Burklyn Ballet Self Designed Experience What? This summer, I spent three weeks training at Burklyn Ballet Theater in Johnson, Vermont. It was an incredible experience because I was able to perform three times, I made many lasting connections with professional dancers and directors, I was able to spend time with children that I know will grow into wonderful, hard working people, and my improvement as a dancer was tangible after that short period of time. I woke up every morning at 6:45 am, put my hair up, donned my leotard and tights and headed to breakfast. After breakfast I took a class from 8:30am-10:15 am (usually ballet), and another from 10:30am-12:15pm (character, pointe, or variations). After a lunch break, I returned for my third and final class of the day, from 1:00 pm- 2:30 pm (pas de deux or ballet). On Monday afternoons, casting and rehearsal schedules would be posted for our performance on Saturday. There was no time to waste, as we put on full shows with only five days to prepare. Rehearsals, thus, began Monday evenings. Each evening, I had from one to three hours of rehearsal. At night, I stretched, rolled out sore muscles, and iced my feet (and ate my fair share of chocolate). The days repeated until Fridays dress rehearsal and
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Saturdays show. I was thrilled to have three more chances to be on stage and loved performing among friends. The first week, I performed Songbird Fairy from Sleeping Beauty. The next, I performed a contemporary ballet pas de deux (original choreography by Robert Royce). Finally, I performed as a soloist in a students choreography, during student choreography week. As I stated in my proposal, the vast number of hours spent dancing accelerated my technique astronomically. Typically, I spent between 6 and 9 hours dancing per day. Five of these hours were spent in technique classes during which instructors gave corrections and assisted in our progression. For instance, Peter Merz, a ballet instructor from Pointe Park University, helped me improve my turns during week two. Ive always struggled with pirouettes of all forms. He told me that I needed to relax my neck and keep my chin parallel to the ground to assist with spotting. Corrections dont happen over night, so Im still working on it, but Ive already noticed a palpable difference in my ability to complete three or more pirouettes. Furthermore, the performance experience I had (specifically week two) marked a great deal of personal, artistic discovery. The music and movement stuck a chord with me, and my partner and I had fantastic chemistry while working together (I realize that doesnt sound incredibly academic, but Im doing my best to explain an epiphany moment that I dont fully know how to verbalize). By the time the show came, although we only had five days to learn 15 minutes of choreography, the movement and music was so ingrained in my body that I was able to focus completely on the performance, and by extension, my relationship with my partner. I believe it was the best performance experience Ive had to date. I was truly present on stage. I feel as if on that one night, my dancing went beyond technique and delved more into art than I ever have. I am excited to continue to explore that facet of dance in future performances.
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My main goal this summer was to document other counselors journeys to professional dance in short video interviews (you can view them on my blog unorthodoxdancer.weebly.com). I loved showing the people who were making it in the dance world in the atypical way. As a young dancer, it can be cripplingly daunting to look at all of the famous dancers who have been dancing at famous studios since they could walk. Young dancers who started late, or didnt have access to world-class training from an early age often feel like they should just give up because they are already so far behind. I understand their feelings, because I had (have) them. I didnt start until I was 13, so most of my peers have about 10 more years of training than me. On top of that, I started dancing in Huntington, WV, at a studio where no one has continued dancing past high school. I felt like there was so much working against me, but I had to try. Now, Im so excited to share the stories of people who have faced these struggles and are succeeding. The last week of my stay at Burklyn Ballet was student choreography week. During the time, students at BBT are encouraged to choreograph and set their own works. I was placed in a piece by a 16-year-old male dancer, Christopher Henry. At this point, I felt most useful as an older dancer in assisting him not only in communicating and articulating his intentions with the other dancers in the piece, but also with the doctor of choreography who was directing the effort, Dr. Molly Faulkner. He wanted to use two, fairly divergent pieces of music with a full blackout between the two songs. Dr. Faulkner felt that it dragged the audience out of the first world he had created. I was able to work with Chris to edit the songs so that they merged and blurred together, and helped him alter the end of the first piece and the beginning of the second to retain cohesiveness in the two pieces. It was incredibly satisfying because Dr. Faulkner had valid
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input, Chris felt personally and artistically attacked, and I was simply able to bridge the gap between the two as a pseudo-mediator. So What? During my summer at Burklyn Ballet, I furthered my technique and artistry, made connections with guest instructors who teach and dance across the nation, met and grew closer to a peer group of dancers who are pursuing degrees and working in companies, and mentored children who share my passion for dance, Academically, my dancing is stronger than ever and Ive tapped into the much needed artistic facet of dance. Furthermore, in preparation for this experience, I read Apollos Angels and now have a firm grasp on the history of ballet. Professionally, Ive made connections nationally that I can use when I begin auditioning for positions in companies. Personally, I was re-inspired-- Im so excited about performing and my coming year in dance. As I stated above, I read Apollos Angels in preparation. I wont go into detail about the book (as it was dense and too complex to summarize in a paragraph or two), but what I found interesting is that the progression of artistry in ballets history is quite paradoxical to the
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progression of artistry in a dancers career. Both started very artistic, although perhaps not as analytical about it. As technique gets more serious, they nearly lose the artistic side of dance. Finally, when technique becomes sound enough, it again shares the road with artistry. The book, in general, allowed me to enter into educated discourse about prominent figures in ballets history. During the week, our instructors set ballets on us. I was able to see and dance the choreography of the people I had read about. It felt like even more of a privilege to dance Songbird Fairy in The Sleeping Beauty because I knew about the conditions in which Marius Petipa choreographed. Now What? There are so many styles of dance and so many companies across the country. Ive always known that I didnt want a strictly ballet career, but working with a professional in contemporary ballet was one of the most rewarding dance experiences of my life. I am now confident that I want to audition for contemporary ballet companies. After having performed a broad spectrum of dance styles over such a short period of time, I am able to confidently say that contemporary ballet is where my passion lies and the path I wish to pursue.
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One of my biggest emotional challenges during this program happened during the second week. A woman came to watch us dance in order to select dancers for her traineeship program. During the duration of her stay, she expressed no sign of happiness or eagerness, often berating dancers in our class in unconstructive ways. Although she was, in my opinion, one of the unhappiest teachers I had ever had, I made the decision to still enjoy myself during her class. It was a reminder that, ultimately, only you are in control of your happiness. I think often it is easy to get too caught up in negativity, especially in an art that requires you to pick out every imperfection in the mirror for hours every day. Time is precious. You will never have this moment again, so if it is in your power to be happy, be happy. I found that I worked smarted, better, and more energetically because of it. I have shared my blog with the dancers from my home studio. Furthermore, I had a meeting with the dancers who are high school sophomores, juniors, and seniors and their parents to discus dancing after high school. We discussed what I had learned from the counselors careers as well as my own experience. They were able to formulate a starting point for looking at colleges and companies before they graduate. I also taught a master class which incorporated what I had learned from the three weeks of technique classes. Ive seen these girls grow into beautiful, young dancers. As the first person to have danced seriously after high school, I feel a need to bring back information for the girls who are trying to do the same. They can learn from my successes and failures, having come from a similar background. Im always excited to see them grow and again it helped me grow as a teacher.