Ria Girard - Moving Day With Crystal Pite @ Q7
Friday, May 20, 2016
Ria Girard - May 2016 |
Guest Blog
Arts Umbrella Senior Dance Company dancer Ria Girard
This is my third year participating in the choreographic
mentorship with Crystal Pite and it has consistently been one of the most
pivotal periods of each year. Of course, part of it is receiving guidance and
insight from one of today’s world-renowned choreographers. But it is also an
incredible way to unite each class. There is no better way to build a team than
creating art together, and putting on your own show.
Last year I was one of the choreographers, and since then
I have gained a tremendous amount of respect for anyone who puts themselves in
that position. A choreographer is probably the most vulnerable person in a
studio. Trying to articulate your imagination to a full room of people (in this
case your own peers) can be paralyzing. Never mind the logistics of the actual
physicality - as Crystal once said during our rehearsals “It is amazing what
dancers can do in my head!”.
This dilemma calls for a tremendous amount of
encouragement, respect, and trust in one another. It is crucial that as dancers
we support the choreographer's creativity; it is a time when we forget about
judgement and be inspired by each other. When seeing the beauty and depth that
has evolved over the past few months in our peers’ work, we learn to respect
anyone who is choreographing - regardless of their years of experience or what
kind of relationship we have with them. Through this experience we learn how to
communicate and understand each other on such a profound level. The trust that
is developed in each other as dancers, choreographers, and artists in general
elevates both our work and our companionship.
The Three Musketeers - Charlie Prince, Albert Galindo, Tristan Ghostkeeper & Ria Girard - May 2015 |
I look at all those Arts Umbrella dancers and I am
jealous of their shared companionship and the fact that they are mentored.
Information and skills are transferred from one generation to another.
For me this never happened except once and my career in photography
was all about learning on my own and having to put my finger in the fire to
find out that fire burns.
In March 1996 I had the good fortune to photograph a
dazzling young ballerina called Crystal Pite. She had performed her piece
Moving Day for Ballet BC. She was on her way to join William Forsythe’s
Frankfurt Ballet. The Georgia Straight had hired me to photograph her. I remember that
my pictures took no longer than 15 minutes but that my makeup artist took at
least 30 to do Pite’s extraordinary mouth.
I know that I will see Pite sitting on the side watching her mentored students dance at Arts Umbrella’s Q7 Studio on Quebec and 7th Avenue today at 4.
I know that I will see Pite sitting on the side watching her mentored students dance at Arts Umbrella’s Q7 Studio on Quebec and 7th Avenue today at 4.
I find it most amazing that here I am, an old man, but
still present and that I will be watching more of this transfer. I do believe
that these young dancers do not take it all in stride. The essay above by Ria
Girard is ample proof.