Katharyn

This might sound spectacularly tacky, but I'm quite involved with the dance music scene here in little canberra (as in electronic music - raves and things) and I've always wanted to see what the result would be of choreographing a classical piece to some of the music i hear there. Often in the genre 'trance', classical pieces are taken and twisted, layered (further) and added to with amazing results... the fact that its a DJ manipulating these sounds gives flexibility to 'composing' a score with the choreographer that i think would yield interesting results. More interesting than some of the things I have seen utilising 'electronic' (read jarring and obtrusive) music... As to the subject of the piece, i'm undecided... Nothing that doesn't sound silly verbalised, anyway.

I think this is one webpage I'll be attacking with a higher bandwidth. It looks beautiful and packed with info and images, but a little too intensive for the 56k modem. But with the work that must have gone into it, no wonder the page was a long time coming.

funny you should mention the long queue to the bathroom attitude - that was my only quibble on an otherwise beautiful night. theres something terribly undignified about having to wait the entire interval to use the toilet!!

Not that I've attended any international competitions, or very many national competitions for that matter... and this is strictly on a student level… There are as many different reasons for competing as there are people. At the time I never really thought about entering, it just kind of happened that my teacher suggested it and the few in my class selected agreed. As I sit here recreating the pressure that one feels when confronted by a room full of waifs bending themselves into impossible shapes before subjecting yourself to a class where you’re being judged. And not only by the people at the front of the room or stage, but by the girls around you… where a step wrong can feel like a mini-death. (do I sound melodramatic?) I wonder why I did it. I certainly knew I wasn’t going to win (the same small group of girls always won, and I wasn’t in their league by far). The anticipation was always gut-wrenching, never much fun. My best-friend and I would sit looking wide-eyed with wonder at people who considered sitting in the splits with their head on their back leg a warm-up… Listen to little groups snipe about who’s looking fat, get condescending looks from others when trying to strike up a conversation, or (in the best case) find out that other girls were just as nervous. Major competitions are not fun. They are a business. Looking back, I suppose entering a serious competition was the best way for me (in a fairly little city) to see how I compared to my age group - was I as strong as they technically? Was the training I was getting sufficient? Competitions provide one of the only yardsticks for a student to 'compare' themselves to their peers (remembering I am from Australia where the summer intensive is not nearly as big as it is in America, and hence doesn't provide the same exposure). I think that role can be an important one - we've all seen the dancer who was the best at their school suddenly become a small fish in a big pond and realise they aren't up to scratch. You would, as BW said, be seen and hopefully remembered for the right reasons. And then there was using the competition atmosphere to see how one reacts under pressure. I always found that useful as preparation for auditions. Stagefright can be debilitating… Going through the motions of audition/performance becomes easier and more natural the more you do it… (I know a lot of people who enter had their eye on the prize money. Thousands of dollars can be serious money when it seems like every penny goes to your teacher or your local dancewear shop!) We didn’t enter the little eisteddfords where its all about (excuse me) tits and teeth more than once or twice – and you know, even those were OK because they were a nice little ego boost (and anyone who says they don’t feel good winning is lying!) But they were always considered a bit of a laugh, and maybe ‘team spirit building’ (or some such thing) As an aside my school isn’t big on competitions – we enter using dances and costumes from the previous years concert and practice out of usual class time. The only ones allowed to enter competitions like SODA, Isabelle Anderson etc (all big Australian competitions) are those deemed ‘talented’ enough by my teacher and they receive private coaching once a week (all at a cost)… These competitions are expensive and parents always foot the bill. But dancing at a high level IS expensive… and those that can’t afford but are passionate enough always find a way.

Oh piffle.... *waves hand dismissively* There was a similar 'uproar' when Stretton came to the Australian Ballet, only on a lesser scale because the Aus isn't as steeped in tradition as the Royal. At the time I said that change of director is a natural time for people to move on, for people to get their noses out of joint and all the rest. The same stands here. I think the Royal is safe in Stretton's hands - he did good things for the Aus and they appointed him with the EXPECTATION that he would shake things up. Give him a chance to DO something before pointing accusing fingers, is my opinion. (Edit: isN'T not is steeped in tradition..) [ October 24, 2001: Message edited by: Katharyn ]

Oh you lucky th ing jane.. I can't afford travel or tickets these days (I'm a poor uni student, after all)so I'm completely ballet starved (well, apart from Tivoli... And wasn't that last pas de deux sensational? I got this feeling of voyeurism watching that one, and not particularly because they were near nude, or that the choreography was intentionally steamy... There was just something very intimate about it... I was transfixed! I would've writtena review, but it wasn't ballet ) Anyway... I was surprised to hear that Lisa was Giselle. She is a mature looking dancer and is quite... motherly? To me her style was epitomised in the 'Edge of Night' where she was quite melancholy and pensive. I don't imagine her as a Giselle in the traditional sense. Thanks for your review, I love hearing about the Aussie Ballet, seeing as though I get to see them so rarely these days...

