The Charismatic Dancer

Talent and technique - all of the dancers at the International Ballet Competition (IBC) Helsinki have plenty of both. Every day I've been awed by their highly fine-tuned instruments and athletic feats, in class and on stage. Double-split sissone ouverts (I don't know the correct term), over-head attitude tambourine kicks, tours en l'air, multiple pirouettes (as much as ten), double fouetté turns, hops and balances on pointe, breathtakingly beautiful arabesques... But there's one skill that you cannot measure or count: stage presence. Some dancers just have it. They draw you in the moment they set foot on stage, not with tricks but with personality, the light in their eyes, their entire countenance and presence.

Present yourself - on stage and in class

We all know about the hard work that goes into ballet technique, but how do you practice presence? Is charisma something that you're born with - and if so, where does that leave the rest (of us)? The way I see it, the most charismatic dancers are not necessarily the prettiest girls, or the most princely danseurs. Not that having beautiful features has ever been a disadvantage to a performing artist, especially in in the world of ballet. Even so, much can be done with the right stage make-up, emphasizing eyes and features to suit the dancer, mood and lighting. Charisma, however, is not cosmetic. It's not a pasted on perma-grin, but a radiant smile that reaches the eyes - and the audience. Even if the choreography is somber or tragic, the dancer with stage presence knows how to present and project - all the way into the nosebleed section.

"Present yourself, be beautiful, make it interesting, be generous..." Some of the advice I've been given by my own ballet teacher. Despite ballet being a performing art, the aspect of performance came very late to me. I was already 40 when I had my first show! And scared stiff, literally. I was way too nervous and unprepared to enjoy any of it, but it was also a valuable learning experience. Stage presence starts already in class. The way you use your épaulement, your head and eyes, your stance, every step you take. Confident, believing in yourself, standing tall, elongating your body, reaching out, never being stingy with yourself. Also, your attitude and mood, the way you present and conduct yourself: positive, attentive, alert, energetic, respectful, 100% happy to be there. I have always loved being in class, working hard, dancing... Everybody I know knows I'm passionate about ballet - but I'm not exactly known for possessing charisma. Rather, I'm the student with concentration face (focused, not mad), and timid demeanor. You know, it's okay to be shy and sensitive and introvert... But when you feel small, it actually helps to dance big!

First Round, last day

Sitting in the audience in Almi Hall, I again had the pleasure of seeing many awe-inspiring and beautiful performances. Yimeng Sun (China, seniors, b. 1993) was a delightful Sleeping Beauty, pure and delicate with crystal clear lines and lovely musicality. Anastasia Tillman (USA, juniors, b. 1999) was in her element as Kitri, nailing the traveling turns-from-fith diagonal with doubles at the end. You can always tell when someone is dancing their favorite variation... Fangqi Li (China, juniors, b. 1998) danced a stunning Esmeralda with exquisite balances and, yes, stage presence. The boys/men continue to be absolutely incredible with their athletic prowess, roof-high jumps and dizzying turns. For the men, classical solo variations are all about showing off bravado technique, it is their forte. Variations from Le Corsaire, Esmeralda, La Bayadère, Don Quixote were most popular - standard competition fare. Frederico Loureiro (Portugal, juniors, b. 2000) displayed extraordinary flexibility and ballon for his young age. Kengo Nishiko (Japan, seniors, b. 1992) and Hojin Leon (South Korea, seniors, b. 1991) were among the many double-splitting flyers.

Frederico Loureiro and Yimeng Sun. Photography by Mirka Kleemola.

Other dancers and performances were not quite there yet. Ella Puurtinen (Finland, juniors, b.1998), I think, would benefit from a scholarship... She still needs to build strength and confidence, but certainly has a lot of potential. Sara Antikainen (Finland, juniors, b. 1997), on the other hand, was both secure and confident, but the tempo of her Giselle variation was too slow for my liking. Giselle is delicate, and dreamy - not lethargic. I've seen Antikainen dance before, in La Sylphide at the National Ballet School's showcase, and it was an absolutely lovely performance. One dancer's big chance was sadly ruined by the poor quality of her pre-recorded music. Maria Martyanova (Finland, seniors, b. 1995) has gorgeous lines, but both variations were a pain in the ear. After her performances, there was actually an audible rumbling of disfavor among the viewers. It is one thing to use a poor recording for practice, but not in front of a live audience and jury. It's a disservice to the dancer as well - her dancing clearly suffered from the bad sound.

Of course, two variations do not tell the entire story... Competitors who are already company members have to fit training into their rehearsal and performance schedules. Ballet students have school and homework to take care of. Seasoned competitors (juniors or seniors) have the advantage of experience. Some rise to the occasion, others need more time and practice to mature. It is good to remember that there are no losers at IBC Helsinki - even the dancers who don't win medals or scholarships, have gained unique and valuable learning experiences.

Mesmerizing Esmeralda

For me, the highlight of the evening was Yoshiko Kamikusa (Canada, seniors, b.1995). Her variation from The Nutcracker (chor. Lev Ivanov) was not flashy, but flawless and radiantly elegant. I had last seen Kamikusa four years ago, when she competed in the junior division at IBC Helsinki, but I did not know what to expect. I knew she had already danced principal roles at the Canada's Royal Winnipeg Ballet - despite being in the corps, so I wasn't worried... But her first variation was still a most delightful surprise. Her second variation, Esmeralda, brought the house down. Technically both brilliant and flawless, super-secure multiple turns, above-the-head attitude tambourine kicks - which she still managed to look elegant, not circus-y, high extensions, strong jump. But most of all: stage presence. Yoshiko Kamikusa's interpretation was mature, spell-binding, musical, and mesmerizing. The definition of charismatic.

Yoshiko Kamikusa. Photography by Mirka Kleemola.

Dance Like No One is Judging

Dance like no one is watching, is what we often hear... All you have to do is be in the moment, listen to the music, apply what you have learned - and enjoy the dancing. Easier said than done. I don't perform on stage, so class is never just warm-up, but the only place where I get to dance. Ballet is my passion, not profession - which doesn't mean I don't take practice seriously. Sometimes, too much. I've always been focused on progress, applying corrections, improving, pushing myself, working hard... But then I can also be too hard on myself, disappointed when I don't meet my own expectations, forgetting what dance is all about: expression and the joy of moving to music. You learn technique to play your instrument, but you cannot paint music without soul.

