October 2015 Newsletter

Total Page:16

File Type:pdf, Size:1020Kb

October 2015 Newsletter Burlington Academy of Dance & Arts October 2016 BADA NEWS Important Dates | Separation Anxiety | Dress Code BADA Closings BADA will be CLOSED for • Halloween: Monday, October 31 • Veteran’s Day: Friday, November 11 • Thanksgiving: Tuesday, November 22 - Sunday, November 27 Holiday Parade Costume Deposit ALL BADA dancers are invited to participate in the Burlington Holiday Parade: Costume deposits are due Tuesday, November 1 Saturday, November 19 ($55 per costume). 3rd grade and older are invited to dance down the streets of Burlington and younger ones are invited to ride on the BADA float! KARIZMA Sign Up for Important Updates via Text Message Sign up for important updates from BADA using one of the following Performance ways: 1. Follow instructions in the attached PDF. * KARIZMA: 2. Text @badadance to the number 81010. JDRF Walk in Elon 3. Follow this link: https://www.remind.com/join/badadance. Saturday, November 5 This service will allow us to get timely reminders and emergency 9:00AM messages out. It does not allow us to receive text messages. Please continue to communicate with us via in person, mail, phone or e-mail. We LOVE to see you and to hear from you! BADA - October 2016 !1 Burlington Academy of Dance & Arts October 2016 TELL A FRIEND: It’s not too late to register for class! Young Dancers: Helping Your Child With Separation Anxiety If your child cries or demonstrates anxiety prior to class, you could try some different techniques to help the situation. To Ballet Master Class/ begin, try to bring the student early to class so they have more Change in Saturday time to acclimate to their surroundings. If your child is scared, Class Schedule perhaps a security item such as a favorite toy or blanket could journey into the dance classroom with the student and be placed Saturday, November 5: by the mirror for a feeling of safety. Perhaps a pep talk with the CHANGE IN SCHEDULE promise of a reward (i.e. visit to the park, library, etc.) for success will help. Avoid allowing the child to dictate how the situation • Ballet 3, 2 & 1: 10:30-12:00 will be resolved, talk to the instructor to come to an agreement *Ballet Master Class with for how to handle your particular situation. Please do not be Guest Artist Michael Job discouraged if your child experiences difficulty in joining in class, *Cost: $20/student this is very normal and we are here to help! Free for BADA Ballet Program students currently enrolled in Ballet 3, 2 & 1 • Int. & Adv. Acro: 12:00-1:00 • Hip Hop: 1:00-2:00 Congratulations We are excited to congratulate our Character Initiative awardees for August/September. Keep up the good work, dancers! We are proud of you! Responsibility: Penny Baker Hallie Barnhardt Grace Cooper Lauren Gilliam Graceanne Kimbro Anna Medley Amelia Morrison Emma Powell Gatlin Wilkinson BADA - October 2016 !2 Burlington Academy of Dance & Arts October 2016 Friendly Reminder: Dress Code Proper dance attire and grooming are necessary parts of any high quality dance training program. BADA students are required to follow the dress code assigned to their particular class(es). Dancers not in uniform or properly groomed may be asked to observe class. Dancers who take 2 or more classes per week will want to get more than one uniform. Please check the list below to be reminded of what to wear to your dance classes. Tap/Jazz/Hip Hop KinderMotions Hair must be pulled back in a Bun or Ponytail Hair pulled back off the face Black Leotard (no skirt) Solid Pink Leotard (no bathing suits) Tan Footed Tights