Self Discovery in Life & Dance
When Birgitte was 6 years old, she started taking a ballet class. She shares that she took the classes, had the recital and she shares that that experience woke the little ballerina in her. After that class she kept begging with her parents to take more classes, but they didn’t allow her to. She ended up taking some ballet classes for her P.E. credit in college and she shares that she loved it but it was absolutely terrifying. At 53 years old was when Birgitte finally fulfilled her dream to become a ballerina. Birgitte started with one to two classes per week and within 6 months she was taking fourteen classes and was en pointe. Since then, she hasn’t stopped dancing and loves what she does.
An Interview with Dancer & Teacher Birgitte Necessary
Pronunciation: Bi-gee-ta Ne-ses-aerie | Pronouns: she/they
By Samantha Weissbach, DWC Owner & General Manager and Nicole Barrett, DWC Blog Editor
Here at Dancewear Center, we love to highlight local dancers and teachers that relate to our message. We got the opportunity to speak with one of them, Birgitte Necessary who is a local dancer! Read on to learn more about Birgitte’s dancing journey and how her identity affects them in the dance world!
When Birgitte was 6 years old, she started taking a ballet class. She shares that she took the classes, had the recital and she shares that that experience woke the little ballerina in her. After that class she kept begging with her parents to take more classes, but they didn’t allow her to. She ended up taking some ballet classes for her P.E. credit in college and she shares that she loved it but it was absolutely terrifying. At 53 years old was when Birgitte finally fulfilled her dream to become a ballerina. Birgitte started with one to two classes per week and within 6 months she was taking fourteen classes and was en pointe. Since then, she hasn’t stopped dancing and loves what she does.
Birgitte came out as non-binary during the pandemic and shares that all she really thought about was training and dancing and didn’t associate her new identity with dance yet. She shares that she was just doing what she was taught before which was existing in the binary of dance. Coming out as non-binary made her feel a little rough around the edges and made her think of how she was going to represent and be herself in this world that she loves. Now thinking about it more, she worries about how much she is represented in the studio and struggles with how much she should really worry about this.
We loved getting a chance to speak with Birgitte! Be sure to check out the rest of their interview down below!
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
Journey & Identity Through Dance
Pride month is upon us and what better way to celebrate pride than to highlight queer dancers in the Seattle community! We got the opportunity to speak with local teacher and dancer Annie St. Marie about their experience with the dance and LGBTQIA+ community. Read on to learn more about Annie’s dancing journey and their identity in the dance world!
An Interview with Dancer & Teacher Annie St. Marie
By Samantha Weissbach, DWC Owner & General Manager and Nicole Barrett, DWC Blog Editor
Pride month is upon us and what better way to celebrate pride than to highlight queer dancers in the Seattle community! We got the opportunity to speak with local teacher and dancer Annie St. Marie about their experience with the dance and LGBTQIA+ community. Read on to learn more about Annie’s dancing journey and their identity in the dance world!
Annie started dancing when they were 4 years old. Their first experience with dance was at a local community center in Seattle and then moved to the American Dance Institute in Greenwood. They share that their neighbor across the street also danced there and went on to audition for Pacific Northwest Ballet. Annie says that they thought to themself “If they can, why can’t I!” and auditioned there as well. They initially got into PNB and danced there from ages 8 to 17. Annie trained very extensively in various different styles of ballet and Horton technique and shares that it was a great experience.
After consideration from their family, they decided to stop training at PNB when they were 17 and continued doing musical theater that they had done all throughout high school. Then when Annie was a senior they decided that they wanted to keep dancing and applied to Cornish College of the Arts. After not attending initially after their senior year, they did Cornish’s three year program and graduated in 2018. Since graduating, Annie has been teaching at various studios, performing and taking classes as much as they can.
Annie uses he/she/they pronouns and shares that they identify as non-binary which can affect the way they are seen in the dance world. They share that people can assume their gender or pronouns being she/her or that they present feminine which they share isn’t great. Now that they have found places where they are accepted they share that it is better, but growing up in the ballet world, there are lots of specific gender roles. Females are supposed to curtsey and males are supposed to bow and Annie tries in their classes to eliminate those gender roles as much as they can.
