Paris Opera Ballet: Lander/Forsythe

The lights dimmed…the audience fell into a silence charged with anticipation...the red curtains rose… A bright spotlight at center stage illuminated a single ballerina, resplendent in a pristine white tutu…

Palais Garnier. Spectacular dancing is about to begin!

This was what I experienced from my seat at Palais Garnier, also known as Opéra Garnier, when my husband and I took in a performance of Lander/Forsythe, the first production of the Paris Opera Ballet’s 2014 – 2015 Season. 

As the audience broke into an enthusiastic applause of welcome, the ballerina responded by performing a deep reverence. But that bow was something more than a simple greeting – it was an invitation to witness something extraordinary: classical ballet technique in its most clear, vibrant, and meticulous form.

And so began Danish choreographer Harald Lander’s “signature work” Études.

Choreographed to the music of composer Carl Czerny, Études, the French word for ‘studies’, unfolds from start to finish as a ballet class on stage. This fly-on-the-wall glimpse into the structure of the ballet class showcases how the technique builds on itself and celebrates the progression from the barre to the bows, with all the ports de bras, turns, leaps and pas de deux in between.

It began, as most classes de danse classique begin – at the barre. Each musical note of Czerny’s rich piano score was punctuated by quick tendus, sweeping battements, and exact frappes performed simultaneously across the stage. The dancers in the opening barre section were lit from such an angle that only their legs and feet were clearly visible; their ports de bras and head movements were performed in shadow. The technique was literally in the spotlight and all you could see were long lines of turn out and a flurry of razor-sharp footwork.

The ronds de jambe section was especially mesmerizing and the Mirror Dance section sprinkled in touch of magic and whimsy as each dancer ‘mirrored’ her counterpart and added a small, poignant progression to the phrase. The grand allegro section of dancers leaping downstage from each corner – ladies from the left, men from the right – was so joyful and a breathless example of how grand jetés combine power and grace in a single movement.

The build from basic to advanced vocabulary highlighted the impeccable ensemble of the corps, as well as their incredible stamina. As any ballet dancer knows, the goal is to give your all in each exercise AND still have something left in the tank for the finish. The few (very few) moments of imprecise timing during the pirouettes hardly detracted from the flow. Instead, I saw them as small reminders of the humanity of the dancers in a piece that accentuates their other-worldly abilities. In short, they made it look easy and effortless. Études was a beautiful tribute to the foundations of ballet, to its strength, its grace and the discipline that makes it so captivating and it was an amazing way to start the evening.

Standing in 3rd position during intermission.

That’s right – that was only Act One! 

Act Two switched gears for a completely different experience, both visually and musically, through two contemporary ballet pieces, Woundwork 1 and Pas./Parts, by American choreographer William Forsythe.

In Woundwork 1, only four dancers filled the stage. They were lit from the back and sides, which created an interesting effect where there were shadows somewhere on their bodies throughout the entire piece. It was an exploration of counterparts – sustain/release, push/pull, extend/withdraw – and of shared weight and balance.

The movement had a heavy and weighted quality. They danced in the floor, rather than on top of it. In some places, they seemed to be dancing against the music: when Thom Willems’ haunting score was slow and drawn-out, the dancers moved at a staccato pace, creating sharp, angular lines with elbows, knees and hands. This juxtaposition of music and movement was at times unexpected, but it was an intriguing way to emphasize the strength and solid ensemble of the dancers.

Pas./Parts was yet another change of sight, sound and pace. It utilized a large ensemble of dancers, and a rough, clanging, and industrial score by Thom Willems. At first glance, with its colourful costumes and bright, bold lighting design, Pas./Parts seemed to be at the opposite end of the spectrum from Études but as it progressed, key connections could be seen between the two pieces.

Forsythe uses the same vocabulary – the same jumps, turns, extensions and partner work – as Lander does, but the order and the progression is modified and reorganized, while still being very much grounded in the technique of ballet. The underlying technical precision and acute attention to details is still there, mixed in with a contemporary fluidity and undulation of the dancers’ arms and torsos. Where Études was a study of precision and unison, Pas./Parts layered the phrases on top of each other, at the same time and had the dancers spread across the planes of the stage in solos, in pairs – both same sex and mixed – and in small groups. The effect was a bright and bold piece, bursting with power and intensity, which brought the performance to a satisfying conclusion.