Light Pink Footed Tights (no footless tights) Tap = Black Lace Up Tap Shoes (2nd grade & higher, Pink Full Sole Ballet Shoes (no bedroom slippers) MUST have Tap Shoes to be in Tap Classes -- each shoe MUST have both taps KinderDance securely attached) Hair pulled back off the face Jazz = Black Jazz Shoes Solid Pink Leotard (no bathing suits) Hip Hop = CLEAN Sneakers Light Pink Footed Tights (no footless tights) Optional (must be removed at teacher request) = Pink Full Sole Ballet Shoes (no bedroom slippers) Fitted Top (solid black, navy, white, gray, *Afer winter break these dancers graduate to hair in a ponytail or BADA, KARIZMA -- no other graphics bun and tan tie tap shoes (no buckled shoes).* or prints), Black Biker Shorts, Black Jazz Pants, Black Soffee Shorts, Black Leggings Ballet/Tap *Leotard & Tights are REQUIRED. If coming fom Balet, pink Hair must be pulled back in a Bun or Ponytail Solid tights may be worn.* Pink Leotard (no bathing suits) Light Pink Footed Tights (no footless tights) Modern/Contemporary/Acro/Lyrical Pink Full Sole Ballet Shoes (no bedroom slippers) Hair must be pulled back in a Bun or Ponytail Tan Tie Tap Shoes (no buckled shoes) Black Leotard Tan Stirrup Tights Ballet 8 - Ballet 6 No Shoes Hair MUST be in a Bun Optional (must be removed at teacher request) = Black Leotard (no skirt) Fitted Top (solid black, navy, white, gray, Light Pink Footed Tights (no footless tights) BADA, KARIZMA -- no other graphics Pink "split-sole" Ballet Shoes with Elastic or prints), Black Biker Shorts, Black Jazz Pants, Black Soffee Shorts, Black Ballet 5 & Ballet 4 Leggings, Dance Paws (no half shoes) Hair MUST be in a Bun *Leotard & Tights are REQUIRED. If coming fom Balet, pink Black Leotard (no skirt) tights may be worn.* Light Pink Convertible Seamed Tights Pink "split-sole" Ballet Shoes with Elastic Male Dancers White Waist Elastic Ballet/Tap = fitted white t-shirt black biker shorts, black shorts or black dance pants Ballet 3 - Ballet 1 White socks Hair MUST be in a Bun Black ballet shoes (full sole) Black Leotard (ballet skirt only to be added when Black lace up tap shoes wearing pointe shoes, optional) Ballet = Snug fitting white t-shirt Light Pink Convertible Seamed Tights Black tights rolled with a belt at the waist Pink "split-sole" Ballet Shoes with Elastic White socks Pointe Shoes (must be approved by Artistic White ballet shoes (split sole) Director) All Other Disciplines = Fitted shirt (solid black, White Waist Elastic navy, white, gray, BADA, KARIZMA) black leggings, pants or shorts same shoe requirements as female dancers *Any changes to the above Dress Code wil be sent via an e-mail fom the Ofce and wil be changed on BADA’s website once approved by the BADA Faculty and Staf.* BADA - October 2016 !3 Burlington Academy of Dance & Arts October 2016 A Word fom the Directors Our 2016-2017 TEAM (Faculty and Staff) is living the dream working with all of our fabulous BADA dancers! The first quarter of the dance year is over, and we continue to embrace opportunities, unlock our students’ potential and inspire excellence each and every day. Our goal is moving forward to promote a culture of excellence for ALL students. As we move into November we are fiercely focused on doing our very best. We want to thank each of you for your continued support. We welcome your partnership and hope to work collaboratively with all stakeholders to strengthen student and parent involvement here at BADA. In passion, progress, promise and purpose, Virginia & Drew Dupont Celebrating 30 Years of Giving Quality Instruction, Teaching a Love of Dance & Arts BADA - October 2016 !4.
