Yumelia Garcia

Yumelia Garcia was born in Caracas, Venezuela and trained at the Fundacion Ballet Arte. She joined the National Ballet of Caracas at the age of 15 under the direction of Vicente Nebrada, who promoted her to soloist after one year. Currently a lead dancer at Ballet Florida, Ms. Garcia performed with the Milwaukee Ballet as a Principal for 10 seasons. She has danced with several U.S. companies and performed in Germany and Puerto Rico. Her versatility has enabled her perform roles in Don Quixote, Carmen, The Sleeping Beauty, Swan Lake and Romeo and Juliet, as well as contemporary works by Alonzo King, Choo San Goh, Mark Godden, Jimmy Gamonet, David Parsons and Trey McIntyre.

Candice sits down for a long-distance chat with her friend and former colleague, Yumelia Garcia:

CT:   You have just wrapped up your first season with a new company, Ballet Florida.   How has this experience compared to your previous companies?

YG:   Well, basically, as a new dancer to the company, I am working harder, being pushed harder.   The work ethic in this company is so very strong and everyone feels like they have to work hard.   There is no leaving class here; you have to be injured to leave class.   If you don't show up to class, they will call you at home.   Everyone also works hard here because casting is open and choreographers are free to choose whomever they want for a role.  

CT:   Do you find this environment is working better for you?

YG:   Well, in some ways it is not too unfamiliar.   In Milwaukee we had many directors in a short period of time.   You still had to prove yourself.   Now I have to often remind myself that I am a new dancer here, and that is a challenge after ten years of establishing yourself in another company.   This season I had to start creating a reputation and gaining respect. You talk yourself through these things.   The hardest thing though, is to not have that weight of experience with one company.

CT:   What were your favorite roles/ballets from this past season?

YG:   Trey McIntyre's Second Before the Ground .   It was a great vehicle for me to show the artistic staff who I am.   I was matched up quickly with Markus Schaffer--we just happened to click instantly.   He became my partner for the rest of the season.   I was also cast in Bello , a world premiere by Dominic Walsh.   It was very modern and I wasn't sure if I could move in that style.   It was a great challenge; I was glad to show my range.   Spring Waters was another favorite, I could just fly and be myself.

As for classical ballets, I was cast in Ben Stevenson's Esmerelda pas de deux.   Markus and I performed it the entire season on small run-out tours.   The pas de deux kept me in great shape the whole season; it is one of those roles that really show who I am as a classical dancer, not to mention I love it!   Markus as my partner truly felt like I had been dancing with him my whole life.   His energy is amazing.

CT:   When do you take time to evaluate where you are as a dancer and artist and where you want to be?

YG:  Willie [my husband] says that I do it every night when I get home from the studio.  At night is when I question what is going on.  The insecurities in my head are asking if I am doing the right thing, or can I be doing better?  I am constantly looking for something else.  It is good and bad.   I am never satisfied, and my ambition keeps my mind moving. Willie has really helped me try to just enjoy the moment, the present.

CT:  Do you cross train in the summer?

YG:  Well in Milwaukee, it was a long summer layoff and the goal for me always was not to have that dip in the beginning of the season.  I played a game in my mind that I needed to start the next season in better shape than when I had finished the previous season.  I would always take the summer intensive classes--often I am also teaching a lot, and doing cardio at the gym.  Then I discovered power walks.  It got me outside of the gym and I would walk first for fifteen minutes, then thirty, then forty-five, until I had worked up to an hour.  I have found that this is the best way to keep my stamina so I wasn't dying at petit allegro when we got back to work.  It keeps your whole body toned and it is much safer than running, but always combined with classes. 

And in the last five years, I have also found Pilates.  It is great for working the muscles that dancing neglects.  I love to work out in the summer because you have the time to focus on different things to work on.  During the season there is just no time for that.

CT:  And do you change your eating habits?

YG:  No.  I always eat about the same.  Maybe just a little less carbs.   I never eat late.

CT:   What are your plans for this summer?

YG:  This summer I am dancing more, with less layoff time.   I will use the remainder of the time to rest.   At Ballet Florida, we worked forty weeks straight!   I was always in shape and found I had fewer injuries this way, but my body wants a break. 

I am going to teach in Wassau, WI for two weeks in June.  There I will still stretch and do my pilates stomach series every night.  Teaching is intense, but in a different way for your body.  Then I will be working with Trey McIntyre Project.   We start in White Oak, FL for two weeks to learn choreography and rehearse.   I look forward to working with him again--I loved the experience in Milwaukee with him.   The tour starts in Jacksonville and takes us to many places I always wanted to go - Jacob's Pillow, Vail, and Wolftrap.  It is going to be a new group of people for me.   I look forward to the project, I will grow more as a dancer and a person, and it never hurts getting paid in the summer!

CT:  Is there anything in the coming season that you are looking forward to?

YG:  Of course, I am looking forward to a new piece that Trey is doing.  There will also be a new Lar Lubovitch piece; I would really love to work with him.  On the classical side, we are doing Lady of the Camelias  and a ballet called Stone Flower , but it is too soon to tell what I'll be doing.  It is exciting not to know.

CT:  Is that how you stay inspired?

YG:  I never thought about it.  I guess the audience and their reaction is my inspiration.  A reminder of what I worked so hard for and why I do it.  The appreciation is really the first thing that comes to mind.  Feedback from the artistic staff also gives me strength and encouragement.  They are very vocal here and you are not kept constantly guessing.   Also, the impact we have on kids.   Being a role model is an inspiration!

CT:  Do you have any summer advice to students or young professionals?

YG:   I teach a lot and the thing I see most often is not enough motivation.  You can see right away the few that want to put in the work.  There is a serious lack of passion.  In order to make it, you must have passion, ambition, something different and special about you.  That takes motivation and working more than 100% all the time.  You must learn how to be confident, because you are going to need that confidence.  Developing your work ethic is huge, it is your foundation like technique, and just like technique, it will carry you when you most need it.  It is also important to be self-aware.  Do you believe in what you do and give 100%?  Spend the summer asking yourself questions and answering them with your actions.

CT:  And last but not least, now that we are all motivated and ready to take on the dance world, what are you going to be wearing this summer?

YG: OK, about fashion, my second favorite subject.   This summer I will be wearing lots of shorts, unitards and fun bright leotards for my new experience with Trey.   Since it is not classical work I won't be worrying about matching my leotards with skirts.   It will be hot, so short unitards work great, or light, bright leotards with pink tights.   Although I have plenty to choose from, it's always great to have new options to feel fabulous and fresh!   Looking good keeps me inspired!

CT:   Well, you know I will always do my best to help you out on that end!  

The views expressed in this interview are those of the interviewee and do not represent the views of, and should not be attributed to, LOLAstretch.

Archived Featured Dancer Interviews:

Winter 2006 -- April Daly, Joffrey Ballet Company
Fall 2005 -- Amy Fote, Principal with Houston Ballet