Reflections: Interview With Retired Dancer Colleen Swihart

Colleen Swihart; photo by Debra Gloria

Colleen Swihart, former student of Chamberlain Performing Arts in Plano, Texas, has been all over the map with a successful international career. Starting with Houston Ballet, she then worked for Ballet Memphis and State Street Ballet in Southern California. After working for three years in Dusseldorf with Deutsche Oper am Rhein, she recently retired from the Ballett Rossa in Halle, Germany. I met with Ms. Swihart this afternoon to get her insights into her diverse cultural rearing. 

FWD - You started working in the States. What drew you to Germany?


CS: "I always liked Europe. I had teachers that encouraged me to go. They said I would be a good fit for a European company, and at the time I didn't really know what they meant. Anyway, I liked the culture, and I happened to be at the right place at the right time when I got the job in Dusseldorf. Looking back, I feel very lucky and blessed."


FWD - New York is considered the dance hub of the U.S. What did you enjoy about dancing on the West Coast with State Street Ballet?  


CS: "Obviously the weather is beautiful! Location is huge. I also had a friend dancing there at the time, and it didn't feel like you were living or working there. It always felt like you were on vacation! But, it was a dream of mine to dance in Europe." 


FWD - In your experience, what differences have you noticed between American and European audiences?

CS: "European audiences have this ingrained appreciation for the arts. In Europe, a Monday, Tuesday, or Wednesday matinee would be sold out, whereas in America, those same days wouldn't be as well attended. Also, in Europe, you can see a performance starting at 8 euro if you're a student, to 160 euro. Here, if you're going to the opera house, you can expect to pay 85 dollars to start. So, I think in Europe they make it more accessible, but America struggles with this. You know, America has football and these major sports, but unfortunately, I think the arts are neglected." 

FWD - There is an on-going debate in dance academia about style i.e. Vaganova versus Cecchetti. Is there a method of teaching you believe encapsulates classical dance more than another?   

CS: "If I had a daughter and I put her in ballet school, I would want her to study as many styles as possible, since learning different styles makes you a more versatile dancer. If you have an extreme style, for instance, very Russian, it can make it hard for a choreographer to use you. It's good that you have a solid base, and then experiment with additional styles." 

FWD - I saw footage of Ballett Rossa performing the intriguing Carmina Burana, and Romeo and Juliet, but with an interesting modern twist. What was your favorite role you danced under the direction of Ralf Rossa? 

CS: "Of course, Carmina, with the music of the orchestra and choir together is great. We had the choir on stage with us. A girl got injured and I got to do a solo in it. Another work was Nijinksy, and I got to be Nijinksy's wife. My partner, the lead principal, was great to dance with. When you do lots of partnering, pas de deux work, it makes for a more enjoyable experience." 

FWD - While you were training, did you feel your body responded better to a certain style?

CS: "Well, I was so busy picking up and trying to learn choreography. We did some Kylian, where people from Nederlands Dans Theater came to stage his work for us and they were lovely people to work with. There are many hours of rehearsal and I enjoy the process. Some dancers look only at repertoire, whereas I look at the whole experience."  

Swihart in Jiri Kylian's Petit Mort; 

photo courtesy of Deutsche Oper am Rhein

FWD - With such an extensive career, you've had the opportunity to work with many choreographers. Is there a particular choreographer that inspired you the most? 

CS: "Ben Stevenson is a great choreographer. This is a hard question because I don't want anyone to feel left out! Ralf Rossa I can say is a wonderful person to work with. Ralf trusts his dancers; he would tell us something, but then step back and give us the confidence to let us find our own way. Youri Vamos in Dusseldorf. I like how his version of Giselle had a different twist to it." 

FWD - Speaking of choreographers, Germany produced the highly acclaimed modern choreographer Pina Bausch. What impact would you say Bausch has had on German companies?