Except I didn’t want it to end!

If Lander/Forsythe is any indication, the rest of the Paris Opera Ballet’s 2014 – 2015 Season should be just as exciting and as well done. I feel so lucky I got to see such a spectacular performance and I can’t think of a better way to be introduced to this incredible company than watching it pay tribute to the classical tradition, and then take that technique and run with it to new and innovative places.

A magical theatre, beautiful music, and outstanding dancing – and this was only the first of five performances I get to see this season! Ballet tickets are truly the anniversary gift that keeps on giving. 

In front of Palais Garnier. A truly magical evening!

Danse Classique in Paris

41 Rue Temple, 4th Paris, France

Since we decided to accept the transfer to France months ago, there’s one thing I was really looking forward to – taking dance class in France. I was excited beyond belief -who wouldn’t be? France is the birthplace of ballet and to take class where it all began would be absolutely amazing!

And after all the stress of goodbyes and moving and getting set up in the first three and a half weeks we’ve lived here - plus all the researching into Le Centre de Danse du Marais, metro schedules, buying the 5-class trial pass online, and doing a re-con mission to make sure I could find the place - I finally made that one thing happen. 

I took a dance class in Paris, France!

Specifically, it was a ballet class, which is called Danse Classique in France.

Simply put, it was one of the best days ever!

Multi-lingual dance studio!

Before the Débutant/Moyen (Beginner/Intermediate) class on Thursday, I carefully put my hair up in a bun, tucked my ballet shoes into my purse, filled my water-bottle and headed to the metro. Two trains later, I got off at L’Hôtel de Ville and walked to Le Centre de Danse du Marais, at 41 Rue Temple.

The first time I went there on my re-con mission, I walked right past it since it’s tucked away at the end of a cobblestone courtyard. The building itself is really beautiful, with studios all the way around the courtyard and a lovely café directly opposite the main doors. My class was on the second floor and soon I found myself in a sunny waiting room, stretching and warming up with the other dancers. Then we moved into the studio, pulled out the barres and got down to business. 

Wagner Studio has a lovely view of the courtyard below.

A short foot warm-up, pliés, tendus, dégagés, ronds de jambes, développés, fundus and battements – the barre exercises progressed so fluidly with Laurence, our teacher, demonstrating each exercise while we marked it. While each new exercise built onto the previous one and each become more challenging, I kept thinking over and over –

I’m really here! I’m taking a ballet class in Paris!

And as my body responded to the instructions and corrections, as I turned my legs out from the hips and pressed my feet into the floor with each tendu and my eyes followed each movement of my arms, I also felt something else...

I felt like I was home.

It was that feeling of being somewhere so recognizable and welcoming, somewhere safe and familiar, surrounded by people you love. In a dance studio in Paris, France, in a building from the 1600s, surrounded by a new teacher and new dancers, I was home.

It was amazing.

As we moved into the center, we did some petit allegro to Gene Kelly’s Singing in the Rain, which added a fun, classic-musical theatre element to traditional ballet vocabulary. We even got to use rosin on the slippery, worn wood dance floor! 

My favorite center exercise was the beautiful adage accompanied by the classic Gershwin standard, S’wonderful. It was by no means easy, especially the phrase that started with a developé devant, transferred to an arabesque-promenade, then an attitude-promenade, and finally to a fondu-penché. Phew! It was a challenge to really lengthen each movement and to use breath and control - especially on the extensions - to transition from each position to the next, but the music helped it flow together so smoothly. I felt like I already knew the combination and when we ran it without following our teacher, it felt like real choreography, not just an exercise. It was joyous and I loved it!

No Danse Classique class would be complete without some jumps and I admit I let out a delighted squeal when the theme from Fame came on for a short warm-up sauté combo. No one else seemed that excited about it; they all had these ‘Silly Canadian girl!’ looks on their faces. But I swear it helped me jump higher because it made me think of my sister and my fellow dancers back in Canada. We did a classic glissade, assemblé combo coming forward to Chicago’s All That Jazz and naturally, a grand-jeté combo finished off our center practice.

