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Dance In The US: Arizona School Of Classical Ballet

January 25, 2010 by 4dancers

More about ballet in Arizona….

Name: Arizona School of Classical Ballet

Location: 20820 N. 25th Place, Suite # 110 – 112, Phoenix, AZ, 85050

About: The Arizona School of Classical Ballet teaches the Russian Method of Classical Ballet and also offers a recreational program of dance, and an adult ballet program for those who are looking for something less demanding. There is a four-year program for students ages 3 to 7 that prepares them for serious study.

The more advanced study of ballet begins at ages 8/9, and after some time girls are exposed to pointe work as they are ready. Other dance styles offered here include character dance, flamenco, modern and jazz.

School director Nadya Zubkov has served in many different capacities in her career, including the Artistic Director of the Ballet Department of the Children’s School for the Arts in Moscow and as a full-time faculty member for the School of Ballet Arizona prior to her current position.

The faculty at Arizona School of Classical Ballet all have strong backgrounds, and it is clear that they all have a great deal of experience in their respective fields. I found it very interesting that they also have a music instructor on staff who teaches piano and music theory.

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Filed Under: Dance In The US Tagged With: arizona school of classical ballet, character dance, flamenco, jazz dance, modern dance, nadya zubkov, school of ballet arizona

Dance In The US: Yuma Ballet Academy

January 23, 2010 by 4dancers

Continuing in our new series, Dance in the US, lets take a closer look at ballet in Arizona…

Name: Yuma Ballet Academy

Location: 3942  S. Avenue 4 1/2 E, Yuma, AZ 85365

About: This school has an Early Childhood Dance Program for children ages 3 to 6, as well as the regular Ballet Program for those ages 7 and up. There is also a Contemporary Dance Program and a Teen/Adult program offered through the academy. The school offers performance opportunities for students that range from a year-end recital to performances with the company, Ballet Yuma.

The company is directed by Jon Cristofori and Kathleen Sinclair, and the school has had graduates that have gone on to places such as San Francisco Ballet, Houston Ballet, American Ballet Theatre’s Studio Company, Boston Ballet, Les Ballet Trockadero de Monte Carlo and Atlanta Ballet, among others.

As always, if you are from the company or the school and you would like to tell 4dancers readers something about your organization, please feel free to leave a comment…

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Filed Under: Dance In The US Tagged With: yuma ballet academy

10 Questions With…Cory Gabel

January 21, 2010 by 4dancers

Tell me a little bit about you…your name, location and what you do.

Cory Gabel, composer and music producer living in greater Hartford, CT.

1. How did you wind up composing music for dance groups?

It was a conscious decision to collaborate with dancers and choreographers. Over the last several years, I had been doing mostly film and commercial composing, and was missing the live, performance element to my music. For years, I was the lead singer and guitarist for an alternative rock band, and always enjoyed the energy of the “show”. Now, having moved more into to composing versus live performance myself, it was a great way to craft music that would ultimately be “performed” – just not by me!

 2. How is composing music for dance different than composing it for other things?

In film, music comes last – very last. The challenge is to identify the emotional tone the director is going for, and the match that, and the timing of film. It’s very intricate and exacting, but can also be fun. Also, as we all know, the best film scores are the ones you rarely notice.

Music for dance could not be more opposite: it’s the foundation, and the dance is built upon it. It’s meant to be a focal point, and in most cases, and equal player in the overall scheme of things. 

3. Can you share a few examples of dance groups that you have composed for?

Gregory Hancock Dance Theatre, Huckabee/McAllister Dance, Exhale Dance Tribe, Ridgefield Conservatory of Music, Hartford Conservatory… (other projects/commissions to be announced very soon!)

4. What is the composing process like when you create something for dance?

Once an artistic director/choreographer and I agree to collaborate, we normally talk concept. The concept usually comes from an idea or theme that they’ve wanted to explore, but could never find the right music for! So – we talk that through, and they give me any musical ideas they were thinking – if they had any. Normally, I then spend some time with the concept and I do a music search – it’s part of my process. I find snips and pieces of all kinds of music that I think will inspire me, and put me in the “place” of where I’ll write from. I normally share that playlist with the AD, so they can see the ballpark I plan on playing in, it’s kind of a gut check moment.

If all is well – I proceed, and start to write and produce demos of the music, sharing along the way with the AD.

5. What instruments do you use for dance compositions?

All – depends on the piece. Most dance companies don’t have budgets for big live ensembles – so the majority of what I’ve done has been to write, and then produce a finished recording that they can play back at the performance. I have access to record solo instruments, up to full orchestras – and have done all for past projects.

 6. What do you like best about composing for dance?

The collaboration. Crafting a project with another intensely creative person, and knowing that it is also going to be performed. Too many people in music (bands, soloists) etc – write and practice forever, and never get to enjoy getting it out there. (I know, because long ago I did this too!) When I team with an established, regularly performing dance or ballet company – I know that our work will be seen by and audience. It’s exciting.

