Paris Opéra Ballet: Swan Lake on World Theatre Day

When people ask me what my favorite ballet is, I really struggle to come up with my answer. I love so many different ballets for different reasons and it’s incredibly hard for me to name just one as my all-time favorite!

But I have no trouble declaring my favorite performance of the Paris Opéra Ballet this season has been Swan Lake. Hands down – it was an absolutely compelling production from start to finish, presented in the beautiful and modern Opéra Bastille.

Paris Opéra Ballet: Swan Lake
Cameras were flashing all over during the curtain call, so we snapped one too!

Flowing black fabric contrasted with the beating of white-caped wings and some brilliant technical magic transported us into a world where the evil sorcerer Rothbart captured the innocent princess Odette and transformed her into a swan. The image of both birds ascending from the stage was the perfect ending to the dark prologue and set us up for more magic in the following three hours.

Meanwhile, Prince Siegfried (Josua Hoffalt), took a page from Romeo’s book and moped listlessly at his palace home, too consumed with dreams of an ideal love to partake in the joyful frolicking of the courtiers. The soloists’ work in these scenes was exceptionally strong and each section seemed to raise the barre for the next, through the banter of playful, effortless solo and small group variations:

“You just did some perfect petit-allegro? That’s fine. I’m going to do a whole series of tour-jetés around the stage, because I feel like it AND because I can.”  

Or

“If it’s okay with you, I’m going to partner not one, but TWO ballerinas in this little trio section.” And so on.

But Siegfried had almost none of it. He did eventually join in, but his heart wasn’t in it. It wasn’t until his Tutor put a golden crossbow in his hands and urged him to go hunting that he snapped out of his funk – just in time to see a beautiful swan appear in the distance…

And with the filing onstage of the Swan Corps, the energy of the show shifted. This is because the large ensemble scenes of the first section, though an excellent showcase of the company’s technique, simply aren’t meant to be in the same universe as the Swans.

It’s their show, after all. And they did not disappoint.

Ethereal, otherworldly and pristine, they moved as though they were one entity. Each dancer fluttered identically alongside her swan sisters. Watching them was a study in the precision of details and absolute control. The shifting port de bras and the placement of the head were subtle, yet utterly precise. We truly were witnessing a flock of beautiful birds gliding peacefully across a crystal lake.

A beautiful swan gliding on the crystal waters of the pond near my house...

The famous Pas-de-Quatre was impeccably executed footwork and unified head movements. Those four dancers were amazing but it was Héloïse Bourdon’s Odette, with her undulating arms and soulful miming, conveying her plight to Siegfried, that we all fell in love with instantly. Together, Prince and Swan took flight with promises of love and eternal devotion.

Which we all know, can’t last. But just like how we know that Romeo and Juliet are doomed, we greeted Act 2 with anticipation because the fall from grace is just as compelling as the ascension.

My tribute to the amazing Swan Corps.

Act 2 kicked off with a celebration back at the palace and some interesting folk-dance variations to break up the ballet corps scenes. While these were colourful and bright, the dancing just didn’t have quite enough liveliness and spirit to match the ballet. The choreography was entertaining and but the dancers felt too restrained – they needed to let loose and give it more attack so it could rise above being the divertissements, the dance for dance’s sake.

But Odile, Rothbart’s evil creation and Odette’s doppelgänger, shook up the party with her fiery arrival. Bourdon’s technique and characterization were unparalleled.  Anyone who’s seen Black Swan knows it’s no simple feat to find the duality in the Odette/Odile role but this ballerina made it look easy: her Odette was all softness and curved lines; Odile was dynamic and each turn of her head and sweep of her arms had a sharp, seductive edge.

Her breathless execution of 28 (!) fouetté turns furthered Rothbart’s plan to ensnare the Prince to forget Odette, which the cunning sorcerer celebrated with a triumphant solo. It was exciting to watch Rothbart (Florimond Lorieux) dance opposite the orchestra's conductor, as both were powerful men weaving enthralling spells over the audience. Upon realizing his inadvertent betrayal of his true love Odette, Siegfried’s despair was palpable and it made his final pas de deux with the dying swan all the more heartbreaking.

When the orchestra drew out the final notes of Tchaikovsky’s epic score and the curtain fell on the devastated Prince, I let out a deep exhale and wiped away a few tears. I couldn’t help it - I was completely moved and so grateful for the experience of that performance! To the ballet company, the orchestra and the crew, I extend my deepest thanks and congratulations!

