info's this way.
Oct. 5th, 2017 05:54 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
inspirationalitystats
| Name | Christine Adair |
| Gender | Female |
| Age | 32 |
| Canon | Original |
| PB | Alexandra Socha |
permissions
| Backtagging | Y |
| Threadjacking | Y |
| Fourthwalling | Y |
| Mind-reading | Y |
| Injury | N |
| Death | N |
preferences
I love shipping, but I don't write smut, so fading to black is much preferred in those kind of threads. Kissing, making out and such are fine, but actual sex I'd like to avoid.
about
Founder of Muses Dance Company, based in London, where she's also working as artistic director, choreographer and dancer.
personality
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history
Born into a wealthy family in the British upperclass, it was always expected that Christine should be a ballet dancer, her mother's dream for herself as young and now her dream for her youngest child and only daughter. Christine started taking lessons at age three and quickly showcased some talent, but didn't truly have the passion for it. However, due to pressure from her mother, she continued her training and was eventually offered a spot at the Royal Ballet School when she was sixteen. However, at that point Christine had discovered Jiri Kylian's choreographic works and especially Falling Angels for eight women had fascinated her, so to her mother's utter dismay, she declined the invitation from the Royal Ballet and instead applied for a scholarship at Nederlands Dance Theatre where she was accepted and could develop her love for modern dance. This was the first autonomous choice she made in her life and the freedom intoxicated her. Her growing attraction to other girls no longer felt like a problem, like something to hide and when she was accepted into the Nederlands Dance Theatre's main company of dancers at age 19, she was finally done hiding any aspect of herself.
At Nederlands Dance Theatre she soon became a fixed part of many of the artistic director's own works, while she also stepped into roles in the Kylian repertoire and it was throughout her twenties in Amsterdam that she herself also began playing around with choreography. It soon became evident that she had a talent for it and she was encouraged to work on small projects here and there to develop her voice and style. Revisiting Falling Angels, as a dancer this time, rather than as a spectator, Christine began nurturing the idea of a small, modern company for female dancers only where she herself could choreograph for the female body, something she had discovered that she was exceptionally good at. She stayed another couple of years with Nederlands Dance Theatre while she sought out the necessary funding, but at age 28 she left Amsterdam for London and rented some studios downtown, beginning the hunt for equal-minded dancers who'd be interested in joining her troupe. Her company. Muses, she called it.
The idea was simple. She needed nine dancers, herself included, one woman for each of the nine muses. Eventually she'd gathered a group of mostly British, mostly modern dancers, a couple of them acquaintances from the US, France and Italy that she'd made throughout her career - a group that she was happy to work with and Muses, then, was a reality. Among these eight women was the young, classically-trained Roselyn Maynard who soon became a muse to Christine as well as a romantic partner, a lover, an obsession. Their relationship should prove extremely passionate, but also extremely troubled, due to Christine's aspirations on Roselyn's behalf, her expectations of her dancing and her distinct perfectionism.
At Nederlands Dance Theatre she soon became a fixed part of many of the artistic director's own works, while she also stepped into roles in the Kylian repertoire and it was throughout her twenties in Amsterdam that she herself also began playing around with choreography. It soon became evident that she had a talent for it and she was encouraged to work on small projects here and there to develop her voice and style. Revisiting Falling Angels, as a dancer this time, rather than as a spectator, Christine began nurturing the idea of a small, modern company for female dancers only where she herself could choreograph for the female body, something she had discovered that she was exceptionally good at. She stayed another couple of years with Nederlands Dance Theatre while she sought out the necessary funding, but at age 28 she left Amsterdam for London and rented some studios downtown, beginning the hunt for equal-minded dancers who'd be interested in joining her troupe. Her company. Muses, she called it.
The idea was simple. She needed nine dancers, herself included, one woman for each of the nine muses. Eventually she'd gathered a group of mostly British, mostly modern dancers, a couple of them acquaintances from the US, France and Italy that she'd made throughout her career - a group that she was happy to work with and Muses, then, was a reality. Among these eight women was the young, classically-trained Roselyn Maynard who soon became a muse to Christine as well as a romantic partner, a lover, an obsession. Their relationship should prove extremely passionate, but also extremely troubled, due to Christine's aspirations on Roselyn's behalf, her expectations of her dancing and her distinct perfectionism.