Annie shares that they have lots of things coming up for them in the next few months! Annie currently teaches a ballet/contemporary class at Westlake Dance Center in Shoreline every Saturday. They will also be teaching some master classes throughout the summer and just performed at the Seattle International Dance festival with Coalescence Dance Company. In September they are performing in a show called A Night In Paris which is taking place in Leavenworth. Lastly, in the fall they will be teaching some adult intermediate ballet classes and modern classes at eXit Space.
We are so happy that we had the opportunity to speak with Annie! Be sure to follow them on Instagram here and check out the rest of their interview on YouTube!
Sources:
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.
Living My Truth Out Loud: Embracing Human Expression
“Human expression on the most natural level is non-binary,” said Ashton Edwards, former Dancewear Center (DWC) Ambassador, in an interview for the DWC Blog. Ashton is a dancer with Pacific Northwest Ballet, and an exquisite one. I’ve been following them on Instagram since they partnered with the DWC ambassador program in 2020. They inspire me and give me hope because when I was growing up, queer dancers were invisible.
By Brittni Bryan, Former DWC Ambassador
“Human expression on the most natural level is non-binary”
Click below to shop the look:
“Human expression on the most natural level is non-binary,” said Ashton Edwards, former Dancewear Center (DWC) Ambassador, in an interview for the DWC Blog. Ashton is a dancer with Pacific Northwest Ballet, and an exquisite one. I’ve been following them on Instagram since they partnered with the DWC Ambassador program in 2020. They inspire me and give me hope because when I was growing up, queer dancers were invisible.
In 2009, the year I graduated high school, Nigel Lythgoe of So You Think You Can Dance infamously and harshly critiqued a pair of same-sex ballroom auditionees saying, “I think you’d probably alienate a lot of our audience. We’ve always had the guys dance together on the show, but they’ve never really done it in each other’s arm’s before. I’m certainly one of those people that really like to see guys be guys and girls be girls on stage,” Nigel said. I watched the episode when it originally aired, sitting in my first girlfriend’s basement bedroom. We weren’t dating yet. Neither of us were out yet, and in fact, I hadn’t even realized I was in love with her yet. But, I remember watching that episode with her and I remember being upset. That was the representation I got: a pair of ballroom dancers condemned for their sexuality on national television— their technique and talent mostly ignored. The focus was on the binary of traditional partnering pairs and how this pairing was abnormal in comparison.
In December of 2012, Washington state became one of the first three states in the US to legally recognize gay marriage through popular vote. I was living in Seattle’s Capitol Hill neighborhood at the time, finishing up my bachelor’s degree at Seattle University. I still wasn’t fully out, but my roommate and I walked to the Pike/Pine corridor where people celebrated this long fought for human right on the streets, the excitement frenzied and palpable. The next year, I started dancing for a local production company on Capitol Hill. It was a queer-run dinner theater that primarily found success in hosting 21st birthdays and bachelorette parties. I danced there on and off for four years. During that time, gay marriage was federally legalized in the United States. At some point, I choreographed a “romantic” lyrical/contemporary routine for myself and one of our male dancers. We needed an understudy but none of our other male dancers could execute the technique, so I suggested one of the other girls should understudy. Our owner and director, a gay man, agreed, saying it would be okay for a female to understudy the male part because it would be artistic, not sexual or romantic. But what if it was sexual and romantic, and why couldn’t it be? Just a few years later, the male-presenting dancer I originally partnered with began her transition from a male-presenting body to a female-presenting body. The whole time, I had been dancing with a woman anyway.
Click below to shop the look:
It was not until 2019 that I saw anything in the dance world that validated my sexuality. Kiara Felder, 29, of Les Grands Ballet and formerly a principal with Atlanta Ballet, was interviewed by Dance Magazine for an article on Pride and dance. In a section called, “Could I Be a Ballet Dancer and Be a Lesbian”, Felder discusses the fractured relationship between her sexuality and her professional dance career. She describes how she stayed in the closet at the beginning of her career, “worried that she'd lose her scholarship at PNB [our very own Pacific Northwest Ballet] if the administration found out she was gay”. As she continued her career and moved to Atlanta, she found her community amongst some of the gay male dancers. However, she still struggled to find other queer women in dance. Her struggle, my struggle, and probably the struggle of many young, queer, female dancers, revolved around representation. Felder said, “Without representation, I started to feel this pressure and fear. "Could I be a ballet dancer and be lesbian?". Lesbian stereotypes focus on the masculinity of gay women: softball players, basketball players, soccer players, etc. Athletic gay women are stereotypically found in male-dominated sports, not in the feminine world of ballet. Except that we are. We’re here, and the outdated, binaried beliefs in dance are keeping us in the closet.