 7. What does it feel like to see people dance to your music?

Truly – that’s the best part – the day of tech, or the dress rehearsal. To see all of these talented dancers, lighting designers, choreographers – and to know that they’ve been working their craft and their passion, with my music as the soundtrack – is humbling and tremendously gratifying. I’m very sappy that way, I’ve yet to make it through a dress rehearsal without crying…

8. How would you describe your music?

How’s this: theatrical alternative! I love using simple acoustic instruments, full orchestra, rock guitars, female voices – and lots, and lots of percussion. So, things tend to get a very bipolar vibe – moments of very stark intimacy, acoustic, melancholy, light. Then – we go huge – big drums, driving rhythm, full orchestra is warranted. The music for The Casket Girls best shows this – it was the full palette of what I’m all about…

9. How long does it take to compose music for dance groups?

Depends on length. A single 4-5 minute piece, could take a few weeks. The Casket Girls (a one act ballet, 30 minutes) took about 4 months, start to finish.

 10. Who are some of your favorite composers?

I have to add “and bands/performers” to that – because I probably listen more to that style of music more. Danny Elfman, James Newton Howard, Beethoven…but then, U2, Nine Inch Nails, Damien Rice, Fiona Apple, Snow Patrol, Radiohead, Tori…

Anything else you’d like to share?

I’m always seeking new collaborations/commissions – and I understand the financial constraints most non-profit organizations have to deal with. But if there’s a creative desire to work together – there’s always a way to get it done!

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Filed Under: 10 Questions With... Tagged With: Ballet, composer, cory gabel, dance companies, dancers, music producer

Guest Post: Writing About Dance

January 19, 2010 by 4dancers

Today I’d like to welcome Nina Amir, author of the popular dance blog, My Son Can Dance. I asked her if she would share some thoughts on writing about dance, and she was kind enough to oblige…enjoy!

I’ve been a journalist for more than 30 years. However, when I began writing back in high school, I never thought I’d one day write about dance, since I didn’t dance. It took having a son with aspirations of becoming a professional dancer to set me on the road to becoming a dance writer.

In fact, back in my high school days when I received my first by lines, and even after graduation from college with a degree in magazine journalism, I knew nothing about dance. I took a few dance classes in elementary school, but I only wanted to pursue tap, and the instructor insisted that I had to also take ballet. Although I understand why she imposed that rule now, at the time I had no idea and quit. It was only tap or nothing as far as I was concerned. Beyond that, I’ve always enjoyed watching dance and “going dancing.” That served as the extent of my dance education…until my three-year-old son decided he wanted to learn how to dance.

I have a tendency to focus my writing on the issues in my life. By that I mean that I like to find solutions to problems by seeking out experts and writing articles based on the information they provide. For example, when my son and daughter were forced to change schools three times in three years, I wrote an article about the affects changing schools has on children. When my children both found themselves in competitive situations—she as an ice skater and he as a member of a competitive dance team—I wrote about the risks and rewards of competition for young children. So, as my son got more and more involved in dance, I took the issues he faced as a young male dancer onto the written page…and into dance publications.

The first article I wrote tackled the issue of how to keep boys involved in dance and appeared in Dance Teacher magazine. At the time, I was thinking about the difficult time young boys have as dancers, since they are almost always the only males in their classes. This led me to begin on a larger project, one I continue working on today.

I began research for a book about how to mentor boys who want to become professional dancers. My premise revolved around the fact that boys who do want to dance as a career have at tough road to hoe to get onto that stage. Yes, the spotlight tends to be on them whenever they hit the stage, but when off the stage they get teased, ostracized and generally feel different then their peers who play football, soccer or do gymnastics and other “acceptable” male activities. They also have little time to socialize if they have friends outside the dance studio. I interviewed several professional dancers, wrote a book proposal and began marketing the book.

In the meantime, I began building a platform for this book. In other words, I began trying to build my name in the dance world. I continued to write for dance magazines, such as Dance Spirit, Dance Teacher and Movmnt, and I began a blog about my son’s issues in dance and outside of dance and my own issues raising a dancing boy.

These activities have actually proved quite rewarding. They’ve helped me become more knowledgeable about dance. They’ve also helped me open some doors for my son. And they’ve helped me find solutions to problems my son has faced as a dancer. (Once, when I wasn’t careful, my blog created a problem for him…but I learned about the boundaries I needed to stay within when writing about him and his dancing experiences.) Additionally, writing about dance has turned into a rewarding avenue for me as a writer. Since I have become quite interested in dance in general, I love writing about the subject, speaking with dancers, helping dancers, and generally supporting the art form.

For other people—writers and dancers—interested in writing about dance, here’s