lost in motion

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As a self-proclaimed millennial (who’s still trying to decide whether or not that’s something to be proud of), I watch the world focus shift from the expanse which surrounds to a palm-sized rectangle made of wires and glass.  With the irrepressible rise of mobile phones, comes the expectation of being perpetually available for communication.  From this persistent connection, the idea of social media is born, and so too the modern obsession with this phenomenon of creating an “online identity” (#guilty).

Now the pressure to always be represented! is shifting- I believe in a positive way- from a stress on the individual to an opportunity for a passionate collective to shine.  And is there any assembly more impassioned, fervent, and headstrong than that of ballet dancers?

We have seen the likes of Misty Copeland with her incredible legs and Daniil Simkin‘s playful backstage peeks growing in popularity on platforms like Instagram and Twitter.  Maria Kochetkova‘s explosive 30-second clips and the ever-lovable personality of Sara Mearns are now filling our feeds with enough inspiration to last us through Nutcracker.  But how can one single account change the way the world views ballet?  Let’s leave it to The National Ballet of Canada’s Guillaume Côté– and his 2 million YouTube hits– to demonstrate.

The clip above, in its dramatic artistry and impressive display of power, certainly speaks for itself.  Libby Coleman’s inside look, however, dives indulgently into the hopeful progression of these breathtaking videos with exclusive quotes from Côté himself.  Coleman takes us directly into the fire, as this electronic sharing of ballet is passed from the hands of ardent ballet fans and into the eyes of first time watchers.

So what do you think; Will it be enough to make a generation of selfie-loving hashtaggers rethink ballet?

rethink ballet

How cool is this new “Rethink Ballet” promotional clip from Boston Ballet?  The slow-motion quality and pared down setting allow for a unique observation of each dancers gorgeous technique.  There’s something so satisfying about seeing the climax of a saut de chat when the moments just before have been warped in temporal extension.  A soaring jump is lovely, but a perfect preparation satiates the soul, am I right?  Stretched speeds, prolonged lines, and an apparent refusal to accept all matters of physics.  Are you rethinking ballet yet?

Tonight I will be attending BB’s final program at the Boston Opera House, Thrill of Contact, and with Balanchine, Forsythe, Robbins and Cirio on the bill, I must say my hopes are very high.  Such an incredible repertoire, and the charming principal dancer Jeffrey Cirio’s mainstage debut as a choreographer- sign me up!