Thank you, feet! 

It was an incredible 90 minutes and after the reverence and some sneaky photo-taking of the studio, I had to take a minute to really process what I just did and what it meant. As I sat there in the waiting room, sweaty and exhausted, smiling so big while my muscles – especially my hips – were already feeling the extent of the physical and technical exertion, I felt a huge sense of joy. I did it –

I took a ballet class in France!

But it was more than that. I felt intense gratitude – towards my body, towards my training, and towards my teachers and my family. They helped instill a love of dancing and learning in me that propels me to go after what I want and to keep pushing and putting myself out there.

That’s why I dance.

And it’s that gratitude and joy - and the fact that writing this post was a chance to relive the experience - that makes me thrilled to share this journey with you.

I’m so inspired, and still smiling so big, and I can’t wait to check out other classes at Le Centre and elsewhere, and to dance again!

Le Centre de Danse du Marais
membership card and gift bag.

Le Centre de Danse du Marais is one of many dance studios in Paris that offer classes in many different styles and at different levels. For more information, check out their website:

www.parisdanse.com

(Don’t worry, there’s an English version!) 

#Unbored at the Edinburgh Fringe Festival – Part Two

I love Edinburgh and I loved being at the Fringe!

14 shows in 6 days at the Edinburgh Fringe Festival 2014

The last half of the 14 shows we saw is as rich in diversity and experience as the first half. We saw immersive/story-theatre, Theatre-for-Young-Audiences, site-specific theatre, more drama and more dark comedy. It’s been an exciting, boundary-pushing, thought-provoking, laugh-inducing, informative and impressive theatre experience.

 While some shows were enjoyed more than others, the experience as a whole was enjoyed by all.

The Seussification of A Midsummer’s Night Dream (Comedy/Theatre-for-Young- Audiences) 

Red Bonnet Productions:
The Seussificationof a Midsummer's Night Dream

This was a special show for me since I directed The Seussification of Romeo and Juliet during my first year of teaching junior high and I wanted the experience of seeing its sister show’s Seuss-y take on the Bard’s wild comedy. The script is a joy for young performers and I salute the actors of Red Bonnet Productions for tackling it with great energy and gusto. Combining classic Dr. Seuss elements, like Narrator (Thing) 1 and Narrator (Thing) 2 and ridiculously inventive language with the basic plot of Midsummer, the audience goes on a wacky ride through the hijinks of the fairies, the mixed-up lovers and the foolish players. Although the tongue-twisting dialogue did trip up the young actors from time to time, they rebounded quickly and forged ahead with great commitment and determination. Plus, it was clear they were having a blast and let’s face it, so did we in the audience. Great fun!

Cirque Tsuki: Feast

Cirque Tsuki: Feast (Immersive/Story Theatre/Installation/Puppetry)

The innovative and talented company of ImmerCity is responsible for this beautiful, interactive piece of immersive/story theatre. They put on a trilogy at the Fringe, with each show a feat of storytelling, as well as a moment in the life of the Circus troupe itself. Although we didn’t see the first show, Birthday, we didn’t feel at all lost when we saw Feast on its own. It picked up on the 10^th anniversary of The Great Izanagi and Madame Mist, key players in the circus, and along with their living doll Tiffen, they retold the stories of 1001 Arabian Nights. Using music, shadow puppets, simple costume pieces, they effortlessly and magically wove story after story together, and created character after character, both vocally and physically. They even had some audience help - my husband got pulled up onstage to be the King in a few scenes and he was great! This show was a true celebration of the magic of storytelling and one of my favorites at the festival.

