i got a bit of a tchaikovsky buzz.

and i think that his valse sentimentale in f minor is maybe the most beautiful thing. i had been listening to lots of chopin and prokofiev as of late, but oh my. now i want to make a waltz.

i’ve been thinking about classicism a lot lately. the rigor of it, and the repetition it demands. the classical canon of work that exists in any given discipline. as much as i want to make original dances, i am married to the ballet asthetic and mode of work (so reverent). i’ve come to realize that technique is central in making work for me, and I draw so much influence from classical ballet. lines, structure, topography. and as one of my dancers has said to me: “if you’re going to dance in a barbie piece, you know you have to speak the classical vocabulary. that, and the feet are always pointed.” true.

at any rate, i’m working on some new movement that incorporates the structure of a ballet center sequence. tendu, adage, waltz, petite allegro, grande allegro, reverance. i’ve got it in my bones and i want to play with it. i’m hazarding away from my usual twisty knotty touchy port de bra in favor of something a bit more academic in this work. what i’d LOVE to do it work with very young dancers on it, when they’re strong and focused, but still a tiny bit shaky, a bit overzealous, and rather immature looking onstage. don’t know where i’ll find those exact muses….and i’ll probably have to wait awhile, but i’m thinking.

come preview a new adage phrase at TrioDance Collective’s audition workshop this Wednesday May 19 at Brooklyn Arts Exchange, 12-2. email triodancecollective@gmail.com for more specifics.