I've sat up all night since I received a phone call at about midnight my time (I believe about 10am, in NYC) watching this unbelievable scene unfold. The image of the destruction is burned into my eyes, as the words of Bush ring in my ear 'a threat to freedom itself'... It may be insensitive to bring this up, but scenes of Palestinians dancing in the streets have horrified me to my very core... It's like a dream, even to me.... it truly is horror beyond description.. My thoughts are with America as a country, because surely she - as all effected are- is suffering. I could write for hours, but I'll stop now. I am waiting for when the truth is sorted from the rumours, because right now it is impossible to construct a picture of the events surrounding this tragedy. My love to all who have been touched by this event.

The Satin Slippers series is by Elizabeth Bernard (I have one or two books from the series). You can find the books by clicking on the amazon link above, for the record. The series reminds me of the Babysitters club, or sweet valley high, in which the dancing takes third or fourth place behind the romances and other silly escapades. but they are a bit of light hearted fun, if you like that sort of thing. My all time favourite ballet fiction series, is by Jean Ure (it just took me ages to find out her name). I once had the entire series (of about 4 books) but my ballet teacher lost them. I read them when I was about 14-15, and they really encapsulated my experiences at the time (even the books were tinted with rose coloured glasses). She's written a fantastic amount of childrens books, but the ballet series is near impossible to get. But my other all-time favourite (young) ballet fiction, is the Drina series. Totalling I think six or seven books, these are the sweetest stories about a little english girl called Drina and her quest to become a dancer. It is probably more for those who liked Enid Blyton, with a similar style of writing and peachy-keen-ness. (I, of course, loved Enid Blyton, despite the relative similarity between her series' of school books, and i remain faithful to her to this day). They are, however, out of print and hard to find. Another, again english series that I enjoyed were the Sadlers Wells Ballet Books by Lorna Hill, although at times it getsa little tooo british for me On my browse through amazon, I noticed a book called "corpse de Ballet"... what a positively ridiculous title. [ 07-26-2001: Message edited by: Katharyn ]

Thankyou Mahattnik for posting that. Your reviews are always a pleasure... and a good chuckle, which is excellent value for money.

I personally love the chance to dress up, oh yes indeed, I love formal wear, hosiery (not those thick ballet tights... I do have trouble making the transfer over to delicate hosiery and often end up putting a thumbnail straight through a brand new pair), high heels, glamorous up-do's - the works... But I think at the ballet, one shouldn't go too over the top, because after all, you do sit in a darkened theatre for most of the night and so that lovely evening dress goes to waste (unless of course, you don't mind being seen in the same gown twice ;) ) and as far as I understand, the ballet isn't a black tie event. So I agree with Giannina, apart from the stole - because I don't need a boost. I once saw a woman with her denim jeans tucked into a pair of ugh boots.. and laughed at myself for the snobbish way I reacted. But still, tickets to the ballet are not cheap, and so its rather nice to make a bit of effort in appearance. LMCtech - those ballet flats are interesting. Personally, I like a bit of a heel, because its much more flattering to the ankles and calves. Incidently, Leigh... If you think men have troubles in the summer, spare a thought for women in the winter - those thin floaty fabrics do not guard well against the elements and its often difficult to find an appropriate cloak/coat/some kind of warmth in the form of clothing... And woe betide a girl who is without a chivalrous man to give her his jacket...

Ahh.... I think I saved myself when I said that low-cut leotards are worse than unitards!

