Showing posts with label Dancer. Show all posts
Showing posts with label Dancer. Show all posts

December 5, 2017

"Ditch Gender Roles" Says World Ballet Prodigy Sergei Polunim

The world-famous ballet star sent the empowering message of self-confidence ahead of his Project Polunin’s Satori opening at the London Coliseum this week.

“You have to get the vision and you have to grab it,” he told Gay Times of how his confidence and belief in himself fought insecurities throughout in his life. 

“It’s a game to try and shorten the time to get it, but you’ve got to always be determined because if you truly want something, there’s no way you cannot get it. The worst thing is to make excuses for why you can’t get it, and ego will be strong in protecting you from being hurt. 

“Having an ego doesn’t mean you think you’re the best, it’s about it may be telling you to ‘not go there because they might say ‘no’ or hurt you’. I’ve had this fear and still have this fear, but I have to be brave to succeed. Every time you go anywhere new, you have to be brave – it’s about not thinking about it and just going for it!”

Sergei applying the theory of self-worth to his recent breakout into Hollywood movies – a chance that finds him alongside Dame Judi Dench and Johnny Depp in Murder on the Orient Express. It’s a movie that almost didn’t happy due to his own insecurities.

“I almost didn’t take this big step for the movies as I was scared to fail, and that would crush my dreams,” Sergei begins in reference to temporarily stepping away from ballet and onto the big screen. “They will say ‘no’ but I had to be brave and go there!” 

With Satori’s opening almost upon us, the ballet superstar dismisses any suggestion of gender roles – insisting that you can choose your own destiny and life choices – including that of boys and ballet.

“I had a lot of respect when I was a kid for doing ballet in Ukraine in my yard,” he begins – a seeming polite middle finger to that of closed minds and insisting gender roles with society.

“I went and the teacher said that ‘if you’re good at this then this is a man’s job’, and if not then leave it and try something else. I always thought doing ballet was a manly thing to do and it was. I had that confidence to believe in me!” 

Sergei hopeful that audiences’ time in the arms of Satori awakens a youthful spirit that’s true to their childhood. 

“I’m hoping it will awaken a trust essence in them and they will come back feeling as they were as a kid. How they should be as true as when they were kids. I’m hoping people can go backward in a way because I think that’s the truest.”

William J. Connolly
Gay Times

December 27, 2013

“Contemporary Eric” Demonstrates his Zombie with Emotion Technique, Among Others

If you’ve ever marveled at any contemporary routine on So You Think You Can Dance, this video is a must-watch. “Contemporary Eric” demonstrates the fifteen essential moves that you can piece together to create a riveting and emotional number set to tracks by Adele, Ani DiFranco or your maudlin music of choice. Mia Michaels would be impressed. Honestly, it’s the funniest thing I’ve seen in a while. The “zombie with emotion,” “the knee,” “pants,” and “just came out of the well” are my favorite movements.
It took me a moment to recognize the instructor, but eventually figured it out. Robert Hoffman who’s known for his hip hop prowess starred in the second Step Up flick and She’s The Man co-starring Amanda Bynes. I also featured him in a Man Crush post last year. Watch Hoffman in his alter ego state, along with his assistant Bich (pronounced bitch), give a hilarious tutorial. After pigging out on Christmas Day, I’m definitely practicing these moves to burn off the massive calories inhaled. Hope you enjoy the parody.


