class and confident in the execution of phrases during technique classes. Distal initiation is a keyword I'll be utilizing.

As for ballet, I've been making little breakthroughs daily. These include revisiting exactly what my inner thigh muscles are doing whether in fifth position or first - squeeze, squeeze, squeeezing together - and ensuring that my ankles are 100% crossed in sous sous. These are some of the essentials dancers learn from early on, but it's the act of doing, of being present, and repetition that makes them second nature. I'm feeling wonderfully on my legs in class and have been extra solid in relevé, heels coming forward, forward, forward.

If anything, this trip has reaffirmed the importance of taking technique classes regularly. No amount of past dance experience or current dance video ogling will refine your craft like getting into a class. Any level of talent is nothing without hard work.

Classes have begun to focus more on this weekend's performance. The orchestra's conductor attended rehearsal today, and all three dance levels finally connected their Appalachian Spring sections and movements. I can't wait to actually perform.

In addition to the Appalachian Spring sections and jazz pieces, I've been in the process of setting new work on a duet. The instructors attended my rehearsal to provide feedback today, and some of the words Krenly used to described the work included "luscious, rich, impressive... use of space was brilliant." I still have to finish the piece and hone the performer's intentions, but receiving positive feedback from such a knowledgeable national adjudicator feels really satisfying. I'm more confident that I'm on the right track.

Working on a solo under Alice has been a great experience. Something about her - as I'm sure anyone who has had the pleasure of taking class from her - makes you want to work extra hard, and to get it just right. She is, hands down, one of the best instructors I've ever had. Her assertive feedback has opened my eyes to small details in her choreography that make a big difference (yes, it's ok to drop my shoulder blade when reaching up or open my whole chest to the side when twisting!).

I'm eager to get on the stage and bring all of these works to life with the sweet souls I've met at the festival. Until then, I'll be attempting to get a full night's sleep - morning core class comes too quickly!

xoxo
SW

In rehearsal with Alice

Appalachian Spring: Movement 6

Abberant chimera rehearsal with Emma and Heather

Read the first week of classes blog here.
Read the first blog in the series here.

The Report

I am sore. Not so sore that I can't walk... but let's wait till I wake up in the morning.

The flight from Anchorage to Fairbanks was remarkably bearable and the weather wonderfully warm. The only downside to that is the studio's AC is broken; but full-time fans are working well.

For anyone interested in attending a future Fairbanks Summer Arts Festival dance intensive, please note that the Artisan's Courtyard is a 25-45 minute (with construction detours) walk from upper campus housing. You'll want to request lower campus housing, and I highly recommend a car or bike. One of the event organizers has lent me hers, and while the return to my dorm is all uphill, it's a heck of a lot better than schlepping a dance bag through the heat by flip flop.

Yesterday was placement class which served as an audition for class levels. I'm in advanced ballet and working with elite jazz and elite modern students. This year's festival is extra exciting, because as an intern, I'll be setting choreography for the final concert - and it's not just any concert.
The intensive culminates with a performance to Appalachian Spring, performed live by the festival's orchestral musicians and famous for choreography by Martha Graham. It's far from a regurgitation, but the piece's original themes - struggle, work, the female role, joy, wonder, worship - are still being utilized in the studio.

Thoughts from class:

8:00 a.m. - Core work & Cardio
Picture a female Adonis-meets-Britney instructor standing before a fan, her hair blowing back fiercely with every fast flex of her muscles. It's the first amped-up, plyometric-based aerobics class of the day. All I can think about is how I'm going to feel it later.

9:00 a.m. - Advanced Ballet Technique
I enjoy taking class from Alice Bassler Sullivan. She is clear, extremely knowledgeable, and can alter your entire carriage with the touch of a well-placed finger. I'm focusing on:

• dropping my shoulders away from my ears without lifting my sternum
• solid plié with heels pressing into the ground when finishing at the bar
• continued unfolding and expression during cambre - as though splaying out on an exercise ball without losing support of the head

10:30 a.m. - Ballet Performance
Ballet has always been like math for me. I tried to pretend I was a little computer remembering all of the phrases and directions and weight changes, with no human frustrations or forgetfulness. Let's just say when Balanchine asked me to dance for him, I politely declined.