Unitards are the epitome of unflattering. It is rare one would look at a unitard clad dancer and marvel at how great they look. Now, I don't doubt maybe the unitard has merit sometimes, but I can wager most sane individuals would rather wear something that didn't hug all the curves you usually strive to conceal. Granted, the average professional dancer looks a darn sight better than I in a unitard... But few other costumes show off bony hips and ribs, or that little 'pooch' of a lower tummy most people have with such undisguised exposure... Granted, line is unencumbered by the unitard, and it can be used to show say, vunerability as already mentioned, and because of its shape (or lack thereof) its quite a neutral costume. I do concede that they go well with much of the modern neoclassical choreography that I have seen, with its emphasis on clean unfettered lines and more undefined gender roles... The unitard doesn't tend to detract from the choreography. I'm generalising here, of course... But theres never a situation in which a leotard and tights doesn't look better than a unitard (unless its a really low cut leotard, ergh, I hate those as well). Oh Tancos, you're words have pierced my heart, as there's nothing I love more than wearing a tutu and feeling pretty ;)

I've never been near a hummer, perhaps public servants (90% of the ACT) are too.. conservative? One more thing. Brown Costumes (where not necessary) and unitards.

I've seen the 'updated Aussie' Coppelia, choreographed by Chrissie Parrot and performed by West Australian Ballet. Most thought it was clever and amusing, I thought it was tacky, repetitive and shallow, consisting of lots of strutting - which is all I really remember of it. Particularly cringe-worthy was the wedding scene which was set -sigh- at an Aussie barbeque, complete with drunken bridesmaids. I own the Aust Ballets "Coppelia" which is sweet, but I can't really judge it until I've seen more Coppelia's. I like Lisa Bolte's 'Prayer' because she really does look so serene and angelic. She's often miscast, but I think she's just lovely here. [ 06-06-2001: Message edited by: Katharyn ]

Ooo... I agree ralphsf, I HATE dancers who are tight in the torso! That "I have a poker down my back" kind of dancing aggravates me. Like they are too scared to venture from their centre lest something dreadful happen... I don't like seeing sagging elbows. At professional level it just Shouldn't Happen... but I see it in pirouettes all the time. Victoria, the leg too far to the side is also something I don't like. I see it all the time in competitions, and it's alarming to see the same thing happen at a professional level. Especially in a promenade. [ 06-06-2001: Message edited by: Katharyn ]

Oh Alexandra, thats hilarious ("the stag... leaps."). And precisely what I would consider pretentious. That nasty kind of "Please, all, I am a genius. The depth of my work is so unbounded that I will probably lose half of you on the journey to the end of this piece. This is my point. I wish to alienate the majority of my audience by being delibrately obtuse because then it will prove what a master I am." julip, that comment was perfect - everyone's trying to be someone they're not, creating works they don't even get. I want to see sincerity on stage, and if it's obviously false by the absurd posturing in a piece when a choreographer is going for the so called 'intellectual high ground' in a particular subject, I start to roll my eyes... To me, balletnut, what you are talking about is the complete opposite of pretentiousness. The continual efforts of a choreographer for their audience to 'get the point' is, to me, a dumbing down of the work that is patronising at best.

When I see a ballet, I sit back and absorb. I take in as much atmosphere, nuance, characterisation etc as I can (I see so little dance I want to memorise as much as possible -- and its amazing how much you can miss just by looking a way for a moment). If its a story then I read the program notes before. If it isn't, I prefer to watch, draw my own conclusions and after, I want as much information as possible. I'll often do a little research, if applicable, just to glean a little more insight into the motivation behind a piece. A choreographer is influenced by so many things, I find it intriguing to discover what those things are-- determining what inspired them to create what I just experienced. I like there to be a lot of information in the program. There is still a lot of art/literature/etc/etc that I haven't experienced, I don't want to be excluded from an 'in' reference because of my ignorance! Teach me, please! I want to know! ;) So I'm sorry Julip, but you might find me a little frustrating. I don't like to think that what I'm watching is there just because the choreographer felt like it. Art for the sake of art. Dance for the sake of dance. I may be being a snob, but I like to think theres a bit more intellect behind a piece and wouldn't be able to help being disappointed to find there wasn't. (not suggesting at all there's no intellect behind a piece that appears to have no deep 'meaning'. Please don't take that the wrong way) -Katharyn

Thankyou very much Lilly for posting that link! I've heard Kudelkas name mentioned as a possible new director when he was here for 'alleged dances', but I never actually seriously thought about it. As Ian McRae said its "news to me". I don't know if I'd be too happy about him taking over the Aussie Ballet, theres something about him (and his choreography) that I can't warm to and I don't know how well he'd fit in with the Australian psyche... [This message has been edited by Katharyn (edited May 18, 2000).]