As an adult ballet student, I have to work with a lot of physical limitations, and accept my shortcomings (lack of turnout, low arabesques, not having the lines I dream of). But there are also advantages: I don't have to go on stage when my body is tired and aching, my (future) career and livelihood does not depend on my performance in class, there's no pressure to do well, no competition, no stress. Hard work, sweat and challenges - yes. But those are an integral part of the experience, and I would not want it any other way.

Two Coppélias. South Koreans Han Dahuin (blue background) and So Yun Park.
Photography by Mirka Kleemola for IBC Helsinki. 

For a young and talented dancer competing in a prestigious ballet competition, it's a very different experience. Every moment is essentially your calling card, a live resume in the making: how you work in class, how you present yourself on and off stage, and finally, how you perform in front of an audience. Those dancers who rise to the top, win price money and prestige, and may be offered job opportunities or scholarships. Not to mention making important contacts for their future careers. It's no wonder tension and nerves run high! Some competitors are, of course, more experienced than others, and many have already secured their first or second contracts with companies. Still... Can you imagine dancing in front of a distinguished jury of notable Artistic Directors? Maina Gielgud, Nina Ananiashvili, Angel Corella, Jorma Elo, to mention a few but not all. Yesterday evening, as I watched IBC Helsinki's jury take their seats, I could feel the electricity building in the air... A ballet competition is serious art (I don't want to say business, even though ticket revenue is what keeps the boat afloat).

What then do the judges look for? I was seated two rows behind (the jury is shielded by unoccupied rows, to their front and back), and could see them scribbling down notes and whispering to each other, but I can only guess... Certainly, it has to be a combination of technique, musicality, expression, stage presence (presentation & projection), personality, artistry - relative to the dancers' age and experience. But, while technical merits are fairly easy to judge, artistry and expression is not. Sometimes, it comes down to personal preferences and tastes. That's why there are seven judges, to bring a variety of views and experiences to the table, and to balance out subjective opinions. Well, that's how I think it works, as I haven't actually talked to any of the judges... In my most humble opinion, I also believe that each judge wishes for every dancer to do well and succeed. Just like the audience does. We want everyone to feel excited and happy on stage, to give us their all, to be lifted with their grand jetés, and touched by their performance. Dance like you love it!

Yesterday evening saw the first day of First Round at IBC Helsinki. Twenty-one dancers took to the stage, 12 juniors and 9 seniors. They performed variations from Giselle, Paquita, Coppélia, Harlequinade, Raymonda, Swan Lake, La Bayadère, Don Quixote, La Fille Mal Gardée, Esmeralda, The Sleeping Beauty, Nutcracker, and Le Corsaire. Usually, the audience gets to see most variations performed more than once by different dancers, so it's easier to compare technique and interpretations. Or you can just sit back, and enjoy without looking at technical details too much. I try to do both. Glittering costumes, nerves, happy smiles, amazing jumps and turns, failed balances, disappointment, triumphant recoveries, hard work paying off, athletes, emerging artists... The excitement of it all!

Looking at the first evening of three (round one), the South Koreans rule. So Yun Park (seniors, b. 1996) was a smash hit in her gravity-defying and completely secure Paquita variation. Wonderful ballon in the exhilarating grand jeté entrance. That girl can fly! To top it off, turns like there's no tomorrow, effortless, joyful expression and a pleasure to watch. Another South Korean, Han Dahin (juniors), danced the same variations and was equally delightful without being identical. Not as impressive in the Paquita variation as Part, but I did like the softness in her fingers. Too often, energy and nerves make hands and fingers stiff or over-extended, when they should add the final touch... Of the boys, Korean Jeongmin Cheon (juniors, b. 2000) dazzled me the most. He danced a variation from Harlequinade, which is not one of my favorites, but Cheon really sold it. Incredible jump and turns, bounces like he has trampolines under his feet. And that happy smile!

Other stand-outs: Oben Yildirim (juniors, b. 1997) from Turkey. Her Paquita did not convince me, she seemed tense and lost balance... But her comeback after the intermission was impressive! Yildirim danced Esmeralda's variation with gusto and spirit, hitting those tambourines like she's never done anything else in her life. The audience loved it!

Ketlin Oja (left) and Oben Yildirim. Photography by Mirka Kleemola for IBC Helsinki.

Ketlin Oja (juniors, b. 1997), Estonia. A perfect princess in her Nutcracker variation. She reminds of a music box ballerina, blonde and delicate, with the face of a precious doll. Very precise and controlled. Sure to proceed to round two, where I'll be very interested to see her dance something different and contemporary.

Xinlun Zhan, (seniors, b. 1991), China. Certain to proceed to the Final Round. She danced Sleeping Beauty and Don Quixote variations with utmost precision, and has that perfect physicality we have come to expect from the Chinese schools. Perhaps a bit reserved/polite in her expression... I would like to see the dancer beneath the role, something that makes her unique. Having said that, her dancing came across as effortlessly elegant.

Christian Pforr (juniors, b. 1997), USA. Very promising, great jump. I liked his variation from Coppélia better than his first one from Giselle. Hope to see him in the second round, and not stress about the performance too much. Enjoy, and engage with the audience. Forget about the judges.

There were others too, lots of potential and promise. Every dancer had something special about them even if there sometimes was still an element of youthful inexperience. Ballet is hard, competitions are even harder, travel days, jet lag, new surroundings, nerves... It all takes a toll. Failed balances are understandable. Tomorrow is another day. See you on the stage, toi toi toi!

- Johanna Elina Aurava

Aim High, Enjoy the Ride - Six Alumni of IBC Helsinki 2012 Look Back

Four years ago, I worked as a volunteer at the International Ballet Competition (IBC) Helsinki. It was an exciting experience, to see the inner workings of such a prestigious competition, and most of all, to meet all those talented and hardworking young dancers. I could not help but be drawn in, and keep my fingers crossed for everyone! And while IBC is a competition with a total of 80.000 € in awards, it's not all about taking home places and prize money. There's so much more: learning experiences, performing opportunities, dancing in front of knowledgeable and appreciative audiences, making important contacts, meeting dancers from all over the world, forming new friendships... And let's not forget the joy of dance! Since IBC Helsinki 2012, it's been my pleasure to follow the blossoming careers of many alumni, to see students grow into professional dancers, and competitors into artists.