The Edinburgh Literary Pub Tour (Site-specific Theatre/Historical Drama) 

The Edinburgh Literary Pub Tour

This show was a special treat – a walking tour through some of the oldest and most celebrated pubs in Edinburgh, as well as the courtyards and streets of the old and new town. Lucky for us that the weather held out and we could stash our raincoats away for a crisp but otherwise beautiful night outdoors. The neat thing about this show is that it runs all throughout the year, not just duirng the Fringe and it starts every night at the Beehive Inn in Grassmarket, where the dueling hosts, Mr. Clart and Mr. McBrain (actors), banter and each share his ‘preferred’ version of history. They shared the origin stories for many famous Scottish writers and poets -Walter Scott, Robert Louis Stevenson and of course, the great Robert Burns. We learned the poets would congregate in the pubs to drink, debate and pontificate and it was at these gatherings – in what some would consider seedy and raucous establishments – that the poets were inspired to create some of the world’s most treasured literature. Not to be overly nostalgic for the distant past, our hosts also pointed out the bar that Ian Rankin frequents and the coffee shops where J.K. Rowling wrote parts of the Harry Potter series. We met people from all over the world on this tour – Italy, USA, Denmark, and Scotland (naturally) and I even made a list of the Scottish authors so I can brush up on classic lit. It was a great way to spend an evening, “drinking and thinking”, plus nothing beats the view of Edinburgh Castle lit up at night.

Cirque Tsuki: Parade

Cirque Tsuki: Parade (Immersive/Story Theatre/Installation/Puppetry)

We enjoyed Feast so much, we had to go back for the third and final chapter of the Cirque Tsuki story. Definitely the darkest of the three productions, it takes its inspiration from Japanese folklore, where “100 candles are lit and 100 ghost stories are told”. The belief is that blowing out the last candle summons the spirits of the stories back to the world of the living. The stories in this production dealt with the themes of betrayal, vengeance and faith. It was interesting to see where the characters were emotionally since we last saw them and to fill in the gaps as to what had happened to them since. It used many of the same elements as Feast but instead of the stories they told taking on lives of their own, the main plot was the saga of Izanagi and his conflicts with his wife and the living doll. Macabre and sinister motivations were revealed and it was an intriguing and satisfying conclusion to the Cirque Tsuki.

Breathe Out Theatre: An Extraordinary Light

An Extraordinary Light (Drama) 

This one-woman show tells the little-known story of the involvement of scientist Rosalind Franklin on the discovery of the structure of DNA. Through a passionate and informative monologue, Rosalind herself shared the details of her deep love for science and her devotion to her work, virtues which were both her greatest strengths and her greatest flaws. Her anecdotes of her many years working in the “Boys Club” of her scientific field told, rather than showed, her contribution to understanding the structure of DNA and at times it did feel a bit lecture-like. The performance of Katherine Godfrey as Rosalind, however, was exceptionally strong and gave the audience an informative and tragic look at a brilliant and underappreciated mind.

Quest Theaterworks: Gidion's Knot

Gidion’s Knot (Drama)

Darkly funny, disconcerting and tragic, Quest Theaterworks’ production of Gidion’s Knot is a masterful work of drama and social commentary. Taking place during “the parent/teacher conference beyond your worst imagination”, a mother and a fifth-grade teacher square-off regarding a student’s suspension. The multi-layered script approaches the conflict from a place of right vs. right – as more and more information emerges around the circumstances of the suspension and the relationships of the student in question, the more the audience was forced to consider both sides to the conflict between free-speech and what is considered appropriate social behavior. In this age of growing violence in schools, is it justified to sacrifice the right to free expression of one to protect the many? Both women are defined by their beliefs and make decisions based on what they feel is right but face judgement from the other for doing so. The imagery in this script is at times extremely disturbing and yet very poignant and as a teacher myself, it forced me to consider what I might have done had I been in that situation. There are no easy answers and no one person alone can take all the responsibility and that’s what made this show so riveting and so terrifying.

Darkle Theatre Company: Darkle

Darkle (Dark Comedy) 

Darkle Theatre Company presented the odd-ball dark comedy about a group of adult-children slackers who take revenge on their overbearing, busybody landlord by kidnapping his dog. There was a distinct streak of laissez-faire/don’t-give-a-shit from the slacker trio which got turned on its head once the plot got out of their control. There were some moments of squirm-in-your-seat-awkward physical comedy and the twist that came later on definitely caught me off guard, but I felt like there was so much superfluous banter between the characters that it hit the audience over the head; we get it – they’re selfish and their lives are meaningless! It took 45 minutes of a 65 minute show to get to the main action (the dog-napping), so either the pace needed some picking-up or the script some firm editing. It just didn't quite do it for me, but I’m not sorry I saw it because it was different and unexpected and I can appreciate that.