It was a dream come true for me to see the Paris Opéra Ballet perform Swan Lake and I can’t think of a better way to have spent March 27 - World Theatre Day 2015 - than watching music, dance and unforgettable characters fused together in a masterpiece of storytelling.

At Opera Bastille
Happy World Theatre Day 2015!

For other posts related to Ballet in Paris, check out:

Paris Opéra Ballet: Le Chant de la Terre from March 2015

The Swedish Royal Ballet: Juilette et Roméo from January 2015

Paris Opéra Ballet: Lander/Forsythe from September 2014

Danse Classique in Paris from September 2014

Paris Opéra Ballet: Le Chant de la Terre

To everything, turn, turn, turn…

There is a season, turn, turn, turn…

And a time to every purpose under heaven…

That iconic song from the 1960’s band ‘The Byrds’ was in no way part of Le Chant de la Terre, the latest production by the Paris Opera Ballet, but it helps sum up what was to me, the experience of a whole life unfolding between sunrise and sunset, the seasons slipping by one by one, and the whole world rotating once around the sun.

Le Chant de la Terre was essentially three different types of performances - soulful dance, epic orchestral music and soaring, live operatic song – combined into one production. American dancer John Neumeier, is the creative force behind its creation, as the choreographer and the designer for the lighting, set and costumes.

The music paused in places from time to time but the movement never stopped in this one-act ballet. There was no set story or narrative but as I mentioned before, it suggested the passage of time through the shifting seasons, both annually and metaphorically. All of life’s major milestones – youth, friendship, love, grief, loneliness, community, endurance - were condensed into a series of songs and moments, each as fleeting and short-lived as a golden sunrise. And at a breathless 90 minutes in length, it didn’t even break for intermission.

At the top of the show, the lights came up gradually, illuminating Man, the principal male dancer, sprawled carefree and child-like on a green, inclined platform, while a lone female dancer dressed in white, entered silently. Her slow, measured walks highlighted her perfectly articulate feet and hinted at the meticulous footwork to come later on from the entire company. As the music and songs layered themselves in, the life in a day began its grand journey.

Spring was easily identified by the lush greens and blues in Neumeier’s lighting design, the soft pastel colours of the costumes and the light, youthful extensions and petit allegro of the ensemble. Classic spring moments included tumbling and rolling down a grassy hill and laying lazily on one’s back, watching the clouds – a small ensemble of ladies in ethereal white, flowing dresses – drift across the sky.

The lights became more golden as summer jetéd in with big movements that exploded with playful energy, like the male ensemble racing each other through the open field. It then slowed down as friends shared a cool drink on a warm day; the audible clink of the prop cups on stage added a nice theatrical element to this scene and saved the moment from becoming too ‘mimey’ for dance. Summer love took the form of beautiful, fluid partner work in the center, while other lovers lingered and watched on from the hill.

But as real summer always ends too soon, so did this one and inevitably, Fall ushered itself in. The rich, earthy toned costumes in rusty reds, browns and greens, filled the stage as the skirts billowed with each turn and ronde de jambe. The music picked up its pace in this scene, as did a feeling of tension as the days grew shorter and time marched onward towards Winter. The Winter lights took on a soft, haze-y quality that was both haunting and beautiful. Death was hinted at when Man was carried by a small group of male dancers dressed in sombre, charcoal costumes and his final pas de deux with the lady in white was performed with a sense of grief, loss and longing.

The overall production of Le Chant de la Terre was very solid and enjoyable, with only two areas I would point out as very small shortcomings. The baritone and tenor singers, Oddur Jönsson and Nikolai Schukoff respectively, were very impressive and wonderful additions to this ballet. My only comment is, powerful though they were, they needed to be louder overall in order to match the power and volume of the orchestra. There were also some pauses of silence between some of the musical selections, which were filled by the constant movement of the dancers, but in some places, these silences went on just a little too long.

I initially wanted to use the idea of Perpetual Motion to describe this ballet, but the law of conservation of energy is much more accurate: “Energy can neither be created, nor destroyed, but it can change form”. This is an interesting concept to apply to this ballet. The energy of the overall piece exists within each dancer and it changed with each leap, bound and scene. They didn’t stop moving for a single moment, not even when the last note of the orchestra faded out, the lights dimmed and the curtain descended.

That final image of the dancers silhouetted against the white backdrop, dancing onward in silence and semi-darkness, was the embodiment of the earth standing still for no one, of energy continuously changing forms and of the perpetual forward motion of time.