Before IBC Helsinki 2016 kicks off next week, I interviewed five alumi about their past experiences and how competing affected their career path. Here are their answers:

Candice Adea (Philippines), 1st prize seniors

Candice Adea with Juan Cordero, in the grand pas de deux from Diana and Acteon, at IBC Helsinki 2012.

What did you take home from the competition?

I took home the 1st place, but, more than that, I took home new friends, lessons, and most definitely new experiences.

How did it affect your career?

It opened many doors but, I believe, more than affecting my career, it inspired a lot of young dancers in the Philippines to pursue their dancing dreams. Seeing them gives me so much joy and it inspires me to work even harder.

What are your favorite memories?

My favorite memory was when a Finnish group came to me and said, "Thank you for your performance." I'm used to people saying, "Wonderful," "Beautiful," and "Congratulations." But, up until that point, I had never had an audience member thank me for our performance. Don't get me wrong, I appreciate all kinds of compliments but hearing those words affected me. After all of the blood and sweat and late rehearsals for the competition,"Thank you for your performance" acknowledged the hard work we put in to get this far. That it was worth it. It was a moment money could never buy.

What advice would you give to this year's competitors?

My advice is to enjoy the whole experience, both the stresses and the triumphs. The experience will be beneficial to your growth towards becoming a better artist.

Photo courtesy of Candice Adea: Dance Page

Candice Adea was Principal Dancer for Ballet Philippines and Soloist for Hong Kong Ballet. Currently, her season with Ballet Met (USA) is coming to a close. She essayed principal roles in Sleeping Beauty, Don Quixote, The Nutcracker, Coppelia, and Amada, among others. Candice Adea was trained in the Philippines at the CCP Dance School, the Philippine High School for the Arts, and earned her Bachelor of Arts Degree Major in Dance, from De La Salle—College of Saint Benilde. She credits her training to Victor Ursabia, Nonoy Froilan, Brezhnev Larlar, Noordin Jumalon and Cecile Sicangco. Adea was the first Filipina to win at the Helsinki International Ballet Competition taking 1st Place, Senior Women’s Division in 2012 and at the USA International Ballet Competition with a Silver finish for the Senior Women’s Division in 2010. In July 2011, she garnered the Third Prize at the 8th Seoul International Dance Competition in South Korea, Senior Women’s Division, among other.

Katherine Higgins (USA), 3rd prize juniors

What did you take home from the competition?

I think the biggest thing I took away from the competition was self awareness. The environment of HIBC that I experienced promoted learning and artistic growth before any prizes or negative competition, and I really felt that I grew through working with new people and performing in such a welcoming place. I met all kinds of artists from all over the world that taught me more about the art form, and in studying that, I learned more about myself. The competition was a big step forward for me in terms of feeling comfortable onstage. It was my first IBC, and of course nerves are a part of such a prestigious institution, but I felt surrounded by such positive energy from all the competitors, teachers, and staff around the opera house that it was so easy to just have fun onstage. The opportunity to perform so many different pieces in a beautiful place, around great people is one I will always cherish.

How did it affect your career?

After my experience at IBC Helsinki, I felt excited to try other competitions and performing opportunities, which have all shaped me into the dancer I am today. The structure of the competition helped me become more comfortable with taking 'risks' onstage, and finding what I wanted to present to the audience. The competition was definitely a springboard for the years to come, and it makes me happy to think about!

What are your favorite memories?

It's so hard to pick a favorite memory! But I would have to choose the master class where I got to see Kenneth Greve and Nina Ananiashvilli try some pas de deux steps together. Seeing such amazing dancers and now teachers together having fun in the studio was fabulous! I also loved the work of the pianists who played each morning in the classes. They played with such heart and chose songs that really inspired me. That is something that really touched me and I won't forget.

What advice would you give to this year's competitors?

The only advice I can give to this year's competitors is to keep an open mind and just have fun. Enjoy the incredible people, the setting, and this time to learn and grow. I wish everyone all the best at this year's HIBC and I hope that anyone who is a part of the competition will walk away with a positive experience to cherish, like me!

Photograph (c) Katherine Higgins / facebook

Katherine Higgins was born in Wilton, CT, United States, and began dancing at the age of 3. At 15, she began training at the Royal Ballet School of Antwerp in Belgium, graduating in 2013. Katherine has competed in and earned medals in many international ballet competitions all over the world, including the Prix de Lausanne, the Grand Prix at Youth America Grand Prix, a bronze medal at Helsinki IBC, the prize for promising finalist at Varna IBC, and a bronze medal at Moscow IBC.In August 2014, Katherine joined l’Opera de Paris, earning a lifetime contract in August 2015 and was promoted to coryphée in November 2015. 

Yoshiko Kamikusa (Japan), finalist, juniors

Yoshiko Kamikusa, taking Nina Ananiashvili's master class at IBC Helsinki 2012. Photo by Johanna Aurava.

What did you take home from the competition?

Competitions are a great place to meet new people and make valuable connections in the dance world. The most important network that I treasure are of the dancers I met there. The majority of them now dance in professional dance companies, and I still keep in touch with them. They continue to inspire me on a daily basis.

How did it affect your career?

Although attending the competition at the time didn't lead to job contracts right away, I believe that having competition experience is an advantage when applying for a job, and even for after you get the job. For one, I personally think it helps during the audition process when you have competition experience in your resume. You need to turn the director's attention towards you when mixed among the thousands of possible applicants. It takes a lot of dedication, potential, versatility, hard work and passion to even be accepted to compete in the first place, and usually companies look for such qualities in a dancer. Competitors who do well are also accustomed to handling high pressure and nerves. They have to prove their best on stage with only one chance in order to make a lasting impression and set themselves apart from the many other talented dancers. This is much the same in a professional dance company. In order to thrive and rise through the ranks, professional dancers must have nerves of steel and strong performances. So, my participation in the HIBC has definitely played a role in helping me get to where I am today - a professional ballet dancer at the Royal Winnipeg Ballet, having already danced various soloist and principal roles despite my short time in the company :).

What are your favorite memories?

Taking daily ballet classes with the wonderful guest teachers in the beautiful studios at the opera house. Watching the Manon PDD at the gala, performed gorgeously by Barbora Kohoutková. Eating lunch beside the opera house, facing the Töölönlahti Bay on a lovely sunny and warm day.