Recommended publications
  • Romantic Ballet
    ROMANTIC BALLET FANNY ELLSLER, 1810 - 1884 SHE ARRIVED ON SCENE IN 1834, VIENNESE BY BIRTH, AND WAS A PASSIONATE DANCER. A RIVALRY BETWEEN TAGLIONI AND HER ENSUED. THE DIRECTOR OF THE PARIS OPERA DELIBERATELY INTRODUCED AND PROMOTED ELLSLER TO COMPETE WITH TAGLIONI. IT WAS GOOD BUSINESS TO PROMOTE RIVALRY. CLAQUES, OR PAID GROUPS WHO APPLAUDED FOR A PARTICULAR PERFORMER, CAME INTO VOGUE. ELLSLER’S MOST FAMOUS DANCE - LA CACHUCHA - A SPANISH CHARACTER NUMBER. IT BECAME AN OVERNIGHT CRAZE. FANNY ELLSLER TAGLIONI VS ELLSLER THE DIFFERENCE BETWEEN TALGIONI AND ELLSLER: A. TAGLIONI REPRESENTED SPIRITUALITY 1. NOT MUCH ACTING ABILITY B. ELLSLER EXPRESSED PHYSICAL PASSION 1. CONSIDERABLE ACTING ABILITY THE RIVALRY BETWEEN THE TWO DID NOT CONFINE ITSELF TO WORDS. THERE WAS ACTUAL PHYSICAL VIOLENCE IN THE AUDIENCE! GISELLE THE BALLET, GISELLE, PREMIERED AT THE PARIS OPERA IN JUNE 1841 WITH CARLOTTA GRISI AND LUCIEN PETIPA. GISELLE IS A ROMANTIC CLASSIC. GISELLE WAS DEVELOPED THROUGH THE PROCESS OF COLLABORATION. GISELLE HAS REMAINED IN THE REPERTORY OF COMPANIES ALL OVER THE WORLD SINCE ITS PREMIERE WHILE LA SYLPHIDE FADED AWAY AFTER A FEW YEARS. ONE OF THE MOST POPULAR BALLETS EVER CREATED, GISELLE STICKS CLOSE TO ITS PREMIER IN MUSIC AND CHOREOGRAPHIC OUTLINE. IT DEMANDS THE HIGHEST LEVEL OF TECHNICAL SKILL FROM THE BALLERINA. GISELLE COLLABORATORS THEOPHILE GAUTIER 1811-1872 A POET AND JOURNALIST HAD A DOUBLE INSPIRATION - A BOOK BY HEINRICH HEINE ABOUT GERMAN LITERATURE AND FOLK LEGENDS AND A POEM BY VICTOR HUGO-AND PLANNED A BALLET. VERNOY DE SAINTS-GEORGES, A THEATRICAL WRITER, WROTE THE SCENARIO. ADOLPH ADAM - COMPOSER. THE SCORE CONTAINS MELODIC THEMES OR LEITMOTIFS WHICH ADVANCE THE STORY AND ARE SUITABLE TO THE CHARACTERS.
    [Show full text]
  • Ballet Master James Jordan Accepts Post As Ballet Master for Sarasota
    Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT : Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 www.kcballet.org Ballet Master James Jordan Accepts Post as Ballet Master for Sarasota Ballet Jordan to stay through 2013-14 Season and will return to stage The Nutcracker next season Kansas City, MO (April 10, 2014)— Kansas City Ballet Artistic Director Devon Carney today announced Ballet Master James Jordan has accepted a post as Ballet Master for Sarasota Ballet in Florida. Jordan will remain at Kansas City Ballet through the 2013-14 season and will return for the final year of Todd Bolender’s The Nutcracker this coming December. Jordan has dedicated nearly 30 years of service to Kansas City, first as a member of the Company from 1981-1987 and then as Ballet Master from 1991 to the present. “James has a national reputation as a stager for the ballets of Antony Tudor, working with companies around the country. His recent work with The Sarasota Ballet, which has a deep commitment to the Tudor works, afforded them the opportunity to see his value and shared passion for the historical works of Tudor and others. It was clear that the artistic values both Jordan and The Sarasota Ballet artistic leadership share, provided a natural progression for both parties,” stated Carney. “That said, he will be dearly missed. While technically the role of the Ballet Master is to assist with scheduling and the rehearsals for the Company, James was so, so much more than that. He truly was the ‘glue’ that held us all together.
