SHULGOLD: Ex-director: Colo. Ballet out of step

Published October 6, 2007 at midnight

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Martin Fredmann has never been one to keep his thoughts to himself.

Still bitter about being fired as artistic director of Colorado Ballet two years ago, Fredmann recently let loose with a volley of criticism over the state of his beloved art form - and his former company, which is opening its season with Le Corsaire at the Ellie Caulkins Opera House this weekend.

Shortly before departing for Taiwan to begin duties as associate professor of dance at the Taipei National University of the Arts, Fredmann welcomed a visitor to his Denver condominium and let his frustrations hit the fan.

"Let's face it," he said, "dance is a third-rate art form. It's silent, so there's only so much you can do."

This from a man who's lived in the dance world for most of his life? He continued. "(Dance) only lives through its great artists - through their passion, not their technique. You have to understand the fabric of a dancer. They don't need a lot of money. They just need to be appreciated."

While a dancer might counter that they would accept more money along with the appreciation, Fredmann honed in on his true target - ballet boards.

"I grew so tired of seeing how maligned most artists are by business people. Most boards (of directors) have pop-culture minds. There has to be a working-together of the business and artistic sides of a ballet company, so that one doesn't control the other."

Fredmann had his battles with Colorado Ballet's board, particularly as it evolved during the short but chaotic tenure of executive director Rick Tallman in 2005. Thus, his antipathy for those who occupy the company's board is understandable. Yet, he insists his attacks are not leveled only at this dance company.

"Board people in general," he said, "bring a corporate mentality that minimizes what art is all about. All they look for is that sexy thing that will put (ballet) on the map.

"What's worse is that most boards are bad at raising money. They think art should sell itself. It's a lethal, confrontational relationship. There's an innate hostility (between boards and dancers). The truth is, with their big egos, the board doesn't want the ballet com- pany to be bigger than they are."

Fredmann then accepted part of the blame for the ugly mess at Colorado Ballet that led to his departure, Tallman's and others.

"I navely thought I was building for the future. I'd been living under a mind-set that we were educating people to the beauty of dance, of ballet. I admit it - when I arrived (in Denver), I was innocent, nave.

"But now, I'm free of that. Now, I only care about training a dancer. I want to know if they want to learn all they can about this esoteric little art form.

"I've always loved the depth and beauty of a dancer. When I watch ballet, I want to see something meaningful. There's a long tradition of that. Remember, at the start (of ballet companies at the turn of the 20th century), you didn't have boards. You had (impresarios such as) Sergei Diaghilev and Lincoln Kerstein. People who loved the arts. That's still important - you need a board chairman who loves the art."

Those days are long gone, he lamented, as he recalled the leadership of Lucia Chase and Oliver Smith, who lovingly guided American Ballet Theatre through its glory days in the '60s and '70s.

"Now it's all about commercialism and branding. Everyone has to have their name on something. It's taking over the world, to the point where people don't go for the art - they go for the name."

Over the years, his growing dissatisfaction with the direction of ballet in America sent him in search of a better place; he found it in Japan and Taiwan.

Every summer for a number of years, Fredmann headed off to Asia to pursue his love of teaching, earning a reputation in Japan as an important pedagogue (even earning an honorary title from the emperor). In 2003, he created the Japan Grand Prix ballet competition for young dancers, ages 10-18.

It's different over there, he said.

"In Japan, the arts are mostly family-supported. Ballet is big business over there - there are nine companies in Tokyo alone. And there are more ballet schools in that country than anywhere in the world. A lot of Russian male dancers are working and teaching over there."

All this, he added, with no corporate support and little financial assistance from the government.

In retrospect, Fredmann's role in the ballet world seemed headed toward teaching, rather than managing a company. He didn't deny it: "Ballet companies and choreography don't interest me."

Despite the fact that Fredmann suggests the world of ballet is in a sorry state, he also says it's not necessarily an art form that can't be revived by change.

The "lethal cocktail" that seems common in ballet boards "can't change," he said, unless fundamental philosophies are replaced.

"It takes openness between the two sides to advance - and it takes a true leader and lover of the arts to initiate that."

As for a change in the public's general indifference to ballet, Fredmann was cautiously optimistic. "Today, the arts maintain an elitist edge. Art cannot be for the masses unless there's consistent education."

Shulgoldm@RockyMountainNews.com or 303-954-5296

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