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MCB reaches out to the community with free performances for children

We think everyone should be able to enjoy ballet! Therefore MCB does everything in its power to make this art form accessible to families who otherwise wouldn’t make it to the theater – hence, Ballet for Young People (BFYP). The tickets to these performances are free and provide the opportunity for children and their loved ones to attend MCB performances. This season brings two BFYP performances: Carnival of the Animals – The Swansong (performed by MCB School) and Coppélia (performed by the Company). The programs chosen for this special series are ballets that are relatable to children and families, and are an excellent introduction to ballet.

Carnival of the AnimalsThe Swansong was performed by Miami City Ballet School advanced students at Adrienne Arsht Center on Saturday, February 18. It is a story that teaches us about the importance of respecting and living in harmony with nature. The plot was carefully designed to engage young audiences using relatable characters, colorful costumes and dynamic choreography. Children in the audience were marveled by the show and the MCB School students had a wonderful time performing the piece!

On Saturday, March 31 at 2pm, ballet lovers of all ages will enjoy excerpts from comedic and charming Coppélia, as part of Adrienne Arsht Center’s Family Fest series. This performance is already sold out; however, the Company will also perform the full-length version on Friday, March 30 and Saturday, March 31 at 8 p.m. and Sunday, April 1 at 2 p.m.

MCB thanks the following supporters of Ballet for Young People: The Rockefeller Foundation, Peacock Foundation, Nordstrom, The Rundgren Foundation and Citizens Interested in Arts.

Post-Performance Rituals

Post by Nicole Stalker, Corps de Ballet

Artists of every kind depend on their instruments to create a masterpiece. Without proper care and maintenance, these instruments can lose their effectiveness. Ballet dancers’ bodies serve as the translation of our art form, and it is our responsibility as professionals to provide ourselves with the best possible care.  Many dancers depend not only on physical therapy and strengthening exercises, but also on post-performance rituals. Although many of us share similar cool down techniques, each dancer tailors a specific routine to meet their individual needs.

Personally, I have found that ice is one of the most effective treatments for a tired body. Icing after a workout alleviates inflammation and pain. An ice bucket works wonders for me after a long day of rehearsals. I fill a bucket with ice and water, and then soak my legs below the knee for ten-to-twelve minutes. Although the process is far from pleasant, I find that doing this everyday at the end of the day during a rehearsal week helps me feel less sore and achy. Another great technique for relieving painful areas is an ice massage. I use this technique twice a day when my patellar tendonitis flares up. The easiest way to do an ice massage is to freeze a small paper cup of water, peel back the paper, and rub the ice block in circles over the injured area. Ice massaging is a great way to reduce swelling and pain quickly.

Icing takes up the most time during my maintenance routine. It is hard to force yourself to sit down and ice when getting home late at night after a performance, but it is extremely important in the long run. After I ice, I usually rub an anti-inflammatory gel on sore areas and wrap them in Saran wrap. Though it sounds strange, placing plastic wrap over the anti-inflammatory gel helps it absorb into muscles more efficiently. Lastly, if I am feeling particularly run down, or have had a rough day, I take Arnica tablets before bed. Arnica tablets are a homeopathic treatment used to reduce swelling and lighten soreness.

Not only is it important to take care of your body using these treatments, it is also important to refuel. Before a performance weekend, I drink plenty of water, eat high protein foods, and sleep as much as I can. Emergen-C packets have proven themselves lifesavers during the hours before a show when I am feeling fatigued. They easily dissolve in water and are packed with electrolytes and vitamins to give you a slight energy boost. Although it takes a process of trial and error, finding the right post-performance ritual is crucial to remaining happy and healthy.

Symphonic Dances Rehearsal

We are just days away from the World Premiere of Alexei Ratmansky’s Symphonic Dances with The Cleveland Orchestra in the pit! Jeanette Delgado has recently given us an insight on rehearsals for the new ballet, now check out these images to see the extraordinary choreographer working with the Company.

The new work will grace the Adrienne Arsht Center stage on Thursday, March 1, 2012 for a one-night-only event! Click here for more information.

Inside Alexei Ratmansky’s Rehearsals

Post by Jeanette Delgado, Principal Dancer

“If it’s not about the port de bras, then it doesn’t make sense.” -Alexei Ratmansky.

As dancers we speak with our bodies. At times we get so consumed with how our legs and feet are working that we lose sight of the significance of our upper body. Alexei Ratmansky has reminded us of the importance of each gesture and has helped me visualize movement in a completely new way. He offers fresh concepts, things I’ve never really thought of before and it has expanded my creativity and hopefully my dancing!

Symphonic Dances is very balletic but there are so many unique qualities to each movement. Ratmansky is so specific about exactly how your body should move and what your intention should be that it looks and feels like a completely different style of dance.

In an interview with Dance Magazine, Ratmansky says that “every movement could be done in a hundred different ways.” Here are some of the challenging and exciting intricacies of movement he has shared with us! Of course, our artform is visual and it’s tough describing movement with words, but I will do my best…

– Improvise with your coordination. For instance, making the transition of our port de bras slower than the legs; soft with our arms while quick with the legs and finishing the movement with the arms still reaching softly. Or moving our head and shoulders last, after our feet, hips, and body move to create suspense.

-Paint lines in the air with your hands to make movement more interesting!

-Before running somewhere, feel your upper body falling out, out, out… Reach forward longer than your legs & the last thing to finally fall forward is the leg that’s behind you. This is where the impulse to run forward comes from.

– Play with the shifting of your weight and when to do it. This is one of my favorite things and also the hardest! An example is in a jump called a pas de chat, where he asked us to begin the jump traveling forward and then midway through travel backwards. Normally the jump would  continue moving forward. You also continue reaching forward with your arms as you would normally, another contrast between upper and lower body coordination!

-Think of your legs starting from higher up, from the waist to make your line longer. Also keep your hips croisé more, in other words, never let your body get too flat to the front. This helps to keep a three dimensional quality which is very important on stage.

Keep an eye out for these individual qualities in Symphonic Dances! Hopefully it will be as interesting and exciting to watch as it has been to learn and to dance!

Giselle: “The Mad Scene”

Giselle is the story of a young peasant girl who dies of grief and madness after being betrayed by her lover, Albrecht. “The mad scene” takes place right before her death when the truth is revealed. Principal dancers Tricia Albertson and Jennifer Kronenberg give their perspectives on “the mad scene” in Giselle and how they prepare for the deeply emotional part.

MCB performs Giselle at Adrienne Arsht Center on February 17-19, Broward Center February 24-26, and at Kravis Center March 9-11. Click here for more information.

A Conversation with Alexei Ratmansky

On March 1, 2012,  Miami City Ballet will present the World Premiere of Alexei Ratmansky’s Symphonic Dances, in collaboration with The Cleveland Orchestra. Set to music by Sergei Rachmaninoff of the same name, the new ballet will premiere at Adrienne Arsht Center for a one-night-only event. Alexei has been trotting the globe choreographing for top-notch companies this season, but took the time to talk with us about Symphonic Dances.

As part of the program, the Company will also perform George Balanchine’s La Valse, and TCO will kick off the evening with Carnival Overture. Tickets for this once-in-a-lifetime performance start at just $25 and are on sale now at miamicityballet.org.