Author: Donovan

October 31, 2013

Full House Star Blake McIver Reveals He is Now a Male go-go Dancer

His former co-stars Mary-Kate and Ashley Olsen have become international stars since finding fame in the hit 90s series Full House.
But for their onetime castmate Blake McIver things are now very different.
For the former child star has revealed he is now working as a male go-go dancer.
Have mercy! Full House star Blake McIver has turned into quite the hunky go-go dancer
Have mercy! Full House star Blake McIver has turned into quite the hunky go-go dancer

You got it dude! The 28-year-old was recognised as Michelle Tanner's (right) frenemy and playmate Derek
You got it dude! The 28-year-old was recognised as Michelle Tanner's (right) frenemy and playmate Derek

The 28-year-old played Michelle Tanner's (The Olsen's) frenemy Derek in the series, and also took the role of Waldo in 1994's The Little Rascals.
But he has traded in his stiff prepster look for a barely clothed, chiseled go-go dancer.
McIver revealed to RumorFix that he started go-go dancing to boost his confidence levels after coming out as gay three years ago.
'I had so much shame about my body,' McIver said, explaining how he suffered from major self-esteem issues.
'This was a way to express myself that was safe, sensual and fun.
'I'm not hiding who I am anymore — not pretending I'm something I'm not.'
Confidence is key! The former child star started go-go dancing to boost his self-esteem
Confidence is key! The former child star started go-go dancing to boost his self-esteem
The singer/songwriter initially tried to pursue a career as a vocal coach but was having difficulty maintaining a secure income.
So he looked to dancing as another way to make ends meet, and 'in the process, I found it so liberating and empowering,' McIver explained.
'The tips were good. In fact, I raised so much money I was able to finish my record - mission accomplished.'
McIver has also recently returned to TV by starring on the premiere episode of Bravo's new series The People's Couch.
Something is similar... McIver still has the same voluminous hair as he did in his youthful days
Something is similar... McIver still has the same voluminous hair as he did in his youthful days

March 10, 2013

The Russians Could Not Conquer Afghanistan but They Did {Ballet}

Svetlana Zakharova, a principal dancer of the Bolshoi Ballet, and other dancers perform during a rehearsal of Tchaikovsky's ballet "The Sleeping Beauty" at the Bolshoi Theatre in Moscow November 17, 2011.
Svetlana Zakharova, a principal dancer of the Bolshoi Ballet, performs during a rehearsal
Photo by Denis Sinyakov/Reuters
Ballet dancer Pavel Dmitrichenko confessed on Wednesday to hiring the men who threw acid in the face of Bolshoi Ballet director Sergei Filin in January. Dmitrichenko was reportedly miffed that Filin repeatedly passed over his girlfriend, ballet prodigy Anzhelina Vorontsova, for leading roles. Why is the ballet such a big deal in Russia?
It’s equal parts history, national pride, and hero worship. Russians of all social strata have long been obsessed with dancing. Regions have their own folk dances, and during the medieval period, dancing serfs provided the primary form of entertainment in the courts of Russian nobles. When the country became interested in Western European art forms in the late 17thand early 18th centuries, ballet replaced folk dances in the existing culture of dance training and performance. Orphans of deceased government employees were raised from birth to be ballet dancers, and aristocrats founded ballet academies to train the serfs who occupied their lands. The wealthy bought, sold, and traded their most talented dancers.
There’s something uniquely Russian about the way the country went about conquering the ballet world: Russia’s mighty leaders decided to make ballet a Russian art form, and through centralized planning and the shrewd use of resources, bent the country’s culture to their will. Catherine the Great, in particular, organized prestigious schools and built theatrical palaces. (It was Catherine who made the Bolshoi Russia’s most important ballet troupe.) Russian czars used their wealth to coax foreign talent to St. Petersburg, especially after the French Revolution stalled artistic progress in Paris. Most notably, the French dancer and choreographerCharles-Louis Didelot immigrated to Russia after finding it difficult to make a living in in London, which lacked a strong state sponsor of ballet. Once in Russia, both foreign-born and native talent developed a Russian style of ballet. They helped liberate ballet from its relationship to opera—the world’s oldest national ballet troupe is known as the Paris Opera Ballet, founded in the 17th century—and focused on the beauty of the movement rather than a narrative structure. In the early 20th century, Russian modernists like Sergei Diaghilev rebelled against the paint-by-numbers style of choreography that had turned ballet into a series of technical exercises.
  While ballet lost popularity in Western Europe and the United States during the second half of the 20th century, it held on in Russia, in part because exporting world-class talent gave Russians enormous satisfaction. The successors to Diaghilev’s Ballets Russes toured the world, spreading the gospel of ballet. (For a delightful account of this period, seek out Dan Geller and Dayna Goldfine’s 2005 documentary Ballets Russes.) Young Russians saw the ballet as the quickest route to national and international glory, and the state strongly supported the development of promising dancers. Today, ballet schools around the world boast that they teach in the Russian tradition, and Western trainees wonder how their Russian peers manage to bend themselves into improbable positions.
Russia’s unique style of ballet may also contribute to its enduring popularity. Many critics note—and some bitterly complain—that Russian dance troupes emphasize the individual dancers’ remarkable physical gifts, sometimes at the expense of subtlety and artistic expression. Russian audiences demand such performances, loudly interrupting the ballet with cheers to celebrate feats of technical brilliance. The emphasis on individual glory reminds one more ofHollywood’s star system than a purely artistic pursuit, and it may help to glamorize the ballet in modern Russia.

