Emily Coates, former NYCB dancer
Posted 01 March 2006 - 06:55 PM
Emily was a unique & intriguing presence at NYCB. She departed suddenly, and I missed her. I had a brief conversation with her a couple years after she left NYCB, while she was with White Oak. This interview tells what has happened since then, and why she left NYCB, etc.
I hope the link works!
Posted 01 March 2006 - 07:20 PM
This interview tells what has happened since then, and why she left NYCB, etc.
Thanks for the link. Good to know there is (artistically very rewarding) life after NYCB!
Leaving after contrasting the humanity of working on Angelin Preljocaj's La Stravaganza with the emphasis on technical rigor in rehearsing Sleeping Beauty, it is interesting to read that the ballets she loved most included
Serenade, The Four Temperaments, Concerto Barocco, Square Dance, Jewels, to name a few. I love the kind of abstracted emotion these conjure up. And I love the characters and humanity in the Robbins' repertory - 2 & 3 Part Inventions and Dances at a Gathering are special favorites. Do you notice a theme?! An emphasis on humanity, individuality, a strong sense of person...
Posted 01 March 2006 - 09:22 PM
The last time I saw her was with Twyla Tharp on September 9, 2001, in the plaza at the World Trade Center. It was the first of two planned performances of the program, the second to be two nights later. It still chills me.
Posted 01 March 2006 - 11:39 PM
When young dancers leave NYCB, one tends to fear the worst, but it's nice to know that Emily Coates left for the "right" reason - to further explore her passion for dance.
Posted 02 March 2006 - 02:21 AM
In the interview, Coates seems to be saying her dancing days are not over.
Posted 02 March 2006 - 04:10 AM
Her switch from ballet to modern dance reminds me of a few cases of former POB dancers, e.g. Olivia Grandville who left the company in the mid-80s to join Dominique Bagouet's company and who now works as an independent choreographer, or more recently Raphaëlle Delaunay who danced for Pina Bausch's company for a while.
It's great that she was able to get into a prestigious university after several years of dance career. Unfortunately, I think that such a story would be probably impossible in France, as in general the most prestigious universities and schools take only "young" students just after high school (even taking a gap year could often be a problem), and also it generally is quite hard to get a good enough dance training while having good enough grades in school (for example a lot of POB dancers get into the company before finishing high school, and they have to continue their schooling by correspondence to get their "baccalauréat").
Edited to add: the following page lists Ms Coate about the prizewinners of the English language and literature department of Yale
It says "Emily Coates ('06), I guess it means she'll graduate in 2006 ?
Posted 02 March 2006 - 05:15 AM
Posted 02 March 2006 - 10:48 AM
Posted 02 March 2006 - 05:46 PM
"I never quite realized how little people know about dance. One of my English professors commented, in trying to grasp the idea of dance as an art form, "It's kind of halfway between athletics and literature, isn't it?" He's seen one ballet in his life. A student who found out that I danced professionally was in disbelief that I've been able to support myself dancing for the last ten years. I find myself making analogies in my academic classes to dance. In my "Race and Ethnicity in American Politics": "Identity formation -- got personal experience there. First I was a ballet dancer, then I was a modern dancer...then I went back to being a ballet dancer..." And as a student I announce much more than is necessary, to anyone who will listen: "I'M A PROFESSIONAL DANCER." Most of the students think I'm their age, which makes it all the more confusing. It's been an interesting (sometimes embarrassing!) experiment in personal identity."
Posted 02 March 2006 - 06:04 PM
I wa also struck by the good sense of Finis jhung, who interviewed her -- i've bookmarked his site and will check back there now and then. He's a famously humane teacher, so I'm not surprised, but I just really liked their rapport and his maturity, as well as hers.
Posted 15 April 2006 - 02:28 PM
"She's using me as a sort of found object," Ms. Coates said. "My Balanchine technique is part of this postmodern collage. For me it makes me feel something more of a performance artist."
Though Ms. Coates is presented as an archetype, she no longer sees herself as a ballerina and never performed in the Balanchine ballet — not tall enough. Still, it's difficult to change people's snap categorizations, as Ms. Rainer well knows: when told that many young choreographers continue to cite her 1965 manifesto in which she rejected virtuosity, theater and spectacle, she burst into dismayed laughter.
Posted 27 April 2006 - 06:01 AM
You can see her live, beginning this Wednesday, dancing en pointe in Agon at Dance Theater Workshop! Well, not Balanchine's version, but a new version by (THE) Yvonne Rainer, titled "AG Indexical, with a little help from H. M.". Perhaps this didn't make today's Links since it is modern dance, but here is the Times article. When you click on the photo you get a terrific, large picture of Ms. Coates and her partners:
Is there a thread about Rainer's AG Indexical? I did a search, and this was the most relevant thread I found. I saw it and absolutely adored it-- I keep trying to find people to talk to about it!
And, just so I can add something relevant, Emily Coates was a fabulous found object. I can hardly think of a more accurate way to describe her role.
Posted 12 April 2013 - 12:07 PM
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