What advice would you give to this year's competitors?

To not stress too much, observe and learn from the other competitors, and to just enjoy every minute of every rehearsal and performance. It's not everyday that you can participate in an amazing opportunity like this and you can gain so much positive things from competitions even if you don't win... don't let it go to waste by letting any kind of negativity into your head!

Yoshiko Kamikusa and Luzemberg Santana in Nutcracker, 2015. The Royal Winnipeg Ballet. Photo by Rejean Brandt

Yoshiko Kamikusa joined the Royal Winnipeg Ballet as an Apprentice in 2013 and was promoted into the Corps de Ballet the following year. Since joining the Company, she has performed such leading roles as Odette/Odile (Swan Lake), Clara (Nutcracker), Puck (The Faerie Queen - A Ballet Based On A Midsummer Night’s Dream), among others. Yoshiko Kamikusa began her training in ballet at the age of seven in Hawaii. She later moved to Vancouver to pursue professional training under the tutelage of Vera Solovyeva and Nikolai Levitsky. She has competed at various international ballet competitions, and won First Place in the Japan Grand Prix International Ballet Competition (2013).

Giovanna Lamboglia (Brazil), junior

Giovanna Lamboglia dancing Kitri's variation at IBC Helsinki 2012

What did you take home from the competition?

It was one of the greatest and best experiences of my life. Interacting with people around the world with different cultures is enriching -  and you learn something different with the dancers and teachers.

How did it affect your career?

In addition to enriching my curriculum, it was my first international competition. I got to see live how the world is working, which level I was in and which I wanted to reach.

What are your favorite memories?

Dancing on stage and to compete with great dancers who were principals and soloists was what I most loved. I have made great friends who I still talk with and meet and each one is dancing in a different place around the world. And, of course, the opportunity to take class with Nina Ananiashvili (one of the judges) and get her advice.

What advice would you give to this year's competitors?

Enjoy every single minute in this great competition because they are valuable - and later you will miss it so much! It will be kept in your heart for the rest of your life. The treatment given to the dancers, the competition organization and all volunteers you will never find elsewhere. And give your soul to the audience when on stage, because it is not a competition that will only count your turns, but they want to see art. Good luck everyone!

Giovanna Lamboglia, photo by Rachel Ribeiro

Giovanna Lamboglia has since danced with Ballets de France, and is joining Ballet Jörgen in Toronto next season. Giovanna est née à Goiânia, au Brésil, et commence sa formation de danseuse à Fortaleza. Plus tard, elle étudiera auprès de Ronaldo Martins et Rachel Ribeiro à Rio de Janeiro. En 2012, elle est acceptée à l’école Maria Oleneza et dansera dans les productions du théâtre municipal de Rio de Janeiro avant de sortir diplômée de l’école en 2014. Giovanna est lauréate de nombreuses compétitions : Séminaire internationale de la danse de Brasilia, American Dance Competition et Entreatos Dance Festival, entre autres. Son répertoire inclue les plus grands rôles du répertoire classique : Swanilda dans « Coppélia », Aurore dans « La Belle au bois dormant », ou encore le rôle de Medora dans « Le Corsaire ». (Biography courtesy of Ballets de France)

Václav Lamparter (Czech Republic), junior

Václav Lamparter, far left, taking Nina Ananiashvili's master class. Photo by Johanna Aurava.

What did you take home from the competition?
I took home many experiences. Helsinki IBC was my first big ballet competition. It was wonderful to meet and to see so many great dancers and their coaches around me. I also liked very much to dance on the stage of the Opera house.

How did it affect your career?

Because I didn't make it to the finals I think it made me definitely a bit stronger and taught me not to give up too early, because later on I got some medals at other international ballet competitions. I think it affected my career in a way of gaining more experience in performing on stage because at that age (I was 16) I hadn't yet danced many times on stage alone, and until then I had never prepared so many pieces at the same time.

What are your favorite memories?

Among competing and ballet classes with such a great teachers like Barbora Kohoutková or Nina Ananiashvili, I also enjoyed sightseeing (there was a cool sightseeing bus organized by the competition) and the reception at the City hall for all the competitors.

What advice would you give to this year's competitors?

I would advice to watch as much as possible during the competition. It's an amazing opportunity to learn from other dancers. Most important is to have fun and to enjoy your dancing. Then the audience will enjoy it as well.

Václav Lamparter at The Semperoper Ballet. Photo by Mathieu Rouaux.

Václav Lamparter is currently a member of the corps de ballet at The Semperoper Ballet in Dresden, Germany. He was trained at the American Ballet Theatre’s Studio Company at the Jaqueline Kennedy Onassis School, USA, and The Dance Conservatory Brno, Czech Republic. Lamparter has won numerous awards: 3rd Place Beijing International Ballet Competition (2013), Placed in the Top 12 Finalists of Youth America Grand Prix (2013), 1st Place Youth America Grand Prix Semi-Finals (2013), 3rd Place International Ballet Competition Prague (2012), 1st Place Istanbul International Ballet Competition (2012), 2nd Place Olomouc Ballet Grand Prix Award (2011), 1st Place Vancliffen International Ballet Competition For Young Talents (2011).

Betsy McBride (USA), senior finalist

Warm-up before class. Betsy McBride (in burgundy hoodie) talking to Simon Wexler. Photo by Johanna Aurava

What did you take home from the competition?

I had the best time at the competition. I learned a lot from the other competitors and also the teachers. I appreciated the fact that a lot of people in the competition had wonderful artistry that I think is usually neglected at competitions. I left feeling enlightened by everyone’s passion and focused energy.

How did it affect your career?

At the time of the competition I was so accustomed to my usual performance routine that the whole experience was so foreign to me. I was used to being rehearsed by my artistic staff and having them encourage me and prepare me along the way. I went to the competition without a coach or teacher (which was very unusual for most of the competitors there) and for the rehearsals I would just run things alone. It was a wonderful growing experience learning to trust in my own dancing and not need validation from others. I think this is a really important aspect in this career because it can be hard to feel confident in yourself or your dancing when you aren’t getting any feedback but chances are most of the time no feedback is good feedback.

What are your favorite memories?

My favorite memory was dancing in the final round. It was just such an exciting show to be a part of. The audience was completely full and so excited to be there!

What advice would you give to this year's competitors?

