David Baranya :: Actually it remained on me

Actually it remained on me

He is in the beginning of his twenties, he danced in Switzerland, Germany, Canada, France and he was instructed by world-renowned choreographers in homeland. He could take pride in his achievements but it is his infinite modesty what people can notice first. Baranya David answers the question of NetNap.

When you fill up a formal form what do you put in the box of occupation?

Dancer or dance artist. This is what I have been doing since my early childhood.

Is there any difference, a stern border between a dancer and a dance artist, a performer?

I don’t think there is. I believe that dance can be learned like almost anything. Even I didn’t start as a talented little guy. I didn’t even have a perfect basic motion coordination and they said I would never be a real dancer. But with lots of work I managed it.

How did you start your relationship with dancing?

In my home town, Szolnok I started dancing on competitions, it lasted three or four years, then I went to Budapest, to the Talent Dance Studio and there I had the chance to study other dances as well. I started at my age of 9 and it was only a hobby of mine, having training once a week and I didn’t really take it seriously. And then I began to love it and by the end of the 3 months dance course I went more often to training, got a permanent partner and then competitions came.

But why it is the dance, why not the soccer or other popular sport?

My mother used to work in a theatre and the House of Culture in Szolnok was pretty close so it was evident to go there. One of my classmates also started to dance there so we went together. And then it remained actually on me as part of my life.

What was the way like from the Talentum Studio to the Mega Dance, being nationally well-known?

I worked at the Budapest Ballet when the Mega Dance started and I was abroad that time when the show started so my mother drew my attention to that opportunity and I thought I had to try. Mom sent my application in but we got no answer, she sent it again and finally they accepted me and told me when I should be there. Anyway, we had some procrastination because my group didn’t want to let me go but finally I went there and got through the first round. Then the next. I was late for more than 6 hours because I was rehearsing with Budapest Ballet and I got there only in the afternoon instead of the morning. By that time everyone had learned the choreography and even the day before they had a training as well but I was let in after all, and I danced my own program. Then I was told to decide whether the show or the Ballet I want. We were about to have a premier with the Budapest Ballet so I had danced my part in that show and after I left the group for good.

Guess, your decision wasn’t received by an outburst of enthusiasm in the team.

True, they weren’t glad but I didn’t let the group down. I tried not to make them face with unsolvable problems. Even I missed some days of the first Mega Dance course to dance in a show with the group.

How hard was to make the decision of leaving the group and choose the Mega Dance?

There was some day period when I already had left the group and I was no idea if I get in the best 16 or not. That time I really didn’t know what I would do if I didn’t succeed in the show. But finally I made it and from that point I gave my all to Mega Dance. This is my mentality, when i really start something I do it with all-out effort. I didn’t care about the tabloid part because it is maybe needed but perhaps unnecessary from the artistic point of view. The point was to be recognized professionally and I feel I made it as much as I am worthy. Of course, there are plenty of better dancers than me, I know my place.

Did you get many invitations after Mega Dance?

I have got invitations from several places, including Gyula Sárközi, the Contemporary Ballet of Szeged and smaller groups and later there were some smaller-bigger requests which I can thank only to Mega Dance.

Your latest work is in the Dance of the Vampires musical.

I was also late for that particular casting again.

It seems it’s your mascot.

Not even close, simply just this is how that happened. When I was on my way to Mega Dance casting the Budapest Ballet didn’t let me go, when this casting was on we were on the way from Zagrab and our flight was delayed by an hour. I first didn’t want to go in because the first round was over already and people were being sent home. Then a guy, Akos Tihanyi came out and he persuaded Dennis Callahan, the choreographer of the show, to let me in because there were some of us still waiting. I warmed up, showed my dancing and made it.

As I know the show wasn’t on the program as long as it was planned to.

We had a two week break but from the 23th of August we play again. The public and the profession welcomed the Dance of the Vampires. We played it in front of a very crowded house almost every evening with standing ovation. Who saw the show carried its good reputation.

How fast the show formed up?

As a team we formed fast. Dancers are tending to create good relationship amongst themselves it was the same here. We were progressing well with the show, it was a nice and useful two months time from which we spent three weeks in the theatre rehearsing and we made it perfectly good.

You could try yourself in different roles in the show of Dance of the Vampires: not only you danced but you got tasks of acting and singing as well.

I never learned to act but the creator of the show helped me in this field a lot. It wasn’t so hard to do it but I can’t say I am a great actor. I didn’t even sing on stage before so to that I also needed some help and courage but during the rehearsals I finally managed this part too.

If I asked you to name the director and choreographer who affected your career the most, what would you choose?

Dennis Callahan, the choreographer of the Dance of the Vampires helped me in so many aspects. He was able to forge the team together on such a level only with his existence that is just fantastic. The other is Dora Barta, whom I had the chance to work with many times and I hold her as a great professional. She is a very good man and a great tutor. A good dancer learns until the end, they say: there is always something new he can study. I don’t know if a “perfect dancer” exists, maybe so but I am far from that level yet.

Journalist: Róbert Markó