Thankyou Andrei and Alexandra, both for your compliments and for reading through my entire rather long-winded review! I had a discussion with my ballet teacher tonight about the state of the Australian Ballet and she agrees that the corps was terrible. We agree that this is something that has only come about from Ross Stretton's directorship, however she says that its why his contract wasn't renewed, which I completely disagreed with- his contract was only let go because of his new gig at The Royal, wasn't it? Might I also add I did not find anything much to like on another night with Miranda Coney (who barely pointed her foot all night) as Hanna and Nichole Rhodes as Valencienne. I don't like Nichole Rhodes, she has a beautiful body, fantastic technique but thats about it. I'm not dismissing the fact that a beautiful body and great technique are nice to look at for awhile, but as been discused numerous times here, there needs to be more.

The Australian Ballets 'The Merry Widow' Choreography: Ronald Hynd Music; Lehar Cast Hanna: Lynette Wills (Senior Artist) Count Danilo: Matthew Trent (Senior Artist) Valencienne: Lisa Bolte (principal Camille: Robert Curran (soloist) The Merry Widow again??? I had quite a whinge about the fact that, yet again, The AusBallet were bringing poor ballet starved Canberra its supposed signature piece, the Merry Widow (MW). And as it has been a few years since the AB has been here, I wish my review could be a little more positive (and there performance a little more sparkling). The program tried to convince us that the MW was as 'intoxicating as champagne' however I think the only intoxication was from those sampling too much of what the bar had to offer during interval. Act 1 was its usual pointless self, filled with the kind of hamming up to the audience that instantly grates on my nerves. This was broken up by Valenciennes entrance- in what was possibly the most unflattering dress I have ever seen. Lisa Bolte was a very pretty Valencienne, she has a sweet little girl face. Often Lisa looks very out of place in classical pieces because she doesn't have a typical dancers body and I sometimes worry she'll burst out of her bodice (in fact, i think Lisa has the same concern- at a party she sampled too much of the punch and when asked by the Prime Minister of Australia what she was thinking at the height of a spectacular lift in the ballet they had just performed she answered "I was just hoping I didn't fall out of my leotard!!") but in this role, it matters little. Matthew Trent made a bit of a cringe worthy entrance, I quite forgot he was supposed to be drunk- even though I know this ballet well- he just looked sloppy until about half way through his little entrance dance when he got the balance right and the audience cottoned on to what was happening and made the mandatory chuckling noises. Scene 2. And my goodness, it was like looking at a whole new company! This is my first time watching the Aus since they lost many of their dancers and took in the newbies from the Australian Ballet School. There were only 3-4 corps members that I recognised and a stack of faces that I missed dearly since they left (we now have only 2 male principals!!). And, unfortunately, their inexperience showed with the messiest corps work I have ever seen from my favourite company. They seemed very well drilled in the style, but in working together they failed. I think the very cramped stage aggravated this problem, but I was still very disappointed to see legs flailing about at random times (I would've liked to have seen those legs flailing all together!) In all this was very inconsistant... Until Lindy (ie Lynette Wills) entered the stage. I was very excited to see that she would be performing the title role before hand, for, if there was someone who was always going to be perfect as Hanna it was Lindy- she has a beautiful open face with aristocratic features, a very open broad chest that holds the key to expressing her many emotions and it all tapers down to beautiful legs and feet that have an instep I, personally, would kill for. Her first majestic entrance drew applause from the previously subdued audience and though this is not a technical role, Lindy worked well with what she had, and was far and away the most musical dancer on stage. I worried perhaps she wouldn't be able to pull off the peasant girl pas de deux, because Lindy has a very mature face and style of dance... But my fears were unfounded (forgive me for not having faith in you Lindy! ) and she was beautiful and girlishly vunerable as she tried to hold on to her love. However, her loveliness was almost marred by Matthew Trent's inadequacy. I don't know if Matthew was ill, injured or just having a really really bad night, but he was unable to manage a solid double pirouette in attitude or a simple balance in arabesque en fondu! Everytime he did something I was sitting there willing him to get back behind Lindy and support her, rather than dance himself. ACT 2 The 'national dances' mentioned in the program were performed adequately if not authentically (apart from one girl right in the front who had the droopiest arm. I wondered how this glaring fault had not been picked up- she was standing front row centre and it was blinding obvious. It may seem that I am giving this arm undue focus, but to me, that droopy arm summed up the entire performance). Valecienne and Camille performed their lovely pd with controlled passion, I think Curran is one to watch.. just give him a little while... Steven Woodgate was the lead male national dancer and as always put in a fantastic performance. He has the ability to fade everyone else into the background, he has such a a bright personality (and is SUCH a drama queen!). He finishes turns just a quarter of a count before everyone else and makes things look just that little bit more effortless. I just don't know where he gets the energy and he certainly makes an impressive display. The rest of the men in their little red boots were ok... but they lacked any real fire. I'm rewriting this after a week, because a computer stuff up lost my original review. And the only thing that really sticks in my head (apart from the drooping arm) is Lindy's solo, in particular the develope to seconde with the little pointe flex of the foot. Its a quirky action, yes, but Lindy managed to make it seem like it meant something and she had such understated but majestic style, rock solid balance... One thing I really like about Lindy (and I know I've mentioned this before) is how she really see's the other people onstage. I love how she'll look at someone in the corps and you know she is genuinly making eye contact. it just makes it a lot friendlier and warmer onstage (go team, sort of thing), and when she sweeps those beautiful eyes across the audience, you almost get the same feeling Ahem. Sorry, I'm gushing. The way the flags sagged right on cue and the frosty farewells from the guests when Hanna was 'discovered' with Camille was enough to get a chuckle out of me. Some of those corps girls really had the flounce down pat, and Lindy had this queer "uhoh... what have I done?" look on her face that really summed up the situation perfectly. And the way she picked up the scarf after Danilo threw it at her, 'he really loves me..." was written all over her body. Aww... Its a shame Matthew Trents acting didn't project quite as well. ACT 3 More hamming up, in the form of an over the top maitre d', can-can dancers and the like, but this time slightly more appropriate to show the frivolity of the Pontevedrians. One thing that greatly puzzled me was the appearance of a lady in a black and yellow dress with a large bust and butt who pranced around stage looking haughty. Who was she? What was she doing? I followed her exaggerated posturing with some amazement... and felt quite relieved when Hanna arrived (at last, someone who could act naturally!). Of course, all the couples work things out (Valencienne doesn't try very hard to hide her feelings, I thought perhaps Bolte was a little TOO obvious, however). And suddenly, Lindy is left alone, delicate shoulders crumpled. She looked so forlorn I wanted to give her a big hug and say "its ok! Danilo can't dance anyway!" But Danilo comes back for her and order was restored. I was disturbed to hear Lisa Bolte get most of the cheers during curtain call. I don't know if its because Valencienne is a more likable character or because Lindy doesn't have the words principal artist to her name or because the entire audience, bar me, was blind (someone said to me after that they didn't really warm to Lindy and I nearly cried) but it was obvious, to me at least, who the superior dancer was on the night. I really hope the the new corps hurries up and settles into to company life, because unless they shape up, the Australian Ballet will only be able to be considered a second rate company. And something needs to be done about the male dancer situation because the standard has fallen dramatically there as well. If this is showing the impact of Ross Strettons directorship, then maybe its a good thing he's leaving... Overall? Lacklustre, but Lindy was great [This message has been edited by Katharyn (edited May 14, 2000).]

