March 24th, 2008
Happy Easter to everyone (even though I am one day late to be precise).
Anyway I was reading an article some days ago I found on the another dancers’ blog, TheWinger.com . It’s a great blog from contributors around the globe.
David Hallberg, Principal with ABT (who I’ve met recently in NY for the first time at the gala) mentioned and presented this article in Newsweek , which was written by his collegue Sascha Radetsky. I would like to share it especially with my male readers:
© Nathan Perkel for Newsweek
My business attire is a pair of tights. All right, there it is. I wear makeup onstage, and some of my colleagues are gay. Can we move on now? Can we leave behind the tired male-ballet-dancer stigma—that ballet is not a masculine pursuit—in order to move toward an appreciation of the athleticism and artistry involved in this line of work?
On an average day at the job, I handle lithe, lovely women, engage in duels and delight in the experience of an exotic locale. I move like a gymnast or martial artist and embody the vilest of pimps or the most chivalrous and passionate of lovers. I constantly expand the borders of my physical capabilities, and I hone my mind to a quick-learning, focused edge. Come 8 p.m., I’ll fuse dynamic movement and storytelling with the grandeur of a full live orchestra.
Yes, I’m proud of my profession. Yet I find myself slightly guarded when I tell people what I do. Like some sort of incurable blight, the male-dancer stereotype has taken root and metastasized in our cultural consciousness. Pioneers like Baryshnikov or Nureyev might have opened some minds, but their days have long passed, and despite the noble efforts of a handful of current ballet leaders to expose fresh audiences to our art form, a whole new generation looks at male dancing with skewed vision. Some of my peers are foreigners; in many other countries male dancers are held in higher esteem. I studied in Russia for a year and always marveled at the way Russians celebrated their artists, whether their medium was dance, music or the written word. But I’m American, and I want to live in my own country, as a dancer, with some respect.
The most irritating aspect of the male-dancer stereotype is the underlying insinuation that we in some way lack strength of character or a courageous spirit. Male and female, all dancers undergo strenuous training from a very young age, and constantly wrestle with injuries and fatigue. But male dancers must possess a special type of will and fortitude if they are to become professionals, for, like fish swimming upstream, we have to fight through the current of thinly veiled contempt that much of society harbors for our chosen path. In our culture, girls are encouraged to take ballet; boys receive no such endorsement, except of course from ballet teachers or exceptionally supportive parents. The boy who perseveres in dance must have a genuine hunger for it, must be uniquely motivated and dedicated, and must develop a truly thick skin.
I started taking ballet when I was 5. My open-minded parents thought it was a good way to channel my rambunctious behavior. A few years later I was hooked. I loved the physicality and, of course, the girls, but I also learned that not everyone recognized the value of dance the way I did. I don’t remember the first fight I got into for being a kid who took ballet, but I remember fighting a lot before I realized that maybe I should keep my extracurricular activities to myself. But ballet was rewarding enough to be worth a fat lip or a black eye, and I emerged from my years of dance training more focused than ever. My background is not unusual among my American colleagues—they share similar stories of discouragement, harassment and even violence. But these experiences served to harden resolve and develop courage, and I know I can always count on several of my dancer buddies for steadfast support—they got my back! Ironically, the stereotype of the sissy male dancer has given rise to a male dancer who is anything but.
It’s frustrating that I feel obliged to extol the virtues and describe the rigors of my profession. I’d just like to make it known that the path of the male dancer isn’t necessarily easy—as with any truly worthwhile endeavor—but the rewards can be limitless. I feel lucky to have discovered a vocation that has allowed me to glimpse the great depth of human potential, both physical and mental, and has given me the opportunity to bring joy to so many people in so many places. I feel there is honor in the arts, in the world of dance, in the realm of male ballet dancing.
Exposure to ballet is all that is needed to open minds, for the combination of athletic movement, ardent drama and beautiful music can instill a profound appreciation in an audience. But for you out there who still feel compelled to malign male dancers with half-truths and petty stereotypes, well, maybe we need to step outside. I’ll leave my tights on.
Radetsky lives in New York City.
© 2008
I find the article both interesting to read and enlightening about the situation of a (young) male dancer in our society.
Luckily I was not in such a demanding situation. I had the luck of being trained and supported fully by my parents and surroundings. I never got into a fight in school with someone because I do ballet. Maybe it was because almost no one in my academic school (untill the very end) knew I did ballet. I rather kept quiet about my other activities out of school. In the very end it was just too obvious since I missed weeks being on ballet competitions, so slowly most of my friends knew about that. By this time most of the people around me were pretty much grown up and open minded, so there were practically no conflicts.
