Igor Burlak

Minnesota Ballet’s principal dancer turns an eye toward choreography

 

Tony Bennett

Igor Burlak has danced in a lot of different places in a lot of different shows. You’d understand if a person with his resume was a little bit jaded, maybe a tad “seen-it-all” about things, but he’s not like that at all. If anything, the Minnesota Ballet’s principal dancer relates the story of how he recently found out he was one of only five choreographers to receive a fellowship from the New York Choreographic Institute with so much detail that it’s perfectly clear that the moment was monumental and little-kid-on-Christmas-morning exciting for him.

“I knew the chances were slim of getting this grant because so many people apply and only a handful get picked,” Burlak recalls. “So, months went by, and in honest truth, I forgot about it. Until one day, during a rehearsal, Robert [Gardner, the ballet’s artistic director] ran in the studio and asked me to come out to the hallway, [where he] screamed ‘We got it!’ I was speechless and confused, because I did not understand what he was talking about. As soon as it hit me, I had the chills.”

This is a man who knows from chills. Burlak, a native of Moldavia who came to the Minnesota Ballet in 2004 after stints in New York, Miami and Kanasa City, spends most of his time doling them out, supplying fans of ballet with opportunities to use adjectives like “amazing” and “beautiful” when they describe his work as a dancer and up-and-coming choreographer. Burlak is clearly a person in love with the dance.

Artistic Director Robert Gardner is the same type of person. They’ve got similar training, similar interests. And so he knows just how much of an incredible, rare moment the granting of this fellowship is, and how valuable it will continue to be.

“It has brought a national recognition to our company’s artistic merits,” Gardner says. “I have received more choreographic submissions than ever before, since the awarding of the fellowship. And also, dancers have been contacting me about working with the Minnesota Ballet, partially as a result of seeing that we have been deemed artistically worthy of such a project. This fellowship also will be an added confirmation to foundations and donors that we are a world-class organization, worthy of their support.”

It’s a big deal. But, once you get past all the deeper meaning, what are the nuts and bolts of this thing? Gardner explains: “The fellowship is geared towards encouraging the artist’s creative process, without the pressure of a stage premiere, or public performance with crucial review. I have suggested to Igor that he go beyond what he has tried in the past and really stretch his choreographic voice, [that] this is his time to work with the company, without the demands of the artistic director or the company’s repertoire needs. In fact, even if I would like to take the piece into the rep, the grant states that it cannot be performed publicly for at least 18 months after the end of the workshop.”

Burlak is grateful for Gardner’s support.  “To have your artistic director believe in you and your work was an amazing experience which I have never felt before,” Burlak says.

All of this good will is great to hear about. But let’s get down to the nitty gritty dirt band of the situation: what’s he going to do with this fellowship? What’s his process been like, and where’s he at, currently?

“Well, the first thing I did was start listening to music,” Burlak says. “Every choreographer has [their] own inspiration. My inspiration is music. I decided to have five movements in this ballet. The composers I choose are Handel, Bach, and Vivaldi. So far, I am very pleased with what I have done, but, knowing me, I’ll change a few things around when everything is complete. Talking to Robert about this has been very helpful — he has done multiple great ballets and listening to someone with more experience never hurts. I’m trying to stay out of my comfort zone, which is being very safe with steps. So, with this project I’m trying a few new things, since I have talented dancers to work with.”

As big a deal as this fellowship is, it’s unfortunately not the kind of thing that’s designed for public performance. It functions as more of a woodshedding opportunity, a chance for a choreographer to really hone his or her chops in relative privacy, with the end goal of making that person stronger for the times when there will a crowd of people filling the house.

“The entire project is supposed to be a learning experience,” Burlak says. “It’s not about the costumes or lights. It’s about having the entire week to work on your craft without any pressure of time or worrying about another ballet you have to rehearse to perform that weekend. So I definitely think this is a good thing.”

Ask Igor Burlak where he expects his career to end up, especially in light of the fellowship, and he is reliably humble. “Next year seems so far away, but it’s really right around the corner,” he says. “I like to take it day by day. I am still enjoying the dancing part of the entire art form. Besides choreographing, I also enjoy teaching. Robert has been letting me teach company class for the past couple of years. So, becoming a full-time choreographer is hard to say, because I truly feel like with everything that I have been doing I want to be a ballet master!”

With all of his talent, opportunities, and goals, Northlanders can only hope that Igor Burlak can stick around these parts for a little longer, though, so we can enjoy his artistry a bit more.

“Well, when I came to Duluth, I said that it will only be [for] one year, and five years after, I love it here. I am involved in a Russian community, and having amazing friends here makes it very hard even thinking about leaving.”

Tony Bennett is a Duluth-based writer.