it may seem a bit rude for someone who has only seen NYCB twice in her entire life. I feel a bit uncomfortable saying anything having only seen Miranda twice, in different dances. But I remember thinking what nice elevation she had ... but that there was a decided lack of expression (esp. in Donizetti Variations). Of course.. The lack of involvement with her face was better than a corps girl who performed the entire thing with this fake, ingratiating smile that never left her face for the duration of the ballet. I was transfixed by the smile, waiting for it to waver. I tell you, that smile threatened to ruin the evening- years later and the thing I remember most is that girls smile (and what a fabulous body Albert Evans has). So even though I am possibly the most uneducated person to comment on the situation, there; you officially have my two cents.

Although I wouldn't say Gelsey is one of my favourite dancers (having only seen her dance one role on video and read both her books) I do confess to having a strange fascination with her. I have read many books where people (particularly other dancers) complain about her meticulous method of preparing for a role, yet I have never heard her 'genius' doubted. Her books were totally honest (and often truth is subjective- whether or not she should take the blame for many of the mistakes in her life is not the point). (Well thats my unlearned opinion anyway). She seems to be a bundle of contradictions in one tiny woman- 'an amazing combination of fragility and strength' as alexandra mentioned, and able to look spontaneous onstage when every move was rehearsed. It's no wonder people are still fascinated by her, even now.