In my childhood I somehow didn’t mind not speaking or mentioning ballet to other people. Why should I bother them, making problems, letting them have prejudices? As Sascha has put it, ‘Yes, I’m proud of my profession.’ That’s pretty much it. It gives me so much personally, that I don’t have the urge to force it to people. If you like it, great! If you don’t, I really don’t mind, since people and therefore tastes are different.
In the end you cannot and will not be able to please all.
March 13th, 2008
Hello there again. Just a quick information about my two performances this summer in Japan (since so many asked)
I will perform on the
- 9th of August 2008 at the Sunport Theater Takamatsu
and on
- 12th of August 2008 at the Youport Theater Tokyo
My performance will consist of my two contemporary numbers “Les Bourgeois” and “Moorhuhn”
Get yourself some tickets 
March 13th, 2008
One month it is gone since I was in New York and only now I kinda feel like writing something about it. This tells you a lot of things happened to me since then which I am not yet willing to share, but definately will, when the times comes right.
New York
(All of the following pictures are from the courtesy of Mr. Gene Schiavone)
To sum it up, everything went pretty well and accordingly to the critics pretty successful.
“Even in distinguished company, certain artists seem to rise to the surface. This time it was Vienna Opera Ballet’s Daniil Simkin, a compact dancer of amazing agility and range. In his first solo, Moorhuhn, to messed-about Mussorgsky – parts of Pictures at an Exhibition mixed with sounds of clucking chickens, tweeting birds, etc – Simkin gave quirky choreography an impish twist and acrobatic prowess. His comedic versatility looked even better in Les Bourgeois to Jacques Brel in a solo epitomising a cheeky garçon at large in Paris.
It was not until Simkin partnered the Royal Ballet’s Roberta Marquez in the obligatory gala pas de deux from Don Quixote that his classical line, soaring elevation and attentive partnering came through. He was nicely matched with Marquez, a piquant whiz of a technician, and they gave this occasion an appropriately high-spirited finale.”
- Financial Times
“…We saw 13 dancers in 13 pieces plus a stage-crossing finale. The occasion’s discovery was Daniil Simkin, a 20 year old currently in the Ballet of the Vienna Staatsoper and Vienna Volksoper but the product of Soviet training via his parents, Dmitrij Simkin and Olga Aleksandrova.
Looking boyish still, Simkin’s bravura stems from an airy technique and a light-boned, smooth-muscled physique. With Puckish charm he carried off two overly cute solos, his father’s “Moore Hen” which calls for him to lay an egg (supposedly to Mussorgsky music) and Ben Van Cauwenbergh’s “Les Bourgeois” in which he swaggers and smokes accompanied by a Jacques Brel song. What really put Simkin over was the “Don Quixote” pas de deux with Roberta Marquez. He had the clean classical elegance and full range of standard steps for this “Petipa” showpiece plus the ample strength to add extra turns on the ground and twists in the air. Simkin lifted Marquez high and partnered her attentively…”
“…Next year, let’s have several new talents like Simkin this year! ”
- DanceViewTimes
“And a “Don Quixote” pas de deux, danced by Roberta Marquez of the British Royal Ballet and Daniil Simkin of the Vienna Opera Ballet. But Mr. Simkin was oddly subdued. Only in the finale did he and Mr. Matvienko tear up the night in feats of fast, stage-crossing, bravura dancing. ”
(You cannot please all, or can you ;)?)
- NY Times
“Newcomer Daniil Simkin of the Vienna Opera Ballet also made three appearances Monday night. Mr. Simkin exemplifies the current vogue for very young dancers who look even younger. To some extent it’s a perennial vogue, and ballet perpetually capitalizes on the thrills of the prodigy. According to the program, Mr. Simkin was born in 1987, but he’s very childlike: small, slight, and cute in an urchin-like fashion. He performed a solo in each half of the program. One was created by his father, Dmitrij Simkin, and one was by Ben Van Cauwenbergh. Both blended acrobatic ballet stunts with actual acrobatics, and left no doubt about his hypertechnical and hyper-flexible capacities. He closed the program by partnering the Royal Ballet’s Roberta Marquez in the “Don Quixote” pas de deux, which had been the final number on last year’s program as well.”
