Jeanette Delgado talks about dancing Balanchine and Miami City Ballet's trip to Paris.
What was different for the Miami dancers was that the Parisian audiences save their applause until the very end -- no clapping after each dance, no bravos after a particularly difficult arabesque. "At first we thought, 'what is going on, there's no clapping!' But then we realized that it's not done that way there -- and when they saved their applause, it was tremendous."
Back in Miami, Delgado says that one of the joys of Square Dance is that it is a "complete ballet -- there's an opening, a pas de deux, an entire journey." However, it doesn't have a narrative or storyline. It's all about dance and the music, she explains. "It's an homage to an American tradition, and we as dancers get pulled along with it. Edward [Villella] has us really feel the music, make us understand what it is trying to say" and almost anticipate the next sound and movement, she says.