    [Show full text]
  • How Cuba Produces Some of the Best Ballet Dancers in the World by Noël Duan December 14, 2015 9:01 PM
    http://news.yahoo.com/how-cuba-produces-some-of-the-best-ballet-dancers-020100947.html How Cuba Produces Some of the Best Ballet Dancers in the World By Noël Duan December 14, 2015 9:01 PM Recent graduates of the Ballet Nacional de Cuba School performing at the National Theater of Cuba in Havana in February 2015. (Photo: Getty Images) This story is part of a weeklong Yahoo series marking one year since the opening of relations between the United States and Cuba. Cuba is well known for many forms of dance, from the mambo and the tango to salsa, the cha- cha and the rumba. But only ballet enthusiasts know that the dance form is one of the country’s biggest cultural exports. In Cuba, ballet is just as popular as baseball, a sport where players from the Cuban national team regularly defect to the major leagues in the United States. Unlike in the United States, where ballet is generally considered highbrow art and Misty Copeland is the only ballerina with a household name, the Cuban government funds ballet training and subsidizes tickets to ballet performances. “Taxi drivers know who the principal dancers are,” Lester Tomé, a dance professor at Smith College and former dance critic in Cuba and Chile, tells Yahoo Beauty. Like Cuban baseball players, Cuban ballet dancers have made international marks around the world, from Xiomara Reyes, the recently retired principal dancer at New York City’s American Ballet Theatre to London’s English National Ballet ballet master Loipa Araújo, regarded as one of the “four jewels of Cuban ballet.” In September 2005, Erika Kinetz wrote in the New York Times that “training, especially Cuban training, has been a key driver of the Latinization of ballet,” an important note, considering that European ballet companies dominated the dance world for decades.
    [Show full text]
  • Press Release Prix De Lausanne 2017
    Press release Prix de Lausanne 2017 Ticket sales opening, artistic team 2017 and interlude programme part I International competition for young dancers - Théâtre de Beaulieu Lausanne December 15th, 2016: tickets for the Selections (February 3rd, 2017) and Finals (February 4th, 2017) go on sale today! The Prix de Lausanne also presents its artistic team 2017 (teachers, coaches and musicians) and the first part of the interlude on February 4th. Ticketing Tickets for Prix de Lausanne 2017 go on sale online today, at noon, on prixdelausanne.org and ticketino.com. Please note: • For the Selections (February 3rd), tickets will also be available at the theater during the competition. Tickets are free for children under the age of 5 years old. • For the Finals (February 4th), last-minute tickets will be on sale at the theater, but we advise the public to purchase their tickets early as the Finals sell out quickly. Children pay full price. Artistic team The competition could not exist without the precious collaboration of our international teachers, coaches and musicians. They contribute to ensuring that the Prix is a learning opportunity as well as a springboard to success, through their availability, constant care and experienced guidance. Discover the members of our 2017 artistic team below: Teachers Ballet Classes Patrick ARMAND, Associate Director of the San Francisco Ballet School and Prix de Lausanne Prize Winner 1980. Stefanie ARNDT, international guest teacher and coach and Prix de Lausanne Prize Winner 1983. Contemporary Classes Didy VELDMAN, international choreographer and guest teacher. Coaches Classical Variations Patrick ARMAND, Associate Director of the San Francisco Ballet School and Prix de Lausanne Prize Winner 1980.
    [Show full text]
  • The Sleeping Beauty Press Release
    PRESS CONTACT: Natasha Kautsky | Director of Marketing & Communications PHONE: 503.227.0977 | EMAIL: [email protected] FOR IMMEDIATE RELEASE - Portland, OR (January 14, 2020) Oregon Ballet Theatre’s 30th Anniversary continues with the exciting return of Christopher Stowell’s The Sleeping Beauty Oregon Ballet Theatre’s 30th anniversary season continues this February with the exciting return of one of ballet’s most beloved and demanding works, The Sleeping Beauty. Based on the original Marius Petipa choreography, this production was created for the company by former Artistic Director Christopher Stowell and premiered in 2010. Now a new generation of OBT stars invigorate the work with the OBT Orchestra performing Tchaikovsky’s glorious score. With its beloved characters, sublime music, and rich choreography, The Sleeping Beauty is a ballet for the ages. But even its creator, Marius Petipa, acknowledged that “every ballet master will revive ballets with the tastes of the public in his own time.” While respectful of tradition, Stowell’s Sleeping Beauty is “very American” observed dance critic Martha Ullman West in her review of the premiere. “High art can be hugely entertaining to watch… From the fiendishly difficult fairy variations… to the storybook (solos) this rendering of the great 19th century classic is an immense amount of fun.” The Sleeping Beauty epitomizes the highest ideals of classical ballet. In the fall of 2010 when Stowell added the work to the OBT repertory, it marked a coming of age for the company in terms of technical and artistic ability. “It is no exaggeration to say that this ballet was emblematic of his aspirations for the company,” notes Artistic Director Kevin Irving.