- NY Sun
” The irrepressible Daniil Simkin (above), who performed two humorous solos in addition to closing the evening in the Don Quixote pas de deux, was a favorite of the audience, which liked the quirky solos and applauded his high leaps and multiple turns in the pas de deux.”
- Dance Magazine
“…and one of the evening’s favorites Daniil Simkin, Vienna Opera Ballet.
A winner of the several ballet competitions including Varna in 2004, D. Simkin won the audience over as much with his personality as with his craft. In the twitch and tangy “Moorhuhn” by Dmitrij Simkin, D. Simkin moved with the fluency of Tharp dancer—boneless and razor sharp and once again in “Les Bourgeois” by Ben Van Cauwenbergh, Simkin proved a beguiling guide through the music of Jacques Brel…”
- Eye on Dance and Arts
” Stealing the show, undoubtedly, was Daniil Simkin, a dancer with the Vienna Opera Ballet. Daniil took the stage three times last night–twice in solos and once in a Don Quixote Pas de Deux with Roberta Marquez of the Royal Ballet. Daniil’s charismatic stage presence almost overshadowed his bounding leaps and perfectly solid turns. You never worried that Daniil might miss a beat or lose his spot. He was flawless the entire evening and each time he took the stage he was welcomed with resounding yells of “bravo!” from the audience.”
- Dance Spirit
Well what else can I say…not much for the moment actually. There is a gala coming up in St. Petersburg, Russia. Actually it’s my first gala in Russia and it was funny to obtain a russian visa at the embassy (since I am a German citizen).
As you saw I added a facebook button at my networks. You can add me if you want.
In the next days and weeks I am going to try to set up the calendar/schedule on the right side of this page so you can see my following performances. and maybe recode some of my videos. Beside this I’ll have a photoshoot soon and it may be you will see some photos of that soon on this site…a lot to do.
But as I said I have some news concerning my future, but in the moment I am unable to make them official. Please be patient and understandable.
February 21st, 2008
Wrote that really some time ago. Sorry to post it only now
—————–
Hi again.
I’m sorry I did not get back to blog some days (actually more than 2 weeks :-/ ). I had a busy time back there.
Well I’m sitting right now in the plane to Amsterdam (the connection flight to New York) and write this thingy here to later post it on my blog.
London
Well I was in London for two days to rehearse and unsurprisingly it rained like always. Whenever I am there it somehow happens to rain, no matter what time of the year or how long I stay. It just rains buckets. The rehearsals with my partner Roberta Marquez from the Royal Ballet went well and I had a nice time over there walking around in Covent Garden and meet some old friends. I was there already before. What comes to my mind now is a clip I found back last year in YouTube. It’s funny actually. Please watch that clip here and focus on Second 00:36…http://www.youtube.com/watch?v=KsGHSg81wbk (unfortunately the embedding is disabled)
Furthermore here are some pictures I made with my phone (I apologize for the quality).
Covent Garden:
View from the Royal Ballet area:
(By now I was interrupted by the stop in Amsterdam. Now I am writing from the flight to New York.)
Vienna Opernball
Well immediately after that took place Vienna’s Opernball. I actually don’t know how popular this is apart from the German speaking countries, but here it is definitely a big thing. (Really excessively) dressed up people come together and celebrate, dance and have fun. Even the theatre itself gets dressed up for the occasion. The tickets have a hefty price tag, but luckily I got to go for free since I was dancing a small variation choreographed by Giorgio Madia. All in all it was a nice and special experience, which I will not forget.
New York Preparations
Well, my program in New York is not an easy one. I am going to dance Les Bourgeois, Moorhuhn and the Don Quixotte Pas De Deux with Roberta. First of all the worst thing is that DonQ (that is the acronym for Don Quixotte) will be in the very end and it is definitely the piece which I need the most energy for. It always has been and will be, so I just have to deal with it, I guess. The problem is the constant warming-up-dance-getting-cold cycle, which really drains on your powers, especially when you are dancing three times. In this case the normal routines you are used to do not apply fully and you really have to plan things and your energy out in between the performances and in the breaks. I will try my best as always but unfortunately you never know with what surprise life comes up for you. I like things to be pinpoint precise and planned out in advance, but you never know If you have watched, please know I tried to do my best
Well. They are giving out ice-cream inflight now (even though unfortunately it is no Ben Jerry’s or Häagen Dazs, but now any icecream will do it actually ^_^) and the flight is about to land soon, so I’ll finish that here and post it later in my hotel.
