Dance evaluation In a ballet competition, skill is measured by classics known to everyone, but the age of the competitors attracts attention

Dance

Preliminary and semi-final rounds of the Helsinki International Ballet Competition 31.5 – 3.6.

Ballet competition the main ones are, of course, competitors. During the competition, dozens of different works will be seen in more than two hundred dance issues. What are they, and what do they say about the hierarchies of taste in the art genre?

The three first rounds are made up of variations, ie pre-defined short ballet numbers. They are demanding solo numbers planted in the middle of a ballet work, or large pas de Deux double dances.

They are a kind of gem of ballet and a measure of a performer’s skill. Competitors will be informed in advance of the works to be performed. List the twenty. Almost all are the top names in Russian ballet Marius Petipan (1818–1910) handwriting.

Eldest of the options provided is Danish August Bournonvillen ballet from the 1830s and the most recent Frederick Ashtonin work from the 1960s. In other words, the choices focus on Russia’s late romance. What is the reason for that?

“This is a practice in ballet competitions in general. Petipa’s major classical works are part of the basic repertoire of ballet groups around the world. They are trained in their technique and aesthetics, and they are also evaluated by the jury, ”the chairman replies Minna Tervamäki competition government.

The task of the jury is to assess the technical and artistic merits of the competitors. Even for a used regular viewer, the opening rounds were quite a chore. Of the approximately 100 short numbers seen, the eye begins to wiggle. From time to time, it was like being in a pastry shop.

Pirouettes and beautiful ankles are enough. The question arises as to whether this is a demonstration of skills or an art. This difficult and ambiguous question will, of course, be resolved by an experienced jury. The viewer can just sit in peace and spot their own favorites.

Own my favorites included an American Alexei Orohovskywith a force-like solo from ballet Talisman accelerated the audience to screams. My other favorite (without the patriotic decision) was a Finn Anni Martinsénin a carefully structured and directly-targeted variation of ballet Pirate.

There were, of course, many great competitors. However, it was noteworthy that several of them were in the 15–19-year-old Junior group. Is this exceptional?

“Yes, it is striking now. One reason may be that the Helsinki competition is timed in such a way that many international ballet groups are still running a show season. Of course, it limits the opportunities for senior dancers attached to them to participate. ” Tervamäki states.

In two the forty dancers selected in the semi-finals each performed one contemporary dance number. Inevitably, I began to wonder what “Contemporary Dance” is. In this case, it meant choreographies made after 2010, even though the style of many was like half a century ago.

The range of works was wide, but clear trends can be observed. Most of the works combined, for example, expressive arm and arm movements and floor movement with ballet-based technology. Pathiness was a trump card.

Many choreographers also consciously offered the opportunity for technical tricks. The ballet body, with its air vents, cart wheels, and legs leaning in the sky, could lean heavily on the side of gymnastics and acrobatics.

There were also works that were not based solely on ballet technique. Ryo Hinouen accompanied by Japanese drum music Zen (kor. Miwa Horikawa) drew dance like a sword. Matoi Kawamoton presented by surprise Night Eyes (kor. Kimiho Hulbert) avoided all categorizations.

Choreography by Anni Martinsén Unknown was super stylish Bachin the encounter of solo cello music and contemporary dance. Of the choreographies, it was definitely the most surprising Viola Länsivuori presented by Trio (kor. Katriina Luukas). In both ways, it intertwined with the sauna-themed podcast heard in the background.

Exciting was also the South Korean Seoyeun Kim presented by Avant-garde (kor. Emerçan Tanis). In its name, it showed respect for the Dadaists of the early 20th century in its Dadaist way.

With everything the semi-finals forced us to reflect on the whole concept of contemporary dance. Is ballet technology with toe shoes really related to that? Should the concepts of Contemporary Ballet and Contemporary Dance be distinguished?

The competition organization now has a time for serious rethinking and definition in this matter.

Of course, the jury basically judges the dance performances, not the works. On the other hand, one or more choreographer prizes will also be awarded in the competition. It’s really interesting to see what kind of choreography speaks to a jury of ballet professionals.