While I was at the competition it definitely had more of a workshop feel to it rather than what most would expect from a competition. I really enjoyed the sense of camaraderie. I would advise this year’s competitors to support each other and create a nicer environment to perform in. Performances are stressful enough without the overly competitive attitudes and a relaxed atmosphere will help prepare everyone to do their best.

Photograph by Ballet Zaida.

Betsy McBride joined American Ballet Theatre as a member of the corps de ballet in June 2015. Her repertoire with ABT includes Columbine in The Nutcracker, and Fleur de farine (Wheat flower), Silver Fairy and Red Riding Hood in The Sleeping Beauty, as well as roles in all of the Company's full-length ballets. McBride is originally from Coppell, Texas. She began her training at the Ballet Academy of Texas. At age 14, she continued her training at Texas Ballet Theater’s School. She performed Clara in The Nutcracker with Texas Ballet Theater and joined the company under O.B.E. Ben Stevenson at age 15. McBride was an American Ballet Theatre National Training Scholar and performed in George Balanchine’s Mozartiana during ABT’s tour of Texas at age 11. She was awarded the Grand Prix at the 2007 Youth American Grand Prix Regional Competition and was a finalist at the 2012 Helsinki International Ballet Competition. McBride danced for Texas Ballet Theater from 2007 to 2015.  Some of her principal roles include Ben Stevenson’s Romeo and Juliet, Swan Lake, The Sleeping Beauty, Cinderella and The Nutcracker, Ronald Hynd’s The Merry Widow, Svetlana in Stevenson’s Dracula, Green Lady and Solveig in Stevenson’s Peer Gynt, Waltz Girl and Dark Angel in George Balanchine’s Serenade, Solo Girl in Balanchine’s Rubies and the pas de trois in Glen Tetley’s Voluntaries, as well as roles in Jiří Kylián's Petite Mort, Val Caniparoli’s Lambarena and Kenneth MacMillan’s Gloria. (Bio from ABT)

HIBC: Sheer Pleasure

Dear Readers, it's a wrap-up: the Helsinki International Ballet Competition is over. The results are in, happy dancers have been awarded, signed out and shipped back home - but this ballet blogger isn't done yet! The last days of the competition flew by in a heady rush, I'm still feeling dazed by it all. HIBC 2012 was such an intensely ballet-infused time, that getting back to my regular schedule seems a bit of an anti-climax. Thankfully, I still have fresh memories and a few blogs to write!

I wish I could have posted them real-time, but performances ended late and bed-times came even later. After the last final round I observed class the following day, dashed home to change clothes, hurried back to watch the gala, stayed to enjoy the gala buffet, joined some volunteers and dancers for après-gala beers, slept five hours, woke up to sign out the last dancers at the hotel and get everyone on the right bus, then was wired enough to take my own ballet class. Spent most of Saturday and Sunday in bed and or couch. Would I have traded it for anything? Nope. I loved every moment of it! Now, time for some back-tracking..

Alys Shee and Jonathan Davidsson in the Black Swan pas de deux.
Photo courtesy of HIBC / Sakari Viika.

The second round of the finals opened with a big bang. Alys Shee and Jonathan Davidsson danced the Black Swan pas de deux - and they blew the audience away! Canadian Alys Shee (born 1994) competed in the junior division, but she has already virtuoso technique. She was utterly fearless in her dancing, killing those famous fouettés with doubles and even triples from beginning to end! I don't know how she does it. But what really made this particular PDD spectacular, was Shee's interpretation of Odile. Some might consider her too young to be convincing, but she played her youth in her favor. Odile came across as tempting, alluring and wickedly irresistible. The audience has to believe why Siegfried would be willing to betray his love for Odette, and blaming it strictly on Rothbart's magic robs the story of its delicious layers. A cold Odile just doesn't do it for me, I find Swan Lake much more fascinating if the audience is also seduced by Odile! Alys Shee and her partner Jonathan Davidsson had great chemistry together, and that last moment where she pulled him in, as if by an invisible string.. Wicked and wonderful!

Next came 16-year old Katherine Higgins, who has been a delight throughout the competition. She is not yet there where Shee is, but I don't doubt that we will hear more from her yet. Katherine has exquisitly long limbs and beautiful lines, effortless balances, and a rare maturity and finesse for someone so young. She was also lovely off-stage. In the final round, Katherine Higgins danced the solo variation from Grand Pas Classique. I have seen GPC performed about a hundred times and even danced it myself. Well, a shorter and much simplified version - remember I'm just a recreational dancer! Anyway, Katherine did really well. She was elegant and secure every step, but perhaps a little nervous.. Although I have to foreshadow and say that she did even better in the gala!

After the girls came a young boy, Taiyu He (born 1996) from China. Oh, boy! He pulled off octoplet pirouettes like I do doubles (on a very good day), and his elevation was through the roof! Seriously crazy stuff. I was already getting worried that there was no more to this kid than bounce and balance, accompanied by a boyish grin - but I was proven wrong in the contemporary round. Taiyu He had suprising intensity and sincerity in his dancing. But I do wonder.. He's short even for Chinese standards, and that might hinder his career. Hope he finds his place in the world of dance!

Taiyu He, this might have been from Paquita.
Photo courtesy of HIBC / Sakari Viika.

Katherine Higgins (USA), in a variation from Fairy Doll.
Photo: HIBC / Sakari Viika.

I'm not going to cover every competitor, but there were some that stood out. Among others: Ruichen Sun from China. He was a formidable danseur noble in the Grand Pas Classiqe pdd, but I really loved his non-competing partner Wang Ye. Had she been two weeks younger at the beginning of the competition, she would have placed above some of the other seniors. But the line had to be drawn somewhere, and one has to remember that experience is also reflected in artistry. Competitions are sort of (pre-)professional meet and greets. You present yourself, mingle and exchange ideas with your peers and hope for new career opportunities.

But who's to measure and evaluate art? We can look out for technical aspects, count the numbers of turns, check for turn-out, elevation, ballon, épaulemant and line - but how do you rate artistry? With different schools, styles and personalities come different qualities and interpretations, and this is as it should be. Readers often ask me who's my favorite dancer, but I can place none above the rest. It depends on the ballet, the choreography, the role, the dancer, the day it was danced and time I saw it performed. Tastes change, dancers evolve, nothing is ever the same. Thank goodness!

Next post: Wrap-Up!

HIBC: Merde!