To everything, turn, turn, turn...always...

For other Ballet posts, check out:

The Swedish Royal Ballet: Juliette et Romeo from January 2015

Paris Opéra Ballet: Lander/Forsythe from September 2014

Danse Classique in Paris from September 2014

Grace and Chaos

Espace Dalì, the Salvador Dalì museum in Montmarte, is a weird and wonderful place.

It’s full of sculptures of his famous melting clocks, creatures with the bodies of elephants and the legs of giraffes, lots of unusual religious imagery and the famous Lobster Telephone.

In a word, it’s surreal!

The sculpture that struck me the most was Homage à Terpischore. It’s a bronze sculpture of two female figures, each facing the other, reaching out with an arm in a ‘mirrored’ high-five gesture. One of the figures is smooth and polished. All her lines are curved and she looks like a representation of a woman from classical mythology. Her counterpart is a cubist sculpture, all sharp edges and angles. The two figures together, according to the sculpture’s description, “represent the real and surreal aspects of the Dance”. 

Salvador Dali's Hommage a Terpsichore. 1977-1984 Bronze.
Espace Dali, Paris, France. 

Terpischore, as it turns out, is one of the nine Muses and the goddess of dance and the chorus. Upon reading this, I had an instant “I knew it!” moment.

I just had a feeling it had something to do with dance. There was something about the way the smooth figure was poised on her toes and the cubist one was reaching out to her. I like feeling rewarded for paying attention to details that make something interesting and captivating.

Such as a beautiful bronze sculpture, where the smooth figure represents “the Grace, the elegance, the beauty of the art”, and the cubist figure shows “Dalì’s vision of what is beyond the visible surface…the chaotic rhythm of modern life”. It’s a tribute to the duality of dance, of grace and chaos.

Can a truer description of dance exist beyond those two words?

A dancer’s mind can be a chaotic place - all that remembering of choreography, keeping track of counts, spacing and the ensemble, being aware of alignment, managing expectations and pressure. But that chaos is met on the other side by the grace the dancer exudes, which the audience witnesses and responds to. The chaos can also be released through the emotion of the piece, its accompanying music and the pure movement.

I think of the chaos of fitting dance into my life: juggling time, transportation, responsibility, job-search, and the physical and monetary cost. But those moments of grace, when I grasp the barre, feel my mind quiet down and my body responds, are all worth putting up with the chaos.

But looking back at the sculpture, I noticed something else: Terpischore’s looking into a mirror and seeing the smooth grace or the sharp chaos of dance reflected back. She’s not resigned to it, she’s reaching out, through time and space, in an act of invitation to her counterpart and she’s saying:

“Come dance with me! You’re part of me and I’m part of you!”

Because Chaos and Grace are the constant, always present partners of any dancer - of anyone going about their life.

There is grace and chaos all around us, in everything and every moment: in family, homesickness, friendships, career, love, expectations, joy, grief, and laughter. There are smooth, classic moments and there are sharp, jagged-edged moments in life. 

Isn’t that why we dance and create art – to reflect that which we experience in real, messy, beautiful, everyday life?

Aren’t these things the very same that inspire us, like the Muses, to create and to share? Don’t we need the grace and the chaos in equal parts to live fully?

Terpischore isn’t putting up with chaos; she’s dancing with it, because, as one of my favorite spoken-word poets Sarah Kay says, “getting the wind knocked out of you is the only way to remind your lungs how much they like the taste of air.”

And she’s not just dancing with Chaos, she’s high-fiving it, in a weird, wonderful and surrealist way.

I signed the graffiti wall at Espace Dali!
Now we're part of that weird, wonderful place!

Happy 50th Birthday, Orchesis Modern Dance!

Long Live the Circus!
Choreography by The Ensemble
Photo Credit: Marc J Chalifoux, 2014

When you’re a dancer with Orchesis Modern Dance, in Edmonton, Alberta, Canada, you know the end of January means only one thing – time for Motif!

On January 30-31 2015, Orchesis will present its annual Dance Motif, a performance of the modern and jazz dances choreographed by Orchesis faculty, guest choreographers and students. This year’s Dance Motif, however, is very special because it marks Orchesis’ 50^th anniversary as the University of Alberta’s Modern Dance Group. It was created by “dance educator Dorothy Harris in 1964” and it’s “one of the oldest student organizations” at the U of A.