This brings us full circle back to Ashton in 2021. Ashton is breaking gender boundaries in the very same ballet company that Felder was afraid to come out in. They are the first biologically male dancer to study en pointe with Pacific Northwest Ballet and train in traditionally female roles. And they are only eighteen! Ashton is just at the beginning of their career, and I cannot wait to see how the dance community evolves as queer dancers continue to find themselves mirrored in dancers like Ashton or Kiara Felder or Alonso Guzman or Travis Wall or Ashley Yergens or Emma Portner or Nick Lazzarini or James Whiteside or Kyle Abraham or Mollee Gray and her partner Jeka Jane.
I finally came out in 2016, but sometimes I still feel uncomfortable being openly queer today. But then I see Ashton, living their truth out loud in one of the best ballet companies on the West Coast, and I see how much things have changed since I was eighteen. I’m excited to continue to see dance embrace non-binaried castings and non-binaried expressions because Ashton is right, human expression is not inherently binaried. We’ve just made it that way.
So, what can we do to help society accept dance as a non-binaried art form?
One way we can help is by normalizing same-sex partnering and supporting artists who choreograph duets between partners of the same sex, particularly ones with themes of intimacy or romance. Examples include Lauren Lovette’s pas de deux between Preston Chamberlee and Taylor Stanley in the ballet “Not Our Fate,” Justin Peck’s same sex pairing in “The Times Are Racing,” and Joshua Beamish’s work in “Saudade”. When audiences only see romantic duets performed between a man and a woman, it perpetuates the dominant idea that heterosexual love is the only kind of love acceptable to see onstage and offstage. Additionally, when queer dancers only see heterosexuality portrayed onstage, it can make them feel underrepresented and like their experiences aren’t worth depicting. But artists have the opportunity to help change this by creating work that challenges the norm. Choreographers in particular, can help by actively choreographing duets that aren’t performed by man-woman pairings to challenge the norm of heterosexual romance in dance.
Click below to shop the look:
In dance classes, we can aid in normalizing the use of non-binaried language in our teaching. Oftentimes, teachers use language that defaults to heterosexuality as the “norm”. However, this is damaging because when people assume the sexuality of someone they are denying the existence of other identities, reinforcing the normalized identity as the “correct” way to identify, and erasing the ability for young people to see alternate identities as valid. People often assume someone is straight until they “come out”, but this is not the case. We can challenge ourselves to not assume the sexuality of others by being more inclusive with our language. For example, in 2014, I started saying “guy or girl” to describe the idea of being flirtatious in jazz styling instead of just “guy”. Seemingly small changes like this can help many of us start to retrain our brains to think in ways that aren’t dominated by heterosexuality.
So, when you see artists in your community creating works that confront heteronormativity, support them in any way you can, whether that be buying tickets to their shows, sharing their work with others, or finding ways to collaborate. If you are an artist, particularly a heterosexual artist, challenge yourself to create work that promotes diverse identities in an effort to continue to break down the barriers of society’s obsession with the gender binary and allow for a deeper exploration into the human experience through art.
Beyond the Artist: Exploring Identity Outside Dance
Dance is just one part of our identity, one culture that we belong to. It’s important for dancers to understand this, and it is important for them to feel affinity with other parts of their identity so that they understand they have other identities and other communities where they belong. It’s about finding balance. So, invite both your or your child’s dance and school friends to birthday parties, take a night off dance to spend time with your family, spend the summer trying a new sport or movement style— it is okay to take time off, it is okay to try out different interests, and it is important to make sure dancers understand this because the only constant in life is change and we need to prepare our young dancers to be flexible when change occurs so they can process it with strength and grace.
By Brittni Bryan, DWC Ambassador Alum
Click below to shop the look:
I was scrolling through TikTok today when I swept up to a video about finding your identity outside of dance. TikTok user gabimorando responded to the question “Do you ever miss ballet?”. Her answer brought me back to my senior year of high school when I too was trying to figure out who I was if I wasn’t going to continue dancing.