Francesco Frola (Italy). Here in his variation from Esméralda.
Photo courtesy of HIBC / Sakari Viika.

You want to get more boys into classical dance? Have them sit in the audience and watch 19-year old Francesco Frola high-jump onto the stage. Track and field athletes - they have nothing on ballet dancers. Dancers don't take 30 seconds to prepare for a jump, nor do they land on mattresses. Oh, and have you ever seen a high-jumping athlete smile to the audience at the hight of his jump? If you have, tell that guy to take dance class ASAP! Frola brought the house down with his classical variation from the Flames of Paris, and he wasn't too shy to embrace the applause.. Must be that famous Italian charm. ;)

Charm, stage presence, personality - you need some (well, a lot) to be a performing artist. Ballet can't be all about technique, the number of pirouettes you turn, or high extensions and pretty faces. Ballet demands athletic prowess, but it's not sports. Jinchang Gu (junior, born 1997) turned octoplet piroeuttes like nothing last night, but his contemporary choregraphies have also shown a dancer with surprising emotional capacity.

Sadly, some of the finalists seemed to be somewhat over their heads with the challenge. It would be prudent to choose a variation that fits the dancer's current skill and expression. Raymonda's solo in the final grand pas demands a ballerina who's on top of her game. For a student it's a learning experience at best.. There were also some interesting choices of costumes. Maria Baranova, otherwise adorable, wore a red-black plumey fascinator on her head and gold embellishments on her black Odile's tutu. A tad too restless for my taste. And one bayadère should have gone for more, not less. Honestly, temple dancers are not showgirls - unless they worship in Las Vegas.

The contemporary part of the evening was.. let's just say it was interesting. No, let's say a little more than that! I really wish dancers and their coaches (and choreographers) would put more thought and ambition into these numbers. After watching two rounds of classical variations the audience is grateful for anything other than Don Quixote, but we are not that low-maintenance! Please, don't copy&paste more ballet steps and tours en l'air and sauts en manege - how about bringing something new and contemporary on stage? Something that will capture the audience as much as your ballet bravado just did.

Emrecan Tanis (Turkey) and Emmi Pennanen (Finland)
Choreography by Emrecan Tanis.
Photo courtesy of HIBC / Sakari Viika

Emrecan Tanis' choreography "Sena" did just that. He danced with his competing partner, Emmi Pennanen (Finland), and both delivered a focused and convincing performance. I find it difficult to describe modern routines, but I can at least tell you that I was never bored! The interplay between the dancers, the repeating themes, the music, the moves - it all worked. I didn't expect anything, but was rewarded with much of something! When the dancer wants to give of him/herself to the audience, that's when magic happens.

Magical was no other than my early favorite, Candice Adea. Again. She danced her Diana and Actéon variation with such technical purity, exquisite expression and warmth.. I think most of the audience has already fallen in love with her! Adea and her now non-competing partner had also one of the scariest over-head lifts, which had one of my back-stage friends praying for their safety! If Ms. Adea doesn't place high, I should be very surprised.

Candice Adea (Philippines) with non-competing partner.
Photo courtesy of HIBC / Sakari Viika.

HIBC: And the Final Round Goes to..

Maria Baranova, "Angry Bird".
Photo courtesy of HIBC / Sakari Viika.

There were a few suprises when the results for the final round came in, but from a Finn's point of view it was nice to see that three Finnish dancers made the cut. Maria Baranova of course sailed through, no surprise there. Her portrayal of Giselle in the first round was both technically secure and ethereal, despite the competitive setting. But I can't say that I liked Baranova's contemporary number very much. The title "Angry Bird" sounds like it came from the marketing department of the Finnish Tourist Board. For those of you who don't know, "Angry Birds" were indeed hatched in Finland (Finns tend to be very vocal and proud of any international fame or recognition). The dance with it's controlled twitchy handmoves made me think of a Swan on acid - which may have been the purpose! But you have to credit Baranova for making any choreography look great on stage. She's a real artist.

My personal highlight of the evening came from China. Chinese dancers are often claimed as balletic machines, technically as perfect as one can hope to get. But they have also managed to retain expression and artistry, in both classical and contemporary variations. Yun Wang (senior, female) was already sublime in her variation of the Nutcracker pas de deux. In the contemporary round she presented us with a pas de deux of "Sacrifice". It was intensely emotional, sincere and sustained from the first second until the last "sacrifice", when the woman changed into a red cloth and walked away from her partner. Was the red cloth a symbol of the Chinese flag? Or an allusion to the red apple in Paradise? Whichever way you decide, I think "Sacrifice" is a strong front-runner in the choreography competition!

Yun Wang (China) with non-competing partner Yang Jiao.
Photo courtesy of HIBC / Sakari Viika.

There were other delights too. Yoshiko Kamikusa (female junior, Japan) started her dance without music, and dared to draw the wait out. It worked because she had a very strong presence on stage, and because it was so different from all the classically infused dances. Another Japanese competitor, Yonen Takano (male senior), made me think of a Japanese salaryman in his black suit and white shirt. The tie had already come undone, and Takano was letting loose. For once, the tours en l'air matched the contemporary choreography! Katherine Gazda (junior, Canada) danced her own choreography, which is quite a feat for a fifteen-year old. Much of the dance showcased her considerable physical abilities, but it was danced with conviction. Gazda is a young talent to look out for!

Yoshiko Kamikusa (Japan). "Blume der Nacht".
Photo courtesy of HIBC / Sakari Viika.

I was happy to see most of my personal favorites make it to the final round, if only to see them perform again! Katherine Higgins from the USA (junior) has been a pleasure to watch, both on stage and backstage. When I observed one of the warm-up classes, she looked happy just to be there. That and effortless technique, plus beautiful balances. Alys Shee (junior), also from Canada, is another very talented and secure dancer - can't wait to see her again! Betsy McBride (USA) has solid technique and lovely stage presence. She's got one of those radiant smiles that cheer you up, no matter what. András Rónai (junior, Hungary) has technique, looks and showmanship - qualities that should land him a contract easily enough.

Ballet is an incredibly tough job, and if there's no love for the work and for the dance, it's just too hard. I do hope all the dancers get what they came looking for, whether that's a learning experience, a contract or a prize. As a member of the audience, I only ask that you keep calm and dance full out. Enjoy the experience, forget about the competition. Dance for us - we are there to applaud you!