Long Live the Circus!
Choreography by The Ensemble
Photo Credit: Marc J Chalifoux, 2014

I loved dancing with Orchesis and thinking about my dance family getting ready for the 50^th anniversary show has me feeling my first big pangs of homesickness. I so wish I could be there to help them celebrate! But since I can’t be there, to honor the organization that means so much to so many, I’m excited to share my favorite memories of Orchesis with you. So here they are, in no particular order, and I hope you enjoy this birthday ode to Orchesis.

Being introduced to Modern Dance

I was 14 years old when I watched my first Orchesis Motif back in 1999. I remember sitting in the Myer Horowitz theatre with my parents, watching my big sister Salena in a piece called ‘Shadow Dance’. There were lights in the wings and on the corners of the stage, so the shadows of the dancers were cast on the backdrop, hence the title of the piece. It was a beautiful sight – the way the shadows became ghostly partners of the dancers. It was the first time I’d really seen how the lighting design can support the choreography onstage and take the performance to next level. It was so different and exciting and I wanted to see more.

The next year’s show was also very memorable. It was the first time my sister’s then-boyfriend-now-husband came to the show and I’ll never forget how he set the bar super high for all dance boyfriends when he walked into the theatre with - not one - but two dozen roses! That show had dancers swinging from a huge net strung across the stage, musicians accompanying the dancers onstage and a piece involving dancers painted head to toe to represent the various elements of the world. Salena was painted blue, like water. It was dance at its most different and distinct and it opened my teenaged eyes to a whole new world.

Salena and I in our natural habitat: a dance studio!
August 2014

Getting to dance with my sister

There’s almost six years age difference between me and Salena, so when we were dancing growing up, we were obviously in different levels. But when I joined Orchesis during my first year at U of A, I finally got to take class with her! She introduced me to the Orchesis community and in 2006, we were both in the modern jazz piece, choreographed by the great Laura Krewski. When our parents came to the show, our Mom said it was a special thrill to see her girls dancing side by side. We’ve since enjoyed many more Orchesis classes together over the years, as well as ballet and contemporary at J’adore Dance. I can’t wait to take her to class at the Centre de Danse du Marais when she comes to visit because dance is what we do! Salena will be performing in Motif 2015 and I couldn’t be more proud of her.

Karen and I backstage at Motif 2009
Photo Credit: Fiona Williams

Meeting some of my closest friends

One thing I learned in Orchesis is you can’t not be friends with someone after you’ve pretended to be seaweed together. I remember it so clearly: we were halfway through the rehearsal process when our choreographer had us hold our shoulder-stands and let our legs “drift above us in the air, like seaweed”. I was very firmly out of my comfort zone but I went for it. After several attempts, we took a break and I asked another dancer: “That was weird for you too, right? Being seaweed? Because I thought that was weird.” She nodded in agreement and that was the beginning of a very important friendship; eight years later, that other dancer was one of the bridesmaids at my wedding.

Strollin'
Choreography by Laura Krewski
Photo Credit: Bryn Bezaire, 2008

When I think back on the people I met at university, the ones I’m still close to are my Orchesis people. When someone trusts you enough to let you stomp around them when they’re lying on the floor, that’s not just any friendship, that’s a dance friendship. When you’re tired, sweaty, sore and you want to give up, but you don’t because your fellow dancers give you that extra bit of energy, that’s when you know you’re around amazing dance people and those are the bonds of friendship forged in dance.

Learning, growing and creating!

Orchesis has some of Edmonton’s best dance educators and choreographers, which makes its members incredibly lucky to work with such amazing people. Over the years, I’ve taken modern and jazz from many different teachers and learned so much from them. 

Working with different choreographers for Motif has also given me so many great memories. 

Prenzlauerberg
Choreography by Jeannie Vandekerkove
Photo Credit: J. Teres, 2009

The year Laura Krewski choreographed a beautiful, bluesy jazz piece to selections from Oscar Peterson’s Canadiana Suite was one of my favorite jazz dance experiences. I was really pushed by Jeannie Vandekerhove’s piece Prenzlauerberg, which involved some of the most physical, get-into-the-floor choreography I’ve ever performed and holds the record for the most knee bruises I’ve ever received while dancing. I attended the Orchesis Summer Dance Intensive in 2011 and absolutely loved the different jazz styles – funk, swing, African, lyrical - taught by Decidedly Jazz’s Sarisa Figueroa de Toledo. Kathy Metzger-Corriveau’s piece in 2013 was a great technical challenge and gave me some great jumping moments, and collectively choreographing Long Live the Circus, under the guidance of my friend and fellow drama teacher Fiona Williams, was the highlight of Motif 2014. Every year at Orchesis, I learned more about dance, I grew as a dancer and I was part of some amazing dance creations and for all that, I am so thankful.