So there you have it - my recap of my Edinburgh Fringe adventure!  14 shows in six days, new favorite places to visit, and incredible memories to treasure and share.

If you happen to be in Edinburgh between now and August 25, get yourself down to The Fringe! It’s so worth the time just to be near the action with all the energy, excitement and the air of possibility all around. Or if you’re around Edmonton between Aug. 14 – 24, make sure you check out Fringed and Confused: the 33rd Edmonton International Fringe Festival. There is so much to witness, discover and discuss.

Wander around the grounds, grab a leaflet from an actor, or ask around for a good show to see.

And get #unbored.

#Unbored at the Edinburgh Fringe Festival

To say that Summer 2014 has been a busy time is one of the biggest understatements I have ever uttered.

Between prepping our house to sell, going through the paperwork to close the sale, getting the house packed and moving in temporarily with family, we traveled to Vancouver to get our French Visas, I went to Las Vegas to celebrate my cousin’s wedding and now, we’re in Scotland on vacation. Next week, we move to France.

I counted and between July 6 and August 16, I will take 10 different flights. Yes, it’s a bit of a busy time.

But it’s also been an incredibly fun and unforgettable time. We spent the first week of our holiday in the town of Oban, on the northwest coast of Scotland, where we hiked the islands and explored the town’s local culture. We’ve spent the last seven days in Edinburgh, the beautiful capital of this rugged and friendly country, and we’ve been immersed in the Edinburgh Fringe Festival!

Definitely #unbored! This is High Street during the Fringe.

It’s the largest arts festival in the world and for three weeks in August, Edinburgh plays host to hundreds of theatre productions, dance, visual art, music, street performances and comedy from around the world. No wonder the official hashtag of the 2014 festival is unbored. I’ve wanted to go since I was a drama student in university and this summer, we made it happen!

I’m proud to report that my husband and I went to 14 shows in six days. I made sure there was a mix of styles and content – some dance, some family, some drama, some comedy, some R-rated – because what better place to get out of your comfort-zone than at the Fringe!

I scribbled down my key thoughts on the backs of my tickets after each show and added to them when we discussed them later, usually over a pint of Edinburgh’s finest stout or ale. I’ve always believed a successful theatrical experience is one that provokes further thought and discussion among audience members long after the applause dies down. Based on that and the thoughts I’m about to share on the first seven of our 14 shows, I declare our Fringe experience a complete and total success!

Volcano Theatre: 147 Questions About Love

147 Questions About Love (Dance/Spoken Word)

This was our first show at the festival. Put on by Volcano Theatre out of Wales, it was a short piece of spoken-word and dance based on the questions that are asked whenever starting a new relationship. We sat on cushions directly on the stage and there were no stage lights or sound cues to indicate the show had started, just the audience’s shared, somewhat-awkward silence while watching the two performers adjust their props and stare each other down. He asked, she danced. Each person’s actions, whether it was words or movements, seemed to be a truthful and authentic response to the situation. There was even some audience interaction. The main question explored was should people pre-emptively apologize for their mistakes at the start of any relationship? Worth considering.

This Theatre Company: Cafe Ruse

Café Ruse (Comedy/Musical) 

This Theatre Company’s production was a caffeinated mix of musical, physical and dark comedy. The energy level was just ridiculous from start to finish, as was the absolute commitment and comedic timing from the cast of four, who played 50 characters between them. The premise is simple enough: a group of loyal, slightly deranged customers stage an elaborate heist to save their beloved coffee shop, but the stakes get more and more outrageous as more characters, their voices and physicalities join the mix. It was a great romp in a sweltering venue and thanks to an especially unpredictable bit of physical comedy involving a bottle and a ‘statue’s’ sculpted rear, I will never feel the same way about a bottle opener.