    [Show full text]
  • Ballet, Culture and Elite in the Soviet Union on Agrippina Vaganova’S Ideas, Teaching Methods, and Legacy
    Ballet, culture and elite in the Soviet Union On Agrippina Vaganova’s Ideas, Teaching Methods, and Legacy Magdalena L. Midtgaard Magdalena Midtgaard VT 2016 Examensarbete, 15 hp Master program, Idéhistoria 120 hp Balett, kultur och elit i Sovjetunionen Om Agrippina Vaganovas idéer, undervisningsmetoder och arv Magdalena Midtgaard vt. 2016 Abstract. Balettutbildning har varit auktoritär och elitistisk i århundraden. Med utgångspunkt i Agrippina Vaganova och hennes metodiska systematisering av balettundervisning diskuteras frågor om elit, lärande och tradition inom balettundervisning. Vaganova var en länk mellan tsartidens Ryssland och det nya Sovjet och bidrog aktivt till att balett som konstform, trots sin aristokratiska bakgrund, fördes vidare och blev en viktig kulturpolitiskt aktivitet i Sovjet. Med underlag i texter av Bourdieu och Said diskuteras elit, kulturellt kapital och elitutbildning för att förklara några av de politiska och samhällsmässiga mekanismer som bidragit till balettens unika position i Sovjet. För att placera Vaganova som pedagog i förhållande till balettundervisning och balett genom tiden, presenteras korta informativa kapitel om baletthistoria, och utveckling och spridning av Vaganovas metod, både i Sovjet/Ryssland och i andra länder. Key words: Classical ballet, Vaganova, ballet education, elite education, cultural politics in the Soviet Union My sincere thanks to Sharon Clark Chang for proof reading and correcting my English, and to Louise Midtgaard and Sofia Linnea Berglund for valuable thoughts on Vaganova and ballet pedagogy and education in general. 2 Contents 1. Introduction p. 5 1.1 Sources and method p. 6 1.2 Theoretical perspectives on elite culture p. 7 2. Background p. 8 2.1 A short history of ballet p.
    [Show full text]
  • Guide to Dance 2018-2019 Study Guide
    GUIDE TO DANCE 2018-2019 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2018 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ......................................................................................................................... 10-12 Ballet Terminology..........................................................................................................................................
    [Show full text]
  • Dance Theatre Hosts Ballet Master Class with Mark Fields!
    + When: Ages Saturday Sept 12th Dance Theatre 10 & 10:00-11:00 under Hosts Ages Saturday Sept 12th 10 & 11:00-12:30 Ballet Master up Class with Mark Fields! Where: 2107 South Glenburnie Rd. New Bern, N.C, 28562 Cost: $20 What to Wear: A black leotard, pink tights, ballet shoes, and hair in a bun. Welcoming dancers from all studios For more info go to www.dance-theatre.com or call 252-637-1818 Mark found his calling in life, to Dance, at the late age of 20. Mark grew up in a small town in West Virginia taking class at the Bluefield Dance Theatre. Mark shortly after + attended the University of North Carolina School of the Arts in Winston-Salem under the direction of the world famous instructor and director, Duncan Nobel. With a strong Dance Theatre Balanchine technical base Mark went to Chicago to start his professional career working with several companies including Dance Works, Gus Giordano, Hubbard Street, Chicago Welcomes City Ballet, and Joel Hall Dancers touring London England. For several years Mark taught Mark to the and choreographed from coast to coast settling in LA doing industrial and music videos for Staff artists such as Billy Idol, MTV’s version of Thriller, Stix, Soul Train and other professional performances. Mark was cast as the lead dancer and dance captain for The Lost Colony on Roanoke Island. Following the production he opened The Caroline Dance Center in Raleigh, NC and established The Caroline Dance Company - North Carolina’s “Mark brings a first professional jazz dance company.