Emergence: From Water to Earth
Choreography by Kathy Metzger-Corriveau
Photo Credit: Tracey Kolenchuk, 2012

And finally, there’s no party like a Dance Party!

As a drama major and a director, I’ve been to many closing night parties but Orchesis closing night parties are truly the best – hands down! The dance floor is packed almost all night, choreography is re-enacted and Thriller is performed with astonishing accuracy. There really is no party like a dance party!

To all the members of the Orchesis family, I wish you all the best for a wonderful run of Motif 2015! Know that when you lock pinky fingers in your circles backstage, I’m thinking of you and cheering you on from France.

Happy 50^th Birthday Orchesis! Thank you for the amazing memories! 

For more information about Orchesis Modern Dance check out their website!

The Swedish Royal Ballet: Juliette et Roméo

Every time I see a version of R + J, I can’t help but hope that this time, it’ll all work out.

But time after time, be it the play or the ballet, fate takes over, the message goes awry and the star cross’d lovers are doomed.  No matter how much I hope against hope, I know in my heart the tragedy will win out.

For never was a story of more woe…

There certainly was plenty of woe in the Swedish Royal Ballet’s production of Shakespeare’s unforgettable tragedy. But the innovative choreography, intimate character studies, athletic performances and creative storytelling was what truly brought the house to its feet, for at least six standing ovations, at Palais Garnier on closing night.

Juliette et Roméo was a masterpiece of contemporary ballet. There were no tights, no pointe shoes and no props. It stripped the story down to its fundamental points and blended them with original, conceptual choreography by Mats Ek for a fresh take on this timeless tale.

The opening scene clearly established the two feuding families, the Montagues and the Capulets, but their fight was more symbolic than literal. There was no miming, no dance-off à la West Side Story, or any actual fight choreography. Instead the energy behind the movement became more menacing while Tchaikovsky’s score built and the tension between the groups of dancers crackled with every leap and turn. Before we knew it, the fight was over, the survivors had scattered and the stage was set for another, reinterpreted scene of the story.  

This creative approach drew me even further into a story I already love and paved the way for a new exploration of the plot through the perspectives of some of the minor characters. The Prince, for instance, arrived onstage as the fight was ending, and he performed a lengthy solo that was danced almost entirely on the spot. His dramatic, en cloche-style runs represented how he is constantly running after the feuding families, always arriving two steps too late and how isolated and ineffective he is as a ruler.     

Lady Capulet was another minor character who’s side of the story was more fleshed out. After Tybault’s death in Act 2, what began as a grief-stricken solo became a powerful piece of collective mourning as she was joined by other female dancers. Representing the women and the mothers of Verona, their dance was a sorrowful tribute to the lives lost to the senseless of the feud and to those who are left to pick up the pieces.

The minor characters being so well-drawn and multi-faceted set the bar very high for the main characters but the principals of the Swedish Royal Ballet delivered some flawless performances, all underscored by solid ballet technique. Juliet’s character was very eccentric and quirky, twitching with pent-up, adolescent excitement, twirling and rolling on the floor in a bright yellow dress. Her leading man Romeo was danced with conviction and a unique combination of strength and vulnerability. The two lovers had a touching chemistry together and performed their contemporary partner work with the right balance of passion and grace. Their dancing was multi-leveled: executing light, soaring jumps one minute and sinking, literally, through the floor.  Mercutio and Benvolio, Romeo’s main men, were tough, smart-assed guys with lots of attitude and the jumps to prove it. Their trio had a playful, tumbling style together and really  brought the athleticism to the party.

Speaking of which, the party scene was gorgeously executed on all fronts: the big group choreography, the stunning costumes and the golden, backlit lighting design. The ensemble was unwavering in its precision and versatility and the jewel-toned velvet capes and tunics moved like extensions of the dancers’ limitless limbs. The only set pieces used during the entire ballet were long, jagged partitions the dancers moved around, scene by scene to create the walls, halls and balconies of fair Verona. They also served as a literal reminder of the symbolic walls of put up between the people by the feud.

