Finding Balance: Connecting Ballet and Music Through Collaborative Storytelling

Abstract:

Storytelling in ballet relies not only on plot and purpose, but also on musical support for the choreography. Without music, the storytelling component of theatrical ballet shifts into the realm of movement-based drama. As the spectrum of music creation and accessibility becomes wider, what role does music play in ballet storytelling in the 21st century? Utilizing both historical cases and contemporary field work, this research will analyze the historical, political, social, and artistic implications of storytelling within collaborations between ballet and music.

There is a delicate balance between utilizing both ballet and music in collaborative projects—venue, personnel, audience, etc. can all be opportunities, but also limiting factors. Do these broader elements help or hinder the collaborative process? Adding the element of storytelling in these projects creates another layer of creativity, but also potential challenges.

The conventional interactions of music and ballet have predictably included two constructs: music that is created for a ballet concept, or ballet that is created from musical accompaniment. In some cases, there is a programmatic or narrative element to either of these processes. But what about the interaction of collaborators when programmatic music is presented with ballet as the accompanying feature, especially with live music? Which is the primary focus: music, movement, or an equal fusion of these critical elements? In examining the role of music in ballet, I seek to explore how storytelling impacts this relationship and also to strategize a framework for effectively blending these components.

 

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Presented by Justine Sheedy-Kramer, Adjunct Associate Professor; University of Utah

 

Biography:

Justine Sheedy-Kramer teaches Character Dance, Ballet, Pointe, and Music courses for the University of Utah School of Dance. She has also taught at Utah Valley University, Ballet West Academy, and SLC Ballet, and was Co-Director of the Dance Program at Saint Mary’s Hall. Justine is a sought-after guest instructor and has greatly enjoyed teaching for numerous schools and programs in Connecticut, Utah, and Washington.

Justine received her MFA and BFA degrees from the University of Utah Ballet Department, with emphases in Teaching, Choreography, Performance, and Character Dance. She also studied and performed with Pacific Northwest Ballet School, Washington Academy of Performing Arts, Burklyn Ballet Theatre, Utah Contemporary Ballet, Exit 12 Dance Company, Dimensional Dance, and CONNetic Dance. Justine has toured nationally and internationally with Character Dance Ensemble and Eastern Arts, and continues to be involved with these organizations.

Justine’s variety of research and choreographic experience includes: staging full-length productions of Coppélia and Don Quixote; developing collaborative projects with ArtsBridge, the University of Utah, and the President’s Committee on the Arts & the Humanities; publishing her research on educational tools for collaboration between music and ballet; and creating new works for the University of Utah School of Dance as well as world premiere choreography for Sugar Plum on the Run with the Salt Lake Symphony. Justine is a violinist in the Wasatch Symphony, where she also serves on the board of directors.