Conversations on Dance

This week we present our first episode recorded on our Conversations on Dance New York Tour sponsored by DanceWear Corner.  Today we start with the first of three installments with Edward Villella, Balanchine Dancer & Miami City Ballet Founding Artistic Director.  Edward was hired into the New York City Ballet by George Balanchine in 1957 and was promoted to Principal Dancer in 1970.  Balanchine created many famous roles on Edward including Oberon in A Midsummer Night’s Dream, the Rubies section of Jewels, Tarentella, and many others (tune into Episode Two to hear him speak more in depth on these specific ballets.)  Edward became quite famous, not only for his dancing, but his innumerable TV appearances during his career including “The Ed Sullivan Show” and an appearance on “The Odd Couple.”  After his dancing career, Villella founded the Miami City Ballet in 1985 and would remain at the helm for 27 years, developing it into a world renowned company (which we will discuss with him in Episode Three.)  Today we talk about his start in ballet, his time at the New York Maritime Academy, how he came back to ballet, and his early years in the company.

This week we are publishing our very first podcast that was recorded live with an audience.  This episode was recorded in March following our full day of master classes in Columbus, Ohio presented by Ballet in the City.  This particular “Conversation on Dance” is directed at the students in the room who we had just taught for 3 hours, and their parents who wanted to sit in on our recording.  These young and hungry students were a huge source of inspiration for us that day, and we felt so lucky to talk to them about our careers and experiences and to share our love of ballet with them.  In the end it was quite a long episode, so we have edited the content down for time.

This week we are publishing our very first podcast that was recorded live with an audience.  This episode was recorded in March following our full day of master classes in Columbus, Ohio presented by Ballet in the City.  This particular “Conversation on Dance” is directed at the students in the room who we had just taught for 3 hours, and their parents who wanted to sit in on our recording.  These young and hungry students were a huge source of inspiration for us that day, and we felt so lucky to talk to them about our careers and experiences and to share our love of ballet with them.  In the end it was quite a long episode, so we have edited the content down for time.

This week we are joined by Karolina Kuras, Photographer for the National Ballet of Canada. Karolina was born in Poland where she spent her early years before her family moved to a small town outside of Toronto.  As a child, Karolina was always surrounded by art, as her mother is a painter, and her father a musician.  Kuras began ballet classes which she loved, but found her shyness kept her from enjoying the stage.  After playing around with a camera, she found a new source of artistic expression, and by the time she was 19 she had started her own photography business.  She shot weddings and babies, but found she wanted something more.  Now residing in Toronto, she decided to pursue a passion project of photographing ballet.  The National Ballet of Canada soon got wind of her work, and now employs her as the company’s photographer.  We talk with Karolina today about her upbringing surrounded by art, her time spent dancing, how she came to find photography, and what defines her aesthetic.

This week we are joined by Karolina Kuras, Photographer for the National Ballet of Canada. Karolina was born in Poland where she spent her early years before her family moved to a small town outside of Toronto.  As a child, Karolina was always surrounded by art, as her mother is a painter, and her father a musician.  Kuras began ballet classes which she loved, but found her shyness kept her from enjoying the stage.  After playing around with a camera, she found a new source of artistic expression, and by the time she was 19 she had started her own photography business.  She shot weddings and babies, but found she wanted something more.  Now residing in Toronto, she decided to pursue a passion project of photographing ballet.  The National Ballet of Canada soon got wind of her work, and now employs her as the company’s photographer.  We talk with Karolina today about her upbringing surrounded by art, her time spent dancing, how she came to find photography, and what defines her aesthetic.

This week we are joined by Miami City Ballet dancer Adriana Pierce. After training at the School of American Ballet and dancing as an Apprentice with The New York City Ballet, she joined Miami City Ballet in 2010.  Throughout her schooling, Pierce directed and choreographed numerous musical theater productions for a local theater group in New Jersey and first premiered her balletic choreography when she created two pieces for the School of American Ballet’s Annual Student Choreography Workshop under the guidance of Peter Martins.  In past years she has created works for the O, Miami Poetry Festival, Miami Chamber Music Society, the Knight Concert Hall, and for a collaboration with The New World Symphony. In November 2014, Pierce was chosen to participate in New York Choreographic Institute’s fall session, and in 2015 was selected to participate in the Resident Fellows program with the Center for Ballet and the Arts at New York University. Pierce created a new work for  The Ashley Bouder Project which debuted at New York’s The Joyce Theater in August 2015. Today we speak with Adriana about her choreography, launching a choreographic career, the challenges women in choreography are facing, and the recent New York Times article on the subject.

This week we are joined by Miami City Ballet dancer Adriana Pierce. After training at the School of American Ballet and dancing as an Apprentice with The New York City Ballet, she joined Miami City Ballet in 2010.  Throughout her schooling, Pierce directed and choreographed numerous musical theater productions for a local theater group in New Jersey and first premiered her balletic choreography when she created two pieces for the School of American Ballet’s Annual Student Choreography Workshop under the guidance of Peter Martins.  In past years she has created works for the O, Miami Poetry Festival, Miami Chamber Music Society, the Knight Concert Hall, and for a collaboration with The New World Symphony. In November 2014, Pierce was chosen to participate in New York Choreographic Institute’s fall session, and in 2015 was selected to participate in the Resident Fellows program with the Center for Ballet and the Arts at New York University. Pierce created a new work for  The Ashley Bouder Project which debuted at New York’s The Joyce Theater in August 2015. Today we speak with Adriana about her choreography, launching a choreographic career, the challenges women in choreography are facing, and the recent New York Times article on the subject.

This week Rebecca and Michael wanted to take an opportunity to discuss retirement from the stage.  On April 9th Michael performed for the last time on a Miami City Ballet stage, closing out a more than decade long career with the company.  Today Rebecca catches up with Michael to talk about how he made his decision, what the final shows were like, and what comes next.  Because as Martha Graham says, “A dancer dies twice.  Once when they stop dancing, and the first death is the more painful.”

This week Rebecca and Michael wanted to take an opportunity to discuss retirement from the stage.  On April 9th Michael performed for the last time on a Miami City Ballet stage, closing out a more than decade long career with the company.  Today Rebecca catches up with Michael to talk about how he made his decision, what the final shows were like, and what comes next.  Because as Martha Graham says, “A dancer dies twice.  Once when they stop dancing, and the first death is the more painful.”

This week we are pleased to welcome, Joaquin De Luz, Principal Dancer with The New York City Ballet.  Joaquin was born in Spain and recieved his training at the Victor Ullate School of Ballet.  In August 1996 he came to the US and joined the Pennsylvania Ballet as a soloist and a year later he joined American Ballet Theater.  At ABT Joaquin joined the rank of soloist and danced a variety of leading roles.  In 2003, he moved across Lincoln Center to The New York City Ballet and became a Principal in 2005.  After recovering from a  serious back injury, De Luz, understanding the importance of cross training for healthy dancing, became a certified personal trainer.  He is now working with City Ballet’s Physical Therapists to develop a Dancer Fit program, catered specifically to each dancer’s needs.  Today we speak with Joaquin about his early training, coming to the US, dealing with injury, and looking to the future to expand his Dancer Fit program.  If you would like more information on Joaquin’s Dancer Fit program, we highly suggest you follow his Instagram: @joaquindeluz_dancerfit.