The simple but effective set and costumes supported the main action – the storytelling through the mesmerizing dance and character work. I can’t say enough about how well the choreography, though very contemporary, stayed true to the original themes of Shakespeare’s play. The best example I can think of is how the simple ending image, the entire company laying onstage with their legs outstretched to the sky, encompassed the Prince’s words: “All are punish’d”. No one got away from the tragedy unscathed and that ending visual was so powerful.

I love Shakespeare and I love ballet, so the evening was already a win for me before it even started. What I didn’t expect, however, was to witness such a beautiful and fascinating new interpretation of the Romeo and Juliet story. It’s so fitting then, that the Swedish Royal Ballet changed the title to Juliette et Roméo; it’s the same story, just performed with a new twist. 

.

As Juliet herself says, What’s in a name?

Check out the Royal Swedish Ballet's Flickr page for gorgeous photos of this production!

For more about the ballet here in Paris, check out the post Paris Opera Ballet: Lander/Forsyth from September 2014.

Yoga for Dancers

Confession: When I first moved to France, I went to yoga class well before I took any dance classes.

Yoga, anytime, anywhere!
The Isle of Staffa, Scotland,
July 2014.

I did this because it had been awhile since my last dance class in Canada and I didn't want to get injured when I got back into it. I wanted to tune-up my flexibility and strength first. And since I wasn't feeling super confidant yet in my new surroundings, I practiced yoga to feel good mentally and physically in my new life. 

Yoga class in French is still yoga class; all the Sanskrit terms are just pronounced with a French accent!  The big things – focusing on breathing evenly and being aware of alignment, etc. – are still the same. And the great thing about such a visual form of exercise is, if I do feel lost for a moment, I can just look around and follow the rest of the class.

Yoga is excellent cross-training for dancers and for everyone and anyone. I’m not a healthcare professional, so I can’t get into detailed medical terminology regarding the benefits, or risks, of yoga. There’s so much information out there and I encourage you to check it out and ask questions so you can make informed decisions regarding what’s best for you and your body. I can only share the ways yoga has benefited me as a dancer and as a person, both physically and mentally:

1-Yoga helps me find the balance between pushing myself to be better and being satisfied with where I currently am.

I’m sure most dancers will agree the mentality of dance is ‘push-yourself-further-than-the-day-before’ and that determination to constantly improve and grow leads to accomplishing great things. But it also gets exhausting, both physically and mentally. Yoga, with its ‘listen-to-your-body/you-are-enough-in-this-moment’ mentality, is a great counterpoint for all that drive and it helps me to quiet my busy mind when I’m on the go.

2-My flexibility is maintained through yoga.

When I was younger, I could go all summer without stretching and jump right into dance class in the fall and it would only take a few weeks to get my flexibility back. Now – really not so much! Yoga helps me maintain my flexibility, especially when it’s a while between dance classes and it helps my body recover more quickly when I’m sore or not feeling 100%.  

3-Increased core strength + improved arm strength = Stronger Dancer.

My core – abs and back – is much stronger because of the planks, side-planks, chaturanga’s in my yoga practice and as a result, my balance is better and my turns are more consistent.

I’ve also noticed my arms and shoulders are a lot stronger due to yoga, which is great when I have to throw myself around during the floor-work sections in those intense and very physical Contemporary Dance classes. And when my contemp. teachers make the class do push-ups, they’re actually doable! I share this fact with my students when I'm teaching and I make them do push-ups during the Contemporary Unit – especially when they complain. A strong dancer has a strong core and anything that helps build and maintain that is absolutely worth doing.

4-I am much more aware of my breathing.

I didn’t realize, until I started practicing yoga, how much I held my breath; not just when I danced, but in my whole life. This was a huge discovery! When I felt nervous, I would hold my breath and continue to feel shaky and ungrounded…because I wasn’t breathing properly! Now I’m much more aware of my breath-holding habit, I recognize it when I’m feeling nervous or anxious, and I’m working to remind myself to just breathe and be calm. Yoga helps me feel much more grounded and relaxed overall.

5-Yoga helps me to be mindful, positive and compassionate towards myself.

Like so many people, I am my harshest critic and I struggle to meet the expectations I set for myself. Practicing yoga helps me be mindful of my own self-talk. This is especially important when I’m feeling insecure in the face of a new or challenging situation. My default reaction has been to think negatively and be overly critical of myself. But this is slowly changing and it feels good; it’s not an easy thing to just up and change a way of thinking but I’m working on it and yoga helps me. I feel more confident and more appreciative of what I CAN DO, at dance class and in my life.