Nottingham New Theatre: 18b

18b (Drama)

This original script from Nottingham New Theatre is an excellent piece of historical drama. Based on true events, 18b is the story of the detention and interrogation of three women in Britain on suspicion of espionage and enemy leanings. The three women delivered strong, enigmatic performances and their interrogators certainly held their own. I wasn't ever quite sure what to believe or who to root for because the characters are very well crafted and everything they said was slightly ambiguous. There were some issues with the pacing of some transitions but overall, this was a solid, compelling production with a script that, in my opinion, has the potential to be produced outside of the festival.

21 Things You Should Know About Toronto’s Crack-Smoking Mayor (Comedy)

DeCo: 21 Things You Should Know...

You know Rob Ford has reached a significant level of notoriety if he’s inspiring Fringe shows at international festivals, so when I saw this show’s title, I knew we had to see it. This Canadian production from DeCo of the Toronto Fringe Festival takes the viewer on a recap through the farcical public mishaps of Toronto’s mayor. Playing the facts through an indignant sense of humor, it’s a ridiculous yet sobering (no pun intended) look at politics and public persona. While we laughed at the absurdity of the situations, the actor playing a political consultant called us on it, making us aware of how easily we could be led to make light of a politician’s dangerous and illegal behavior when “isn’t a mayor supposed to be role model, a leader”? Good point, strong show.  

Theatre with Teeth: Dirty Decadence

Dirty Decadence (Dance)

Theatre with Teeth put on this Modern Ballet about a group of friends who travel to the countryside and find their relationships unraveling as lines are crossed and betrayals are revealed. It’s danced to remixes of well-known classical pieces and has a promising premise for drama and some ambitious choreography, however, the dancing fell short in some basic and very important technical principles. Turn-out was lacking in the female dancers, especially in their extensions. When the ladies danced in their pointe shoes, I felt them to be tense, their movements to be shaky and ungrounded, and I felt worried for them as they didn’t seem to be fully confident in their technique. The dancing improved when the pointe shoes came off in the later portion of the show, which makes me ask, were they really necessary in the first place? Pointe needs the technique to back it up, so I think this show would have been better without it. The male dancers were strong and well-characterized and there were some dramatic moments but overall, I felt more polish and attention to the technique would go a long way to improving this show.   

BarelyMethodical: Bromance

Bromance (Circus/Physical Theatre)

The guys of BarelyMethodical, an “experimental acrobatic circus company” were outstanding in this show that had them out-standing on each other’s heads and shoulders, tossed in the air and caught by their hands or waists. The precision and control they had with their movements showcased their amazing feats of strength and balance. The three performers drew collective gasps from the sold-out crowd as they balanced and flipped high in the air. The ‘Boy-Band’ moment of a dance to Tone Loc’s Wild Thing brought a moment of levity where we could exhale and laugh before holding our collective breath once again. This piece was a stunning showcase of strength and ensemble and worth every gasp of awe.

Dragon Literature: So What If I Dance?

So What if I Dance? (Exotic Dance/Drama)

Dragon Literature is the brain behind the exotic dancer tell-all So What if I Dance?. The character Jade is a club dancer who is paying for her education to be a statistician. She uses her affinity for numbers, as well as her humor and extreme flexibility to shed some light on the real stats of club dancers, aka strippers. The very intimate setting of a meeting room in the Apex International Hotel left no room to hide as she locked eyes with the audience and told us what it’s really like to stretch, gyrate and straddle onstage for a living. She made no apologies and the title suggests a metaphorical middle finger to all those who would balk at her choice of work. A bold and provocative show.

Part Two of my Edinburgh Fringe adventure is coming soon, so keep watching A DANCER ABROAD.  In the meantime, the Edmonton International Fringe Festival is coming Aug. 14 - 24! This is one of Edmonton's most prized festivals, so check out what's playing and get your tickets! 

     

Belly Dance at Move Studios

For a very long time, I had a secret dance wish:

I wanted to take a belly dance class.