Katherine Higgins (USA), Odette's variation.
Photo courtesy of HIBC / Sakari Viika.

HIBC: Petipa Paused

After three evenings of classical variations, the semifinal round of contemporary dance was like a breath of fresh air - much like the rather chilly June weather in Helsinki. And no offense to Petipa and Co, but there's such a thing of too much of a good thing, especially if it means parading one Sleeping Beauty after another onto stage. I counted eleven, and I'm not kidding. Beauty is popular, but it is also frequently misunderstood. Aurora may be for some the epitome of the ballerina-in-a-music-box, but she is also a young girl on the verge of womanhood. Aurora knows her childhood is about to end, and that is her duty to wed. Yet she never loses her dignity, nor her spirit - and we get to see her blossom into a sensuous woman. So you see, Sleeping Beauty's variation has more to it than dainty port de bras and prettiness.. 

Non-competing Wang Ye was a sublime Esméralda to partner
Sun Ruichen (China, senior). Her dancing was elegant, tasteful and sensuous.
Photo courtesy of HIBC / Sakari Viika.

Of course, it is challenging to dance a variation out of context, even when it's been practiced close to perfection. How do you interpret the role, how do you bring the character across to the audience? How do you let your personality shine through? High extensions, loose-hipped arabesques and multiple turns are everywhere, and they alone do not a great dancer make. Clean technique and beautiful lines, ballon, elevation, musicality, confidence, good taste, personality and artistry - these are the qualities I keep looking for. A dancer who is technically strong and confident and happy enough to take some risks on stage. Someone who understands that every step, movement and moment has to have a meaning in the dance. And that is not to showcase your über-flexibility to the judges. This is not So You Think You Can Dance..

Then again, I would have wished for some of the "sick" street dancing you see on SYTYCD, instead of the lyrical jazz, neo-classical ballet or Forsythe knock-offs we were presented in the second round. Too many dancers relied too heavily on what they know best: classical ballet technique. Adding a flexed leg here and there, or being serious instead of smiling does not yet a contemporary choreography make. I would love to see these young and very talented dancers be more brave and daring in their choices. But I do get it. Sometimes it feels better to play it safe and at least show off your bravado technique and facility. At best you can hope to get a contract, and with that hopefully access to some really interesting new choreography!

Jingchang Gu, in "My First Modern Dance". Choreography: Tisa Zhang
Photo courtesy of HIBC / Sakari Viika.

Still, despite my ramblings to the contrary, there were some noteworthy highlights last night. Jingchang Gu (male, born 1997) from China danced an amusingly titled "My First Modern Dance" - and I bet my pointe shoes it won't be his last! The movements reminded me of Eastern martial arts and yoga, minus the cliches. This was not Karate Kid gone ballet, but intense and bold modern dancing. Bravo! Another personal favorite was Franceso Gabriele Frola's (Italy, born 1992) pas de deux - with another male dancer! From a strictly girly point of view, it doesn't hurt the eyes to watch two semi-nude male dancers (who happen to be in great shape and very handsome) on stage. From a more critical POW, the choreography also had artistic value. Although the dance could have benefited from a little less pathos and a change of music (not a huge fan of the Eurovision-style soundtrack). But you have to credit Frola for taking the path less danced - he is one dancer to look out for!

Franceso Gabriele Frola (long leggings) with Lorenzo Eccher in "Magnificat".
Choreography by Francesco Frola. Photo courtesy of HIBC / Sakari Viika.

I also enjoyed Stephanie Chen Gundorph Møller's (Denmark, born 1993) interpretation of "Thirst". She was partnered by the non-competing Lukas Møller (her brother?), who is also the choreographer. I had seen Stephanie before in the variation from The Flower Festival in Genzano, and her clean Bournonville technique had made an impression. Yet she was more interesting in this contemporary dance, and I was happy to see her express herself in a non-conformist manner. Go Stephanie!

Stephanie Chen Gundorph Møller and Lukas Møller in "Thirst".
Photo courtesy of HIBC / Sakari Viika.

I should also mention Candice Adea (Philippines, born 1986), she is a favorite of mine from the first round. Her pas de deux titled "Evacuation" made me think of pair skating with its many innovative and very tricky new moves. I wish I could have seen a different side of Adea's personality, something more vulnerable perhaps, but I do appreciate the novelty act of their choreography. It certainly was a big crowd pleaser!

Tonight: Second round of the semi-finals.

HIBC: About Sitz Bones and Nerves

Popo down! It's one of the more frequent corrections we get in ballet class, meaning that we have to keep ourselves properly aligned to create that beautiful ballet line. I haven't had class since the Helsinki International Ballet Competition (HIBC) started, but my popo has been down every evening - and I mean sitting down! Seriously, you need some strong sitz bones to make it through the daily competition rounds. The first dancers step on stage a few minutes past 19:00 hrs, and the last competitors take their bows a little before 22:00. Wich comes down to almost three hours of variation after variation, with one 30 minute intermission after two hours. But we all do it for the love of ballet! It is a wonderful treat to see all this young talent, and the audience has been showing their appreciation night after night. I hope the dancers feel it too, that we all want them to succeed and enjoy their time on stage!

Maria Baranova (Finland). Just look at her eyes!
Photo: courtesy of HIBC / Sakari Viika.

Competitions are nerveracking, for sure, but somehow the dancer has to channel that excitement and adrenaline into a positive force. If you let your nerves get the better of you, it turns into a killjoy - and the audience can tell. A week ago I performed in my dance school's spring show, and although it's all for fun, I was nervous as hell. I worried too much about failing and looking bad, instead of trusting myself and enjoying the experience. Luckily, I wasn't on stage alone and my initial fear and tension was swept away by our joint energy and joy! Looking back, I now understand how important it is not to sabotage yourself. Believe that you can, no matter what. When you step on stage there is no stepping back, not until you've given it all you've got and received the audience's applause!

Yun Wang (China) in her variation from Nutcracker.
Brilliant technique and artistry! Also one of the prettiest tutus.
Photo courtesy of HIBC / Sakari Viika.