6-Yoga is portable, versatile, and affordable:

Yoga can be done practically anywhere: in a studio or at home. Case in point, the small living room of our temporary apartment in Paris became my own little yoga studio when most of the places near it were still closed for the summer. We’re settled in the suburbs now and I still make space for yoga at home because it’s so convenient.

Yoga on the road at my sister's house
in Edmonton, AB, December 2014.

Our one-bedroom apartment in Paris was my
own private yoga studio, August 2014.

The variety of yoga styles is incredible - slow, power-house, flow, hot, etc. I can choose a different style depending on how I’m feeling and what I want to work on. It’s empowering to have this range of choices and it also means I don’t get bored quickly.

Contrary what some retailers might suggest, yoga actually doesn’t require a lot of expensive exercise clothes or equipment! Just a mat, some comfortable workout clothes and a water bottle are all that’s really needed.

The classes themselves also don’t have to cost a lot; a lot of studios have special deals or promo-passes for new students. Groupon is a fantastic way to try out a new yoga studio and there are lots of yoga meet-ups online. YouTube is also an amazing yoga resource, with hundreds of different and FREE yoga videos for all levels to follow along with at home. If you're brand new to yoga, I would suggest going to some classes in person first, so you can ask questions and get feedback on your alignment, before you practice on your own at home. Always be mindful of your body and your needs when you try anything.

As my gift to you for a healthy and active 2015, here is a list of some of my favorite yoga studios in Canada and abroad, and some of my favorite on-line yoga videos:

Studios:

Noorish Yoga – Edmonton, AB, Canada

This studio in the Old Strathcona area offers a wide variety of classes for all levels, as well as special workshops and different yoga-related events throughout the year. The instructors are excellent and very approachable should you have questions or need some one-on-one help.

Moksha Yoga – all across Canada and the US

I went to a warm flow class with my sister-in-law last Christmas in Fredericton, New Brunswick, Canada, and it was great! Warm yoga can feel more intense due to the increased temperature of the studio and it’s excellent for really working up a sweat and getting deeper into the postures. Remember to hydrate well before going to a warm/hot yoga class and bring a towel because you’ll need it!

Beyoga – Paris, France

This was the first studio I went to in Paris and I got so much out of their 10 class pass/35€ for new students. It’s in a lovely old building in the 14^th, easily accessible by metro M4 or M6 at Raspail. They offer an extensive variety of classes for all levels and the instructors are fluent in French and English. My favorite classes are Vinyasa Flow, for a vibrant and up-beat class, and Yin, for a slow, calm, long-held-poses class. They also offer ‘Happy Hour Yoga’ classes each day for only 12€/class.

On-line Yoga Videos:

Lesley Fightmaster

American yoga instructor Lesley Fightmaster has an awesome name and some excellent online yoga videos for your home practice. Her YouTube channel offers tons of different options for all levels. I regularly follow her 45 minute Vinyasa Yoga video and it’s a great challenge, especially on those days when I have to convince myself to do it. I’m always glad I do afterwards, because it feels great to move and sweat and to conquer my own lethargy.

Soft Music & Yoga – YogaYak

This YouTube channel has a wide variety of yoga classes, as well as videos of relaxing music to accompany your practice. I like to do the Hatha Flow 3 42 minute class when I’m tired and/or sore because of its relaxed pace and its gentle and effective sequence.

I’m so glad yoga is part of my stay-fit-and-healthy-as-an-adult-dancer regimen. I feel fortunate that in all my years of dancing, I’ve never had any serious injuries. I want it to stay that way so I can keep on dancing as much as possible through all four seasons of the year. Yoga gives me the confidence to do that and it also helps me to grow as a person. I hope this post gives you an idea of how being active through yoga can be tailored to fit any schedule, any budget and any place.

Best wishes for a healthy, active and glorious 2015, wherever you may be!

As it’s said at the end of yoga class, the light in me recognizes the light in you - Namaste.

 

Namaste
Photo Credit: Shutter Photography,
Edmonton, AB. May 2010.

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White Christmas: The Classic Holiday Film

The Christmas season is here and that means curling up on a cold day and watching some classic Christmas films!

A Christmas film is not just any kind of film. It has to juggle the complex demands of having intriguing characters, a story that is original - but not too original that it’s not a Christmas film, and familiar – but not so familiar it’s a cliché - and blend the right amount of heart, drama, comedy and magic that the audience wants to experience at this time of year. 