I have long admired belly dancers at Mediterranean restaurants and at Heritage Fest for the intricate and hypnotic way they move their hips and torsos to the spirited music.  They dance with such confidence, strength and grace - they make it look so effortless! And they always seem to be having a great time. Who wouldn’t want to try that?

So I tested the waters by requesting a belly dance class to be part of my stagette last June. My bridesmaids came through in a big way when they found an instructor to lead us in an hour-long, crash-course of belly dancing at the southside location of Move Studios, a dance studio that specializes in belly dance, tango, Bollywood and fitness.

Mandate: Move Your Mind, Move Your Body, Move Your Soul.

I am a firm believer that time speeds up in a dance class, especially when the style is completely new and exciting to the participants. That hour flew by as we did our best to learn the basics of belly dance and it was ridiculously fun to dance with my best ladies, as I knew it would be. I was hooked after that, so I watched the Move Studios website closely for a beginner class that fit into my schedule and I was so excited to finally register for an 8 week session on Thursdays. I was excited for the opportunity to learn more but also slightly nervous since this time, I would on my own, not surrounded by people I knew and already felt comfortable being uncomfortable with.

But I needn’t have worried since our instructor was the incredibly welcoming, positive and knowledgeable Marie Habib, and the ladies in the class were so supportive and game to try everything. Marie’s approach, with encouragement and positive energy, was to give us as many variations of traveling steps, turns, arm movements and footwork as possible, all while breaking down the finer technical aspects of belly dance, which in my opinion, can be summed up in three key concepts: isolations, weight transfer and accents.

The amazing Marie Habib, belly dance instructor

Belly dance requires intense isolation of different parts of the abdominal muscles, such as the oblique muscles. I was surprised to learn that the obliques were responsible for lifting the hips and that simply alternating bending my knees could create that classic belly dancer shimmy. Slight weight transfers between the feet, even different parts of the feet, create smooth transitions between the movements of the abs and hips, like my personal favorite, the figure-8. This was an important understanding for me because I am much more accustomed to bigger weight transfers, such as shifting/balancing from two feet to one foot, not the smaller, more subtle transfers, like heel to ball of the foot. It seems like a small thing but to me, it made a big difference in how I understood the movement.

Marie also taught us to listen closely for the different accents in the music, which then would signal a new ab/hip isolation or weight transfer. In the process, we danced to many different instrumental songs for belly dancers. It was a challenge for my ears and brain as much as for my body and it felt great to work out my dancer-brain.

Also – belly dancing in an amazing ab work-out! After the 8 weeks was up, I definitely felt my core to be stronger and I saw more definition to my abs. It’s hard work and I have a new appreciation for the strength of this style of dance.

Learning to dance means taking risks, trying new styles and being open to new experiences - this is exactly what taking part in Beginner Belly Dance at Move Studios did for me. I had a blast being in a new, supportive setting with great people and learning from a fantastic teacher. I’m thankful I got to explore this beautiful and challenging new style and I look forward to trying it again someday.

Move Studios Beginner Belly Dance class, Spring 2014.

Thank you, Move Studios, for a great experience! My secret dance wish is fulfilled. I have taken a belly dance class and I loved it. 

Now, go fulfill your own secret dance wish, whatever it is!

J'adore J'adore!

While stretching in 2^nd position and simultaneously focusing on the turnout in our legs, pointing our feet, reaching forward in the stretch, and reminding ourselves to breathe, the class was given this particular instruction:

“Tell us three things: your name, what you do for a living and your favorite food. Go!”

Family doctor. Student. Stay-at-home-Mom. Psychiatrist. Teacher. Pilot. Grad Student…

And that moment sums up what it means to take class at J’adore Dance: you become part of an eclectic group of people, different ages, experience levels and interests, all brought together through a love of dance.

J’adore Dance is a busy place.

A bright and inspiring studio.

It offers dance for the whole family: prenatal dance and fitness classes, Salsa Mama Dance, preschool and kids dance programming, and excellent adult dance opportunities for a variety of levels.

For me, J’adore Dance is a special place.