February 24, 2013

The Harlem Shake at Gyms in Nebraska

The Huskers, University of Nebraska's men's gymnastics team, show off their moves in a video filled with thrusts and jumps

University of Nebraska's men's gymnastics team strip off and flip out for their version of the Harlem Shake.

January 14, 2012

Jose Navas } A Venezuelan Dancer Loved in Canada

José Navas left his home in Caracus, Venezuela in 1988 with a one-way plane ticket to New York City and $200 in cash. Now, almost a quarter-century later, the Montreal-based Navas has developed a reputation as one of Canada’s most-loved dancers.
All photos by Valerie Simmons, courtesy Compagnie Flak.
Make no mistake, his parents love their son and his husband, McGill associate law professor Robert Leckey. But when Navas returns to Venezuela to visit his parents, the family doesn’t discuss his incredible international success.
“The parents look the other way,” says Navas. “I think it has something to do with the fact that I left with an ambitious dream, and when it happened, it confronted them with something. I honestly don’t know what it is.”
His new 3D dance film, ORA, received a delirious ovation at the Toronto International Film Festival (TIFF) last fall. National Film Board filmmaker-in-residence Philippe Baylaucq collaborated with Navas on a visually breathtaking film shot entirely with infrared thermal-imaging cameras.
“The acclaim at TIFF wasn’t a surprise because we knew we had something special,” Navas says. “The film is simple and elegant and had never been done before. It’s always an interesting exercise as a dancer to work with filmmakers because you have to give away a lot of control. It’s nourishing, but it’s also nerve-wracking because you’re used to calling the shots and now you’re just another piece in the machine.”
And the 47-year-old Navas says he has no plans to retire from the stage anytime soon. “It’s bizarre how I have less injuries and pain today,” he says. “My body is more efficient. I’m reaching my peak at 50.”
And his dancecard is full. His new hour-long solo piece, Personae,premieres in Montreal in January, then moves to Ottawa’s National Arts Centre in March. Then in May, his full-length piece, Bliss, opens in Vancouver, where he is resident choreographer of Ballet BC.
Navas came out at age 11 and was long bullied by kids at his elementary school in Venezuela. Which is why – in addition to his busy dance schedule – he says he plans to establish a charitable foundation to help gay youth.
“I spent so much time thinking about committing suicide between the ages of nine and 11,” he says. “After my third suicide attempt, I was so scared about the whole thing I had to talk to my parents. The moment I spoke with someone – with my parents and then later with my friends – it transformed into understanding. So I think sharing your fears with people who understand helps. I then realized there are other people like me. But despite the internet and new technology, it isn’t easier for young gay kids to come out today. That’s why we all need to talk about this, [and] one of [my] plans is to create a foundation that will help young gays and young artists succeed.”

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