CS: "I stood on the outside, and said to myself, 'Hmm, let me see for myself what this is all about'. Then I saw her company perform and I was blown out of the water. Every single dancer had 110% commitment. You might see another company that has one or two dancers on stage that look maybe like they are having an 'off' day. But not hers."

FWD - What was your greatest challenge as a professional dancer?

CS: "For a lot of professionals, it's that at the end of the day you're exhausted and your body is sore, but the next day, you still have to get up and do it again. You're in class from 10-2, break from 2-6, then rehearsal and performance from 6-9 or later. Sure, you have a four hour break for lunch, but can you really rest? It's not exactly like you can sit back and have a glass of wine. You squeeze in grocery shopping, take care of this and that. And if you have a demanding piece that night, it can be difficult. I don't know, maybe I'm a wimp."

I wouldn't say that. It's a grueling schedule.

CS: "I don't want to complain. I've had a really nice career and I'm so grateful. But unless you strictly are around ballet friends all the time, having a personal life can be a challenge. It can be done, but it takes a lot of extra effort."

FWD - Now that you're retired, have you considered any career transitions into teaching or directorship?

CS: "Not at all! When you're a director it's a very stressful position. To be a director or teacher, you have to have a passion for what you're doing, and I never really felt a calling for either. People assume that since I've been doing this since I was six that I'll want to stay in it and teach, but I'd actually like to try something completely new in a different field. You have to have a special eye to correct students, and I don't know if I necessarily have that ability." 

I agree with you about having a special eye to correct students. I teach beginning ballet myself, and I enjoy it, but I would prefer not to focus on technique. I love giving combinations to advanced students. I'll let someone else clean up the dropped hip or pronated foot.

CS: "Maybe you can choreograph someday!" 

FWD - I'd love to! What advice would you give to students considering a professional performing career?

CS: "Stick with it. Constructive criticism is one thing, but if you get negative feedback, take it with a grain of salt. Don't take something one person said like, 'Oh, you should lose five pounds', and get crazy with it. I think it's really sad how some directors and teachers speak to students. I don't think they realize that what they say to a young person can affect them for the rest of their life. In Europe, they're a lot harsher. The dance world is very subjective. One director may not like you because you're blonde, but then you'll meet another director somewhere else that loves you precisely because you're blonde. A dancer may have their dream company in mind, and if that company rejects them, they need to remember that not one company has authority over the whole dance world. Once I realized this, it made auditions fun. In fact, I likened it to looking for a boyfriend! You do your best, and even if one company doesn't like you, there will be another one who is right for you. Yes, you need to take corrections, but one person's opinion does not dictate to the entire dance community."

Ms. Swihart is getting married in Hawaii this September, and will be moving to England. 

-July 27, 2011

The Four Temperaments

National Ballet of Canada in "The Four Temperaments", photo by David Street

One of my favorite Balanchine ballets is The Four Temperaments. Known as one of his "leotard" ballets, it was conceived in standard classroom uniform, without any lavish scenery. With a score by Hindemith, it's comprised of four variations: Melancholic (sad), Sanguinic (cheerfully optimistic), Phlegmatic (calm), and Choleric (irritable). I love the quadrangle of emotions encapsulated in one ballet. If I had to use one word to describe the choreography, I'd say busy. The score, the steps...it's gloriously agitated and alert, like a child in need of Ritalin. Here, Dutch National Ballet performs an excerpt from the Sanguinic variation. Being that my family is Dutch and I have visited Holland many times, it excited me to find this ballet represented by my cultural roots. 

Watch it HERE

Review: 8th Annual Modern Dance Festival At The Modern

photo courtesy of themodern.org

Kindred Spirits
by Bethany Adams


Contemporary Dance Fort Worth has partnered with The Modern Art Museum of Fort Worth to present their 8th Annual Modern Dance Festival. Saturday, July 9, at 8 pm was the 21st edition of their Choreographers' Showcase. Staged in the grand lobby of The Modern, an awe-inspiring house of glass fixed on tranquil waters, the exquisite setting was a modern dancer's Eden. Noteworthy performances included "AllWays gives U. water" by Jessica Thomas, Tina Mullone's "Oshun", and "When Angels Speak of Love" by Jhon R. Stronks. 