Isn't it lovely to remember our the first time when ballet hit us straight through the heart and soul? I remember sitting through Onegin... well I enjoyed it, more out of expectation (the thought of any of us girls not enjoying the ballet was scandulous... we were of course students of the dance!). But right at the end.. I'm talking the part were Titania sends Eugene away... the very last movement onstage is Titania developing her arm towards the ceiling. Well that just did me in. The eloquence of that single waif like arm and hand and the perfect expression of beng torn between adulthood and childhood passion on Justine Summers' face reduced me to tears... and I can't describe how that just appealed to me but I was in a trance for weeks afterward,. I would desperately take my place at the barre and work myself as hard as possible to give myself the chance of being able to do what Justine did. Since then I have not been able to get enough of dance. I watch videos all the time, I save my money to go interstate to watch companies that never come to my home state (if I hadn't gone to melbourne when would I have seen NYCB? Never, probably!). Its amazing how one can become a slave to dance from just one perfect movement. I envy everyone that regularly gets to see any kind of dance (esecially you, Alexandra! nearly every night for years! My idea of heaven... *sighs dreamily*) and one day I will be financial enough to see more performances.. I love reading what everyone else has to say. And I know how you feel Barb- I am constantly relegated to the back row even though at 5"4 I'm not that tall, its just everyone else is younger than me! I could also share some horror stories about various teachers (one in particular who had a pin that she would poke you with if you weren't pulling something up well enough...) and I know I will never make a career of dance.. But its nice that we can all appreciate ballet no matter what our talents.

hmm.. sounds like the backlash against contemporary has started. I mean for the past few years I've heard the phrase "If I see one more dance on pointe in tutu's I'll puke" more times than I care to remember. Now it seems contemporary is getting put under the microscope. My mind is still boggling having just read this entire thread (all three of them!) in one hit. I can't remember a lot of the points brought up- even though everything said is terribly interesting to me... So where to start? Well I like contemporary. Just so you all know. I have seen a few bits of fluff passed off as 'contemporary dance' (with that terrible 'slogan' abt the company being on the cutting edge, etc)- but then I've seen ballets that aren't the most substantial ballet meals as well. I think a classical company needs to have modern works as well. Its all part of a balanced diet for the dancer and means they don't get bogged down with the one style (and a dancer must be versatile!). Its been mentioned that contemporary can impede the dancer's classical technique (was that you Alexandra?). What an interesting point... I certainly hope not! Its up to the individual to keep their technique up to scratch... but then a lot of people seem to be under the impression that modern dance isn't technically demanding and allows the dancer to slop around or something. Oh if only that were true! I do contemporary as well as classical, jazz, tap and a little spanish. Obviously classical is the most disiplined of the five. But modern is the style I am having the most trouble getting into my body (oh the traumas of trying to get your feet parallel when you've just come out of a classical class!). It has almost as many 'rules' as classical. There is a certain way to do things. Its not simply a case of "oh we'll chuck our leg over here maybe fall over here" (and there is an art to falling.. like Margot Fonteyn said to Martha Grahem "Why we (Royal Ballet) fall like paper bags. You fall like silk'). Perhaps the fact that the dancer is working in a different style adds something to their classical technique that isn't very beneficial. I can't really say because I hadn't noticed.. btu then I dn't see enough dance to notice! I'm not saying nobody else knew that or that I'm saying something new and mind blowing- just nobody else has mentioned that... Hmm. and I also think if any of you have the opportunity to see Sydney Dance Company do 'salome' take it. Its a fantastic work (I'm going to see it again in april!). It uses a huge dance vocabulary as well as an acrobatic one.. And its wonderful. And its something that you remember long after you've seen it. I'm afraid I cant comment on all that neoclassical part. I simply don't have the knowledge to make an informed comment... But still.. does everything have to fit neatly into a label? dance is an artform and is about expression... not about "OK, I'm now going to do a Balanchine-neoclassical-ballet where this guy is constantly chasing after youth" or something! (Does anyone get the point I am trying to make?!). I think thats all I want to say for now. I just want you all to know that I think contemporary does have its important place in dance... if anyone has seen one excellent contemporary piece I'm sure they'll agree.. -Katharyn who's hoping she's not just totally mucked up the progression of this thread

Thankyou so much Alexandra! I was really worried that I'd made my last post too long. You compliment means a lot coming from someone with as much knowledge as you, as well as the creator of this wonderful site where there's someone to listen (or read) what I have to say (or write). Thanks for your comments and thankyou for this site! Katharyn