    [Show full text]
  • Audience Guide, Beauty and the Beast
    Audience Guide Choreography by Lew Christensen Staged by Leslie Young Music by Pyotr I. Tchaikovsky The Benedum Center for the Performing Arts February 14 - 23, 2020 Artists: Hannah Carter, Alejandro Diaz | Photo: Duane Rieder Created by PBT’s Department of Education and Community Engagement, 2020 The Pittsburgh Ballet Theatre Education Department is grateful for the support of the following organizations: Allegheny Regional Asset District Highmark Foundation Anne L. and George H. Clapp Charitable Trust BNY Jack Buncher Foundation Mellon Foundation Peoples Natural Gas Claude Worthington Benedum Foundation Pennsylvania Council on the Arts Eat ‘n Park Hospitality Group Pennsylvania Department of Community and Economic Edith L. Trees Charitable Trust Development ESB Bank Pittsburgh Cultural Trust Giant Eagle Foundation PNC Bank—Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. and Lucy K. Schoonmaker The Heinz Endowments Henry C. Frick Educational Fund of The Buhl Foundation Contents 2 The Origins of Beauty and the Beast ​ 3 Select List of Beauty and the Beast Adaptations ​ ​ 4 About the Ballet 5 Synopsis 6 The Music 6 The Choreography 9 The Répétiteur ​ 9 Costumes and Sets 12 Theater Programs 12 Theater and Studio Accessibility Services 1 The Origins of Beauty and the Beast ​ When it was published in 1740, Beauty and the Beast was a new take ​ ​ on an centuries-old canon of stories, fairy tales and myths, found in all cultures of the world, about humans who fall in love with animals. Maria Tatar, author of Beauty and the Beast: Classic Tales About ​ Animal Brides and Grooms from Around the World, notes that these ​ stories - about love, courtship, romance, marriage - give “a vivid, visual grammar for thinking about abstractions: cruelty and compassion, hostility and hospitality, predators and victims.”* They explore issues that are “as old as time:” the layers, complexities and contradictions at the heart of relationships.
    [Show full text]
  • 2019-2020 Schedule of Classes
    2019-2020 SCHEDULE OF CLASSES 200 East Saint John Street | Spartanburg SC 29306 | 864-583-0339 balletspartanburg.org Class Age Day Time Instructor Special requirements Toddler 2-3 Wednesday 3:30-4:20 Analay Saiz Toddler 2-3 Saturday 9:00-9:50 Analay Saiz Creative A/B 3-4 Thursday 2:15-3:05 Analay Saiz Montessori Onsite Creative A 3 Monday 4:30-5:20 Analay Saiz ballet introduction Creative B 4 Tuesday 5:00-5:50 Susan Woodham ballet introduction Creative A/B 3-4 Thursday 3:30-4:20 Analay Saiz ballet introduction Creative A/B 3-4 Saturday 10:00-10:50 Analay Saiz ballet introduction Pre Ballet A 5 Monday 3:30-4:30 Analay Saiz Pre Ballet A 5 Tuesday 3:30-4:30 Susan Woodham Pre Ballet B 6 Monday 3:30-4:30 Susan Woodham Pre Ballet B 6 Tuesday 3:30-4:30 Analay Saiz Pre Ballet A/B 5-6 Saturday 11:00-12:00 Analay Saiz Ballet IA 7 Monday 4:30-5:30 Susan Woodham Ballet IA 7 Wednesday 4:30-5:30 Analay Saiz Ballet IB 8 Monday 6:00-7:00 Susan Woodham Ballet IB 8 Wednesday 3:30-4:30 Carrie Petrak Beg. Ballet I 9-13 Tuesday 6:30-7:30 Grayson Driver Introduction to Ballet Technique Ballet IIA Tuesday 6:00-7:00 Susan Woodham Ballet IIA Wednesday 5:30-6:30 Carrie Petrak Ballet IIA Thursday 3:30-4:30 Grayson Driver Ballet IIB Monday 4:00-5:30 Nichola Montt recommended 2X a week Ballet IIB Thursday 4:30-6:00 Grayson Driver recommended 2X a week Ballet IIIA Tuesday 4:30-6:00 Analay Saiz recommended 2X a week Ballet IIIA Wednesday 5:45-7:15 Nichola Montt recommended 2X a week Ballet IIIB Tuesday 6:00-7:30 Analay Saiz 2X a week requirement plus pre-pointe Ballet