The premiere of "AllWays gives U. water" was an exercise in meditation. Entering inconspicuously on stage right, choregrapher and performer Jessica Thomas stood solemnly in the corner, not yet accompanied by music. With her eyes closed, she raised her hand towards her face and started to pulsate as if channeling a subtle electrical current. After a good stretch of silence, the music of Jonsi and Alex liberated her from her possession. Draped in blue and mimicking the bed of water encircling the venue, Thomas was liquid dance. The ebb and flow of her movements, marked by falling, contracting, and audible gasps was a holistic lullaby, rocking us into a zen-like state.


"Oshun", choreographed and performed by Tina Mullone, was a sensual retreat into the musical stylings of Esperanza Spalding. Mullone, who in my humble opinion resembles Spalding, succeeded in achieving something no other performer seemed able to: my undivided attention. Between her retro afro and swiveling hips, I didn't feel the need to look at my program once. Bathing in the rhythm of a toasty Portuguese melody, she was an undeniable conduit for the music, her dancing cool and composed. 


Jhon R. Stronks, from Contemporary Dance in Houston, was a welcome deviation from the order of the night. Tall, statuesque, and wearing street clothes, he performed "When Angels Speak of Love" set to Ryuichi Sakamoto. I could tell within the first minute of his dancing that he was classically trained despite the contrast in theme. His long, lean legs shooting from his cargo shorts were often turned out in first position, passe, and rond de jambe. Fluid and feminine, the absence of masculinity in his choreography made for interesting gender antithesis, and, had it been more concise in its duration, would not have lost an ounce in impact. 


Gathering an eclectic mix of visionaries together under one roof, The Modern Art Museum of Fort Worth served as the perfect backdrop for Contemporary Dance Fort Worth to explore the shared joy of artistic expression in all its forms. 


-July 11, 2011

Summer vs. Winter

Pacific Northwest Ballet's Carla Korbes;
photographer unknown

Summer intensives are in full swing...and so is the heat. Students look forward to taking class with guest teachers, experimenting with choreography, reuniting with old friends, and making new connections. It's an educationally rich time, but I find this scorching Texas heat oppressive. When Dallas does get cold, I absolutely love taking class in the winter. Class is a detox in itself, making you sweat and opening your pores. I always found it extremely gratifying to slip into my wool Bloch jumper after class, my feet bundled in thick socks stuffed into boots, and my neck wrapped in a lush pashmina, only to feel the fresh, chilled air nip at my face as I step out of the studio. I hustle through the shocking cold, but my body is still warm, incubating under the knitted layers. The connection between winter weather and studio life was always significant for me. I thrive on the warm thrum of bodies in the room working diligently like a team of worker ants, secluded from the glaring rays of the midday sun. It makes you feel like you're part of something greater than yourself. You're continuing the tradition of those before you who stayed up late rehearsing, honing that pirouette, refining that landing, so their tomorrow would reap better results. Sure, I could apply these principles in the dead of summer, but if I have to go outside, I prefer to go to the pool. I recently had a conversation about warm-up apparel with a classmate. We both agreed there was something very wrong about adding layers before we left the studio to keep our muscles warm, and being immediately reminded of why we don't have to as soon as we walk out the door. The urban inferno awaiting us is enough to keep the circulation going. Dance is beneficial no matter what time of year, but the rush of winter will always bring life to my step.

Audition: Dallas Neo-Classical Ballet

 

courtesy of withfriendship.com

DNCB founders Victoria Dolph and Emilie Rupp

will be holding a company audition:

 August 21, Sunday

2-4pm

at

XD2 Dance 

1802 Pleasant Valley, Ste. 300

Garland, TX

For more information, visit  Dallas Neo-Classical Ballet