As I’ve written about in the past, dance and I have had a precarious journey, but what I want to talk about today is the familiar struggle I think all dancers have as they move through different phases of their lives and their relationships with dance change. In her video, gabimorando describes how she struggled with injuries for most of her career as a dancer, and when her injuries became chronic, it was clear that her body needed a break from dance. She said that while she doesn’t miss ballet physically, she does miss dance emotionally, explaining: “… I do miss the security and the identity dance gave me…”. When I tell you I felt that— WHOA. During my late teens and early twenties, I experienced an identity crisis. I wasn’t certain what my sexuality was, my mental health was turbulent at best, I was at war with my body, and I had no idea who I was or who I wanted to be. The one solid thing I had was dance. So, when it stopped bringing me the same joy it once had and I wasn’t sure if I wanted to keep dancing anymore, I was left facing the question: who was I if I wasn’t a dancer?
In her video, gabimorando explained that when she left dance to care for her body she had an identity crisis, and I understood perfectly what she felt. She described her journey saying, “… dance was my entire life for over a decade, and when that was gone, I had no idea how to define myself anymore”. Neither did I, which, I think, brings up an important but not often discussed mental health issue in dance: identity. Dancers usually start their careers early in life. At the studio where I teach, dancers can start class at the age of three. I started dancing when I was four years old. By the time a dancer is six or seven, they will often decide if they want to pursue dance more seriously or remain a recreational dancer. Whether at a ballet-focused studio or a commercial/competitive studio, choosing to pursue dance seriously requires taking class multiple days a week, performing seasonally, and training during the summer. It becomes your life. I started competing when I was seven years old. Between January and April, I spent most weekends competing at dance competitions or taking classes at conventions, in addition to my weekday classes. I trained Monday through Thursday for four or five hours a night. School ended at 3:25pm when I was in elementary school, and I would start class at 4:30pm. My mom would pick me up at 8:30 or 9:30pm. I trained like this from kindergarten through tenth grade. I had school friends and I had dance friends, but I always felt closer to my dance friends because I undeniably spent more time with them than I did with my friends from school. Birthday parties were always a social disaster because I had to decide if I wanted to invite school friends, dance friends, or both; what if they didn’t get along?
Click below to shop the look:
I was always introduced as a dancer. Tell us something about yourself. Well, I’m a dancer. What is your favorite sport? Dance. Dance conflicted with opportunities to spend time with friends from school. I can’t come to your birthday, I have a dance performance. I can’t go to softball camp with you, I have dance class. I wasn’t upset about this, I loved being a dancer. In fifth grade, we went on a cruise to Mexico because my studio performed on the ship. I went to Las Vegas annually in the summer to attend national dance competitions. I was constantly traveling for dance conventions and competitions, and what 9-12 year old doesn’t love swimming in hotel pools, eating room service, and playing in the sauna? I loved it. But… it became such a big part of my life that I didn’t know who I was without it. So, when I started struggling with depression in middle school and high school, an existential identity crisis took hold, and I know I am not alone in this experience.
Click below to shop the look:
Be it mental health, injury, age, location, lifestyle, etc. there comes a time in every dancer’s life when our relationship with the art changes. There is a grieving process we must move through when this occurs. I think a lot of dancers navigate this grief alone, but what if we didn’t have to? We live in a society that sees humans as what they do: she’s a lawyer, he’s a teacher, they’re an athlete. It’s understandable that our children adopt that same identification process. However, we are more than what we do. Our identity is made up of our biology, beliefs, abilities, language, national origin, culture, and personality. Dance is just one part of our identity, one culture that we belong to. It’s important for dancers to understand this, and it is important for them to feel affinity with other parts of their identity so that they understand they have other identities and other communities where they belong. It’s about finding balance. So, invite both your or your child’s dance and school friends to birthday parties, take a night off dance to spend time with your family, spend the summer trying a new sport or movement style— it is okay to take time off, it is okay to try out different interests, and it is important to make sure dancers understand this because the only constant in life is change and we need to prepare our young dancers to be flexible when change occurs so they can process it with strength and grace.
Interested in writing for the DWC Blog? Click below to fill out the DWC Contributor application!