It’s where I took my first ballet class after almost a decade and fell back in love with its precision and grace. I’ve been a student there for the past two and a half years and I’ve been busy re-tuning my ballet technique, exploring more contemporary technique and even taking the chance to delve into Beginner Ballroom with my husband. It’s a place where I have continued to learn and grow as a dancer, take class with my big sister (who was my first inspiration in dance), meet new people and connect with many other dance educators and mentors.

Such as the great Jodie Vandekerhove.

It was in Jodie’s Adult Contemporary class that we were asked that getting-to-know-you question while we stretched. She asked it because she creates a supportive ensemble within her class. Her class is a work-out and a half that strikes that tricky balance between fitness and artistry, technique and improvisation, and structure and freedom. I always leave her class feeling stronger, fitter and challenged physically and creatively.

And much, much sweatier!

A great teacher and mentor, Jodie Vandekerhove.

Jodie’s class is fun, positive and challenging. When the pulsing bass of Depeche Mode’s Personal Jesus comes on and we jog around the room, I know the cardio portion of the class will test me. I want to give up but I don’t because Jodie is sweating right along there with us through every push up and tricep dip. She gives many different modifications for the movements depending on where you are and she’s always rooting for you and pushing you to dig deeper, wherever that is for you.

“The floor is our partner.”

This is often repeated in class as we learn how to safely, yet boldly, get into the floor through pedal/non-pedal locomotion, high/low shapes and various jumps, rolls and falls. Every bruise or flash of floor burn is a badge of honor, in my opinion. They are the proof that I went for it, I didn’t hold back and that I am continuously learning. I always feel contemporary class in my body the next day, but it’s in a good, getting-stronger-getting- more-aware-of-my-body, kind of way.

Taking class at J’adore Dance, with Jodie or any of their great teachers, means you will emerge part of a supportive community, with a broader understanding of your body and a greater appreciation for the artistry and athletism that is dance.

And finally, no matter what, you get to dance for you.

J'adore Dance's Adult Contemporary Class, Spring 2014.
No shortage of sweat or laughter here!

J’adore Dance runs classes through the summer and registration for fall classes is already open. For more information, check out their website.

.

From the Top!

“I’ve been a dancer for the past twenty-six years, since I was four.  So now you can do the math and figure out how old I am… I love to dance, I’ve been dancing for as long as I remember and I’m going to keep dancing as long as I can. I love to learn new styles of dance, to meet new people through dance, and share what I know and love about dance. Dance is a living, breathing, ever-evolving art form and I am so excited to go on this journey with you!”

I tell this story at the beginning of the year with each new group of dance students I teach, so it’s fitting that I share it on the first post of this new blog, A DANCER ABROAD.  The part about sharing what I know and love about dance while going on a new journey has extra-special meaning since I am about to go on an actual, literal journey when my husband and I move to France in August 2014.

This is, without a doubt, the biggest life-change I have ever faced.

Am I excited? Absolutely!

Am I scared? Of course!

But I’m not alone.

My husband and I are embarking on this together, along with some of his work-colleagues/good friends and their spouses, plus we have the incredible support of our families and friends. This is not a journey we will take alone in any sense. Plus, it’s looking like everyone we know wants to come visit us at some point, so alone is something we definitely will not be.

Staying connected is important and that’s where this blog comes in. Being an educator and a self-proclaimed lifelong learner, as well as someone who loves to travel and write, I am seizing this opportunity to explore and share my love of dance, theatre, art and culture, both here in my Canadian community and abroad.  

I am going to take dance class in Paris. It will probably be in fast, Parisan French (which I can understand, thanks to French Immersion!) and I will be scared but I’m going to do it! France is the birthplace of ballet, after all, so at least I’ll understand the basic vocabulary. I am going to watch theatre in Europe and I hope it will be as challenging, thought-provoking and exciting as the theatre here. I'm going to travel to many different places and share what happens along the way.

And when I think of this huge journey in terms of what I will learn, experience and discover, it tips the scales from scared to excited in a very big way. 

So welcome! This is a living, breathing, ever-evolving journey and I am so excited to share it with you.

5, 6, 7, 8 – here we go!

Port de bras at the Giant's Causeway, Northern Ireland.