    [Show full text]
  • Ballet Nebraska II Dancer Guidelines
    DANCER LAST NAME: FIRST NAME: Ballet Nebraska II Dancer Guidelines Ballet Nebraska II (BN II) serves as a training ground for a select group of highly motivated pre- professional dance students. Members are chosen by audition each season and participate in weekly class and rehearsals. BN II dancers gain valuable exposure to professional ballet company life, with opportunities to study with artistic staff, learn Company repertoire, and improve technique and artistry. Dancing with BN II is a privilege and members learn how professional dancers conduct themselves in their line of work. The following guidelines outline the expectations for BN II dancers. Classes and Rehearsals • Dancers are required to participate in regular ballet technique classes. Each member must be enrolled in 3 or more ballet classes per week. Dancers must turn in a copy of their dance class schedule to Ballet Nebraska at the beginning of the season for approval. • Weekly Company class (Saturdays 11:00-12:30) is required. This provides an excellent opportunity to study alongside the professionals, improve technique, and prepare for the rehearsal day. Company class counts toward the weekly class requirement. • Rehearsals are typically scheduled on Fridays between 4:00-6:30 and Saturdays between 1:00- 7:00, depending upon the rehearsal period. Dancers must be available during these times. • Please be on time, in the studio and ready to work at the designated class and rehearsal times. • All dancers are expected to participate in the entire class and rehearsal at the best of their abilities. If an injury or illness may prevent you from doing so, inform the teacher conducting rehearsal.
    [Show full text]
  • Former Béjart Ballet Lausanne Principal Kathryn Bradney Is New Artistic Director of the Prix De Lausanne
    Former Béjart Ballet Lausanne Principal Kathryn Bradney is new Artistic Director of the Prix de Lausanne gramilano.com/2018/06/former-bejart-ballet-lausanne-principal-kathryn-bradney-is-new-artistic-director-of-prix-de- lausanne/ gramilano June 19, 2018 Kathryn Bradney ©DR Following the Fondation en faveur de l’Art Chorégraphique’s official Board meeting, Kathryn Bradney has been elected unanimously as full-time Executive and Artistic Director of the Prix de Lausanne after completing a 4-month period ad interim. Stephane Lagonico, President of the Board, said, We are delighted to appoint Kathryn Bradney and are very happy that we will have her skills, perception and energy to lead this outstanding and much-loved competition into its 48th year of existence. We have every confidence that her vision and leadership will ensure a vibrant future for the Prix. Bradney is a former Principal Dancer and ballet master from the Béjart Ballet Lausanne and co-founder, with her husband Igor Piovano, of the Igokat Dance Academy. She has been a Prix de Lausanne media producer, production manager and a member of the competition’s preselection jury for over 11 years. Since accepting the Direction of the Prix de Lausanne, Bradney has focused her energies on the organization of the Prix de Lausanne 2019, the new Swiss Workshop and the preselections in Brazil, organized in September 2018. She has been working on new future projects that will soon be announced all in accordance with the new strategy which was 1/2 defined by the Board of Directors in the Autumn of 2015.
    [Show full text]