Julia Rowe on being promoted to soloist at San Francisco Ballet

I’m a little slow on the uptake here, since Julia was named soloist several months ago, but I wanted to dig into what it means to be promoted – especially at such a revered company as San Francisco Ballet.

Promotions are some of the most sought after things in our world. After years of toiling in the corps, a promotion can act as recognition for all the hard work one has done. Yet, because of the nature of ranked companies and of their relatively flat structure, most in the ballet world never receive a single one. Julia has been promoted twice.

So what does it even mean to be promoted in the ballet world? How might receiving a promotion affect one’s relationship to the work?

Continue reading “Julia Rowe on being promoted to soloist at San Francisco Ballet”

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)”

Yannick Boquin (part 2): lessons learned from a life dedicated to ballet

We’re back with Yannick Boquin for round two of our interview. If you missed the first part of the interview, catch it here – if not read on. Yannick has spent time in pretty much all of the corners of the ballet world. Whether as a principal dancer, guest teacher, ballet master, or choreographer, he’s done it all, and in this section we explore some of the insights he’s come away with during each of these careers.

Continue reading “Yannick Boquin (part 2): lessons learned from a life dedicated to ballet”

Yannick Boquin on ballet technique, physics, and how to teach a good class

Welcome! Today I’m trying something new. I thought it might be interesting to interview one of the most prominent guest teachers in the business (art form?) to see what knowledge he could share with us about ballet culture and his long experience as a dancer and teacher.

Yannick Boquin is a guest teacher at many of the most prestigious ballet companies in the world, including the Royal Swedish Ballet, Hong Kong Ballet, Dresden SemperOper Ballet, and of course, my home, Les Ballets de Monte Carlo. Educated at the Paris Opera Ballet School, and having danced as a principayannick-boquinl dancer with several companies, most notably the Deutsche Oper Berlin, Yannick has traveled the world and seen many of the similarities and differences between ballet company’s cultures and dance styles. Yannick has his finger on the pulse of the ballet world. He teaches a supremely well thought out class, and has identified a logically consistent view of ballet technique that he teaches in his company class. I recently had the chance to  sit down with him and ask him a bit about himself and about the wisdom he’s amassed through the years.

Continue reading “Yannick Boquin on ballet technique, physics, and how to teach a good class”