Dance for You Magazine Issue 76 (2017)

DANCEforYOU magazine
17
Why did you go to the New York Ballet?
Besides wanting to grow as an artist and take on the challenge
of the Balanchine/Robbins rep, the main reason
behind my decision was the leadership. Kevin McKenzie
(director of ABT) and I didn’t see eye to eye, and I knew
I was not going to get promoted to the principal rank.
The change worked out great for me and my career. Peter
Martins is a great leader with a strong vision. He walks
in the room and commands respect, and he is done a
tremendous job for over 30 years, since stepping into
Balanchine’s shoes. He has not only believed in me and
nurtured me, but also has been a friend and supporter of
my career beyond NYCB. From my vantage point, it has
been a true privilege to have danced in both companies.
Joining NYCB was instrumental for my development as an
artist and vital to make me the person that I am today.
What similarities and differences are there
between ABT and NYCB?
The two companies are poles apart. I always like to say that
ABT is the Empire State Building and NYCB is the Chrysler.
The first, more bulk than essence (even more now), all about
appearance with big names in starring roles and dusty repertoire.
The second, a true jewell where dance innovation was
born and it continues to be created. A dancers’ company.
How would you describe yourself as a dancer?
Hungry and forever a student. Every masterpiece I do teaches,
humbles, and makes me work harder.
NY is one of the great world stages, what do
you think about the evolution of ballet in the
last two decades?
It’s a bit disappointing how gimmicky everything is getting.
Like gymnastics!! Nowadays, kids have more respect
for their Ipads than for their teachers. Don't get me
wrong, it’s wonderful to have access to all this footage of
what’s happening around the world, but unfortunately
the majority is watching the wrong things. They watch
dancers doing "tricks", and they try to copy them, when
they should be watching Vladimir Vasiliev in “Giselle” or
Eva Evdokimova or similar "true" artists. Young dancers
are not hungry to really learn. The youth feel entitled
before even achieving anything because the "era of the
ipad" tells them that anything is possible. Something
must be going wrong when someone’s ultimate goal is to
get a million views on youtube for doing a variation on a
crazy turn. Nothing can substitute hard work, artistry, and
respect for the craft and the teachers.
Joaquin De Luz in George Balanchine’s Harlequinade´´ Photo by Paul Kolnik
www.danceforyou-magazine.com