Watching the competitors this past week has really inspired me. The poise before pressure, the smiling faces, the drive and determination. Ballet is incredibly hard, contracts even harder to come by, yet they persist and dance on. Someone who doesn't know about ballet would probably wonder if it's really worth all the aches and pains and nerves and sweat and tears, but it is. I know this, even though I'm looking from the outside in. Ballet is an art full of wonder, and a learning experience from the first step until the last. Ballet pushes you, tests you, and on occasion kicks you into the butt. Ballet is also a gift that keeps on giving, to the dancer and the audience. It elevates us all.

Ryo Shimizu (Japan), in his variation from La Sylphide.
This junior has amazing ballon and elevation!
Photo courtesy of HIBC / Sakari Viika.

HIBC: Candice Can!

I have never been this excited about any ballet competition before! As a volunteer you get to know the competitors a little, and you do get emotionally involved. As a dancer, albeit recreational, you also know about the hard work, and aches - and about the excitement of being on stage, the euphoria and exhileration! At worst ballet can be a pain, but first and foremost it's bliss. To see all the performances I'm skipping my own classes, which is quite unheard of (ask anyone), but this is special circumstances. Anyway, after our spring show I can actually use the break. My left toe starts to complain if I just look at my pointe shoes! I wonder how the HIBC dancers are coping..

First impression of Tuesday's first round: the girls are the belles of the ball, but the men are the rock stars of ballet! If the seats had been filled with young boys instead of the usual crowd, I can tell you there would have been more than a few converts to ballet! Crazy jumps, double cabrioles, mutiple turns en l'air, double split jumps (don't know the name of that one), sixtuplet pirouettes, you name it. Variations from Don Quixote and Corsaire were favored by both junior and senior male dancers, and it's easy to understand why. They are real crowd-pleasers. Especially the non-competing Ivan Zaytsev made most of his stage time in Le Corsaire's pas de deux. He was a secure partner to the technically excellent Yulia Tikka (both from Russia), and entertained the audience with his wicked and boisterous charm. Think Johnny Depp and Pirates of the Carribbean.. ;) The junior dancer Rodrigo Almarales from Cuba was another force on the stage. Fierce and fearless, you gotta love that!

Fierce was also my personal favorite of the day, Candice Adea from the Philppines. Her portrayal of Kitri was sublime, both sensuously elegant and suprimely secure. You don't see this often, technical bravura together with heartfelt artistic expression. Adea has it all, a warm and winning smile, excellent taste and real quality in her dancing. Throw in some fearless pirouettes, the kind where her partner pushes her off to turn like a spinning top, and that famous high one-arm lift - Wow!

Candice Adea with Jean Marc Cordero.
Photo courtesy of HIBC. Photographer: Sakari Viika.

I was also happy to see familiar faces doing well. Machi Muto from Japan (I picked her up from the airport) was lovely in both her Coppélia and Don Quixote variations, and Candy Tong (we were in the same ballet class last Friday) performed secure high extensions in her Queen of the Dryads varition. Mirella Costa Neto (Brazil) was a very energetic Esméralda, and a flamboyant Kitri. I would also like to give her credit for the prettiest costumes! Finlands 15-year old Sara Antikainen was a pleasure to watch, especially in the second round. Sixteen year old Katia Almayeva (Russia) has the highest arabesques I've ever seen, really very impressive. And she can turn! Francesco Frola Gabriele (Italy) was another of the male highlights, his Sigmund variation from Swan Lake ready for the big stage.

Oops, it's already ten to six - I have to run! More variations to see, blog you later!

HIBC: For the Love of Ballet

Monday morning I reported for volunteering duty at the Helsinki International Ballet Competition (HIBC). As my first job I got to sign in the competitors, their coaches or other accompanying persons. First impression: the young dancers are so polite and sweet, always smiling - which makes our work a real pleasure! Of course, good manners are part of proper balletiquette and instilled into every dancer from an early age. Ballet is hard, and requires both discipline and respect for the art. And Love! Without love for dance there can be no passion, no drive, no soul. When you love to dance, it carries you forward, no matter how hard you have to work for it. And as a volunteer you want to make sure they all have the best experience possible!

Before competitors get to show their skills in front of the judges and audience, there are morning classes, studio rehearsals, stage rehearsals and a lot of commuting between the hotel and various studios in different locations. As volunteers part of our job is to make sure everyone finds their way and doesn't get lost. But the Opera building had us confused at first too. The personnel entrance is level with the street outside, and one would assume we are on the first floor, right? Wrong. The entrance is designated as the 2nd floor, and when you take the elevator down you get to the first floor (dressing rooms). The backstage for Almi Hall is two floors down, which is on K1 (basement 1), but the other big ballet studio is located on K2, which is not acceessible via the same elevator. And the main ballet studio is on the fifth floor, which somehow seems only two floors higher. Well, once you know your way around, it seems simple enough. ;)

I did get a glimpse of some of the classes and rehearsals, and I can tell you that the level of this year's competition is really high! I'm looking very much forward to all the performances, and as I have been getting to know some of the competitors, it's even more exciting! Last Friday, when I took my own class at Dance Center Footlight, there was a new girl.. and you could tell right away that she had come to compete at HIBC. She had insanely long legs and extensions up to the roof, but I was equally impressed by her secure balances and lovely demeanor. I didn't talk to her after class (I stayed for pointe), but it was fun to meet Candy Tong again at the Opera! She asked whether I take class every day, and she told me that she had liked my teacher Gabriella. I'm likely old enough to be her mother, but ballet does make for great bonding!

Yesterday, after I had finished my shift, I toured around the building and found one very young competitor rehearsing in the smallest studio: Katherine Gazda from Canada. Katherine is among the youngest, fifteen years old. From my point of view, still a baby! Nah, not really. It was easy to tell that she's mature beyond her years, in a good way. A ballet dancer's career can take off when others of the same age are still in high school, which is a lot of responsiblity for a young person to handle. Gazda maybe only fifteeen, but she has to focus already on contracts and career opportunities. And if I remember correctly, Katherine has still has some seven scholarships to choose from. Awesome!

Ballet is an universal language and as such international careers are commonplace. One of the senior competitors I picked up from the airport, Machi Muto, is from Japan but danced until this summer at the Norwegian National Ballet. She is now under contract with the Hong Kong Ballet, which is closer to home, but still.. Even though ballet is hugely popular in Japan, you can't expect to get any salary for your work! Only men or foreign stars get paid. No wonder then that so many Japanese ballerinas have emigrated to international companys. We are all in it for the love of ballet, but you can't live from ballet alone.

Next post: First Round