Checking in with you

Hey everybody. I’ve been gone a while. Did you miss me?

In deciding how to return to writing for Corporal Culture, it occurred to me that I should be asking you, the readers, what you want out of this site. I’ll include the simple poll below, but any other feedback you might have about the site is welcome in the comments.

Oh, and one more thing: I started a Corporal Culture Facebook page! I’ll link to the articles in this blog, but I also plan on having a bit of content specific to the Facebook page. So come check it out.

Happy polling 🙂

Cora Bos-Kroese on the genius of Jiri Kylian – and being a part of his legacy

Here you are, in part 2 of our conversation. In the first part, Cora shared what she looks for when running an audition for a Kylian ballet that she’s setting. If you missed part 1, check it out here.

In this second section, we talk about her relationship with Jiri Kylian, the way it shaped her knowledge of dance (and her life), and what makes his work continue to inspire and challenge her.


 

Continue reading “Cora Bos-Kroese on the genius of Jiri Kylian – and being a part of his legacy”

Cora Bos-Kroese on the audition process for Kylian ballets and the skills necessary to be seen (and chosen)

Welcome back, everyone. Here we are with another interview, this time with Cora Bos-Kroese. Cora recently set Jiri Kylian’s Bella Figura on us at Les Ballets de Monte Carlo, and she was a blast to work with. Back in the day she was a fantastic dancer who worked intimately with Jiri Kylian. These days she splits her time between setting his ballets all over the world and running her own dance projects in The Netherlands.

I sat down with her to have a conversation about what she’s learned from working with Kylian (and Forsythe!), advice she has for dancers, and her own personal projects in the dance world. I’ve broken up our conversation into three parts, which will come out when ready. In this first section, we talk about the audition process, and the qualities she looks for when running an audition for a Kylian ballet (hint: it’s not perfect ballet technique).

Continue reading “Cora Bos-Kroese on the audition process for Kylian ballets and the skills necessary to be seen (and chosen)”

Correcting the crowd: how group feedback affects us

How do you inspire a group of dancers to live up to their full potential?

One of the most important skills to learn as an artistic director, ballet master, choreographer, or teacher is learning how to speak to and manage the group. All  bosses have to do it. Organizing a large group of people can be hard at times, and learning the skills necessary to pull the best out of that group can be a long, hard process.

One of the most important tools that can be used is group feedback.Photo on 12-21-15 at 8.07 PM Just as the coach of a football team needs to be able to call the team together to inspire them to action, so does the person at the front of the room need to be able to gather the dancers together to “course-correct.” It might be to suggest a way of approaching the choreography, it might be chiding the group for a lack of focus, or it may be an inspirational talk to boost spirits. It may even be all three at the same time. Group feedback can be used for many different outcomes, but the main idea is to focus the whole group on a particular issue or desired approach.

The principal questions here are: what makes group feedback succeed at its intended purpose? And how can it be used to inspire dancers to work better or harder? Continue reading “Correcting the crowd: how group feedback affects us”