A classic Christmas film does all of the above, but it has a little something extra, a delicate sprinkle of nostalgia, warmth and timelessness, when watching it year after year becomes its own Christmas tradition.

It’s a Wonderful Life, Miracle on 34th Street, A Christmas Carol, The Grinch (1966), Home Alone, are among the classics, but there’s one Christmas musical classic that tops them all – White Christmas. 

A White Christmas in my hometown of Red Deer, Alberta, Canada.

It’s a classic in every sense of the word: a film firmly planted in the Golden Age of Hollywood musicals, with handsome, crooning leading men, gorgeous and graceful leading ladies, perfectly styled costumes and hair, and delightful comedy, romance and heart set to the iconic music of Irving Berlin.

Its impeccable cast, Bing Crosby, Danny Kaye, Rosemary Clooney and Vera-Ellen, tell the story of two ‘dynamite show-biz entertainers’ who join up after WWII and cross paths with an up-and-coming sister-act and head to Vermont for some winter fun. Comedy and romance ensue naturally, but the story really takes off when they discover a lack of snow in what’s supposed to be “America’s winter playground” and their old army general on the verge of bankruptcy as the ski lodge proprietor. Prominent character actors, Mary Wickes and Dean Jagger, round out the cast and dancer George Chakiris, who would go on to win the Oscar for Best Supporting Actor in 1961 for West Side Story, stands out as one of the chorus members in the big song and dance scenes.

And speaking of song and dance, White Christmas is full of some of the best musical theatre numbers on film!

“Sisters” is a toast to the bonds of family and loyalty, performed sincerely by Rosemary Clooney and Vera-Ellen, and then later on with tongues planted firmly in cheeks, by Bing Crosby and Danny Kaye. If you watch closely, you’ll see Crosby is actually laughing by the end of their little ‘drag’ show, but the sound is overdubbed!

“Snow”, with its beautiful harmonies and images of winter, is sung by the quartet on route to Vermont and builds the characters’ anticipation for fun together in a lovely winter wonderland. If only winter could really be that beautiful and carefree! 

“Choreography” is a lighthearted, satirical nod to the early days of Modern Dance, with its dancers clad in long, dark Martha Graham-esque dresses and high pony tails, moving in sharp, angular motions and flexing their bare feet. Danny Kaye hams up the melodrama and Vera-Ellen, all legs and high-tapped heels, literally dances circles around them, in a classic vs. modern clash of styles. It does little to advance the plot or develop the characters; it’s just a really fun little number. 

“The Best Things Happen While You’re Dancing” is, in my opinion, the best dance scene in the whole film. You’d hardly know it by watching it, but Danny Kaye had very little dance training prior to this number but when dancing with Vera-Ellen, one of Hollywood’s most versatile and accomplished dancers at that time, he holds his own. They are absolutely mesmerizing and perfectly matched together in their ballroom/Latin-tinged dance on a Florida terrace. Notice how the costume designer put Kaye in shoes that match the colour of his pants; the line from leg to foot is never broken. The romantic lyrics and the whimsical way Vera-Ellen twirls in her partner’s arms are tributes to the pure joy of dance. The scene has a light, spontaneous quality and it’s a magical moment of two people falling in love while dancing. What could be more classic?

Only the song the film is named for, “White Christmas”.

Irving Berlin wrote the song for Bing Crosby, and Crosby’s version is the best-selling single of all time. It bookends the film by being sung twice: once at the start and at the end as the grand finale. In a bombed-out village somewhere overseas on Christmas Eve in 1944, accompanied only by the soft chimes of a music box, Crosby’s voice has a tragic longing to it and his singing of ‘tree-tops glistening and children listening’ prompt his fellow comrades to bow their heads with homesickness.

At the end of the film, the song is warm and full, bolstered by the inclusion of the ladies and a chorus of children. With the snow finally falling in the background, ensuring a happy ending for their beloved General-turned-Hotel-owner, the beautiful red and white costumes shine on stage, the soldiers are reunited with their families and friends,and the song and its singers are truly home together.

Watching this beautiful 1954 film has been a Christmas tradition in my family for years and when its opening credits roll, it signals the true arrival of the holiday season. I know almost all the words – of the songs and the scenes – and though I’ve lost count of how many times I’ve watched it, it never gets old. It represents so much of what I hold dear to my heart: sisterhood, friendships renewing and strengthening, romance and love, laughter and the joy of people coming together through the arts.

And of course, that the best things really do happen while you dance! 

Merry Christmas!