This weekend, Pennsylvania Ballet II is performing four new dance works created on the dancers of the company by four talented choreographers with deep connection to Philadelphia ballet scene. The program is hosted by PA Ballet’s artistic director, Angel Corella with one hour of performance, followed by a reception. Before the special one-night-only performance, some of the talented choreographers took a moment to talk to Phindie about their choreographies and their thoughts.
Born in Santa Clara, Cuba, Edgar Anido began his formal training at the Vocational School of the Arts, as a classical dancer. At the age of 13, he was relocated to the Elementary School of Ballet “Alejo Carpentier” (Havana, Cuba) to continue his studies. He graduated with honors at the 18 years old from the National School of Ballet (Havana, Cuba).
He started his professional career as a classical ballet dancer with Camagüey Ballet in Cuba and the Central Ballet Theatre in Ecuador before he auditioned for Maximum Dance Ballet Gamonet in Miami, Florida. Three years later he moved to New York City to dance with the world-renowned Complexions Contemporary Ballet. After six years, Mr Clausse moved to Philadelphia and joined BalletX. Throughout his dance career Mr. Anido had the opportunity to work and study with great teachers, dancers, choreographers, musicians, and photographers, won awards and medals at multiple competitions both as a dancer and a choreographer. [The Prince Theater, 1412 Chestnut Street] February 25, 2017; paballet.org/choreographic-workshop
Phindie: Can you tell me how you came up with your choreography?
Edgar Anido: When I received the offer to be one of the choreographers for this Choreographic Workshop, I decided to choreograph on Ludwig Minkus, the composer of the ballet “Don Quixote as Pennsylvania Ballet performed the ballet last spring. He was a prodigy as a violinist since he was a young child and a prominent composer creating numerous pieces of ballet music. His life was about entertaining. He always wanted music to play for dancers. I wanted to make a dance like his music, like various music instruments such as a violin, a drum and a flute coming together and creating an entertainment. It is an idea of creating at a rehearsal. This is about music. And just like musicians love music and become music, the dancers become dance itself.
Phindie: What is your favorite part of your choreography?
Edgar: I like the magic of it. I am building something entertaining to challenge the dancers, to give them desire to be more and a way to motivate themselves.
Phindie: What is your special moment of this workshop?
Edgar: Everytime I say “ok, let’s start from the beginning” and the dancers start dancing, I feel the magical feeling of being amazed by what I see. This is what I made with the dancers. Choreographic process is to be done through interaction with choreographers and dancers. I want the dancers to understand that they are the art and they need to be both motivated and motivating. The dancers at PA Ballet II are trained in classical ballet method. While utilizing the lines and techniques of classical ballet, I want them to continue investigating broader possibilities of themselves. I want the dancers and the audiences to believe in it – in the beauty and passion of dancing.
[The Prince Theater, 1412 Chestnut Street] February 25, 2017; paballet.org/choreographic-workshop