REVERANCE Next Lifetime with Andrei Kramerevsky

 Andrei Kramerevsky Bolshoi 1960s and at SAB 2002

I will never forget my first day of company class with the Metropolitan Opera.  I felt like an idiot because I was among the first 5 contemporary dancers to ever be invited to dance at the Met.  All the other dancers were official ballerinas. And then there were the 5 “others”. 

To be fair the other 4 were graduates of Juilliard and other respected conservatories where they had plenty of ballet technique — a few were even ballet-turned-modern dancers. They knew the drill. 

I was the only one from a post-modern background where ballet was simply what you were supposed to do 2 times a week to pay your dues. Most in my dance program didn’t come to ballet class and would choose body awareness class instead. 

There were no serious corrections or talk of good feet and certainly there was nary a pointe shoe in sight! 

So enter myself in my socks in Kramerevsky’s class at The Met.   

Yes I was in socks.***

I also stood at the “wrong barre” and was told in no uncertain terms by a real Met Opera ballerina that her pointe shoe had made the dent in the floor my ill-clad feet were now hovering over. She actually said that. 💔

I was to move. 

Oops. 

And then of course out came Kramerevsky — with his Einsteinian hair and thick accent — I had no actual clue what he was saying. 

He was a furious teacher — with a lightening bolt energy that juxtaposed against his perceived age in a manner that had my mouth on the floor. It was as if his sheer will alone made his body move! 

“How did I get this job” was all I could think of.  I definitely thought they had made a mistake. 

Needless to say I think I attended company class a few more times and then I never went back. 

I realize now this was a terrible decision but the truth was I didn’t know anything about ballet at that time. Especially compared with the real ballerinas in the room. 

I accepted myself as a full-on post-modern-modern-dancer. Defined by the identity of a Pedestrian. I had accepted my lot and my love of ballet remained a secret — so I wasn’t about to out myself as a ballet fool for all to see. 

Its lovely now, in hindsight, to think back and wonder “what did Krammy think of me?”. 

But I can rest assured: he didn’t think a damn thing!!! I was barely present and even when I was there,  I was hiding in the corner.  I didn’t dare go across the floor. 

But he still made an impression I can never forget. 

And fast forward moons later when I finally accepted my love of ballet — it was partially the memory of his incredible energy with his shocking white hair that helped me realize that I wasn’t that old!! 

I still had time to learn! And maybe if I am lucky and worked hard I could be a passionate white haired woman teaching with great energy someday! 

Thank you Mr. Kramerevsky for giving me that inspiration. 

It would be an honor if you would join all of my heavenly angel coaches up there. 

If not, I sure hope I’ll see you next lifetime

————
Andrei Kramerevsky 1929-2019

More about Mr. Kramerevsky here 

***  I still secretly prefer socks to soft slippers which only constrict my already tiny feet.

B. INSPIRED The Sacred Feminine & The Ballet Russe de Monte Carlo

It should serve as common knowledge that any woman who goes by ‘Madame B.’ loves all things feminine mystique, and thus, should come as no further surprise that my all-time favorite ballets come from the land of Massine with the Ballet Russe de Monte Carlo!

In a world overwrought with chisled abstractions of the feminine form dancing about rather vigorously, one can’t help but swoon amidst the lush landscape of the ballet under those dancers whose rounded arms and softened legs create movement described by Danilova as, “with perfume”. 

While this documentary states that it was Balanchine who declared that “ballet is woman” and Massine who was creating masterful roles for the men, a closer look tells an altogether different story……one that seems not only utilitarian of the feminine, but one that acknowledges the role of The Sacred Feminine to the inspiration of Man...and the role of Beauty, to the inspiration of Art.

The Beautiful Workings of Ballet

This evening before bed I was You Tube surfing to find a bit of bedtime inspiration and came upon a lovely video by one of NY's most respected teachers, Edward Ellison...and this reminded me, that yes, everything, including our work, is beautiful at the ballet.... Sweet Dreams.

_________________________________________

NYC EVENT RUNDOWN FOR THE WEEKEND:

see Events Calendar for more info

SAT, MAY 21:

• ABT Polina Semionova and David Hallberg heat up the afternoon with Don Q. for the Sat. Matinee!
• DANCE PARADE! http://www.danceparade.org/
• NEW YORK SCHOOL OF BURLESQUE STUDENT SHOWCASE

 MON, MAY 23:

• ABT Alina Cojocaru and JOSE MANUEL CARRENO finish the Don Q. run Monday evening!
• Isadora Duncan Birthday Celebration

A QUIET INSPIRATION: Leonard Cohen & Matisse

Pursuing an Artform as physically demanding and visceral as Dance often requires levels of energy that are far above normal.  As Performers, many of us already have a natural "switch " that turns on as easy as breathing.  I myself, find that I am often continuously living in a space full of energy and enthusiasm, and this started long before dance ever entered my life; when my former athletic coaches used to drill into us the idea that "an energetic attitude, is a winning attitude".

Being naturally energetic, meant that this idea was no problem for me -- and even now, I often feel downright guilty for entering the Public Sphere sans passion. 

Nevertheless, I've found over time that being in such an enthusiastic state can sometimes work against the very real need to commence from within yourself.  To honor your need for, simply, Quiet.

Lately I've been embracing this idea of quiet inspiration and in doing so I've been drawn back to a lovely book published by a little known publishing house.  At the time I originally acquired this reading, it seemed that, like so many special moments in my life, in some way, this book found me -- an accidental meeting -- a most pleasant surprise.   Encapsulating a simple, heart-full poem written by Leonard Cohen with Illustrations by Matisse, this little serendipitous find has brought me a quiet inspiration that is reminiscent of a lullaby, allowing me to slowly cradle my need for repose, and dreams.

I hope you too, Enjoy.

DANCE ME TO THE END OF LOVE

BY LEONARD COHEN / PAINTINGS BY MATISSE



DANCE ME TO YOUR BEAUTY WITH A BURNING VIOLIN,

DANCE ME THROUGH THE PANIC, TILL I'M GATHERED SAFELY IN,

LIFT ME LIKE AN OLIVE BRANCH AND BE MY HOMEWARD DOVE,

DANCE ME TO THE END OF LOVE.

LET ME SEE YOUR BEAUTY,

WHEN THE WITNESSES ARE GONE.

LET ME FEEL YOU MOVING, LIKE THEY DO IN BABYLON

SHOW ME SLOWLY, WHAT I ONLY KNOW THE LIMITS OF,

DANCE ME TO THE END OF LOVE.

DANCE ME TO THE WEDDING NOW

DANCE ME ON AND ON,

DANCE ME VERY TENDERLY,

AND DANCE ME VERY LONG.

WE'RE BOTH OF US BENEATH OUR LOVE,

WE'RE BOTH OF US ABOVE,

DANCE ME TO THE END OF LOVE.

DANCE ME TO THE CHILDREN, WHO ARE ASKING TO BE BORN,

DANCE ME THROUGH CURTAINS, THAT OUR KISSES HAVE OUTWORN,

RAISE A TENT OF SHELTER NOW, THOUGH EVERY THREAD IS TORN,

DANCE ME TO THE END OF LOVE. 

DANCE ME TO YOUR BEAUTY WITH A BURNING VIOLIN,

DANCE ME THROUGH THE PANIC, TILL I'M GATHERED SAFELY IN,

TOUCH ME WITH YOUR NAKED HAND,  TOUCH ME WITH YOUR GLOVE,

DANCE ME TO THE END OF LOVE.