1:00 p.m. - Elite Modern Technique

I have the pleasure of working under Krenly Guzman, a long-time performer, adjudicator, professor and independent artist who, dun dun dun... has worked with Brian Jeffery of X-SIGHT! in Chicago.
Much of his movement and methodology is similar to Brian's, and I can't help but wonder what their working relationship/mentorship was like. Krenly, however, is especially knowledgeable in anatomy and kinesiology; his keen eye and hands-on approach to addressing alignment and proper technique was refreshingly informative. Notes from class:

• I am an upper rectus abdominus fiend. I am always working on "deflating" on my chest during movement and can accomplish that by releasing tension under my sternum, dropping/lengthening my tailbone, and lowering my center of gravity toward the pelvis. As a modern dancer, I've always felt fairly grounded, but this was a precious gem that really did help with how I organized my body, and I look forward to using it across styles.
• When in releve, not only should I feel my weight pressing down through two distinct points in the balls of my feet, but I should also think about the cross points in the foot to support the ankle, properly engage the sartorius muscle, and avoid hyperextension of the legs.

2:00 p.m. - Modern Performance
We've begun working on the beginning section of Appalachian Spring. I like the beginning movement en masse and where the group sections are going. Krenly is a nice reminder that there is power in softness.

4:00 p.m. - Yoga for Dancers

It was nice to lay down and stretch out. Phew.

It's lovely to receive new information and refresh the old. Tomorrow starts with core work again but then heads into jazz technique and performance, followed by modern.

13 more days till performances; nine more full days of classes. Here we go!

xo
SW

The view en route to Fairbanks. Sigh. <3

My room for two weeks. The showers make me feel like I'm in The Shining.

Post-Sunday placement class

Hang me up to dryyyyyy

Read the first blog entry in this series here.

Big, New Things

Friends,

So much has happened these past few months, like a present that's continuously unfurling, the spectacular finish still approaching from under endless amounts of other beautiful gifts.

In an effort to literally eat/sleep/breathe my passion for dance and my love of spearheading grand schemes, I left my position at the university to become a full time studio owner, in addition to my role as Pulse's artistic director. This is a massive leap of faith, but it's because I so firmly believe in the need for an adult dance studio in town that I trust it will be successful.

On top of a performing company bursting at the seams with talent and a studio in the works, I just learned that I've been accepted as an intern at the Fairbanks Summer Arts Festival's dance intensive. I'll be taking rigorous classes from morning till night for two weeks, and working alongside Krenly Guzman to create a new modern dance work for the intensive's final concert.

It's all quite thrilling and daunting and exhilarating and demanding, but I know it's going to make me stronger, and that is exactly what I'm looking for. Push me. Make me uncomfortable. Force me to grow. I will become a better dancer, leader, instructor and choreographer by taking advantage of these opportunities.

I attended FSAF many years ago, for only one week, with some of my high school dance team. It was there I had the delightful chance to first meet Striding Lion's Annie Arnoult-Bessera, but mostly I remember the soreness and my very, very red face. I return now with a sense of purpose, a new and important role, and a fiery desire to squeeze every drop of sweaty leotard knowledge out of it.

Working as a dance company director is more mentally stimulating than physically demanding. While I work hard in developing choreography, leading rehearsals and warm ups, and occasionally perform alongside the company, I have taken a more artistically satisfying back seat in the performative aspect of things. This provides me with the distance I need to see and assess my work from the best perspective, but it has also allowed my own firecracker-on-the-dance-floor, learn-and-execute capabilities to stagnate.

I am ready to move. I am ready to be given movement, to learn it, and to own it. I am ready to take it all, turn it around, and continue charging forward in new and exciting ways.

Ever wonder what a dance intensive is like, or just want to know exactly how many cups of Bengay I'm using? I'll be blogging my experience from here. Feel free to ask questions or even leave advice!

Here's to doing what you love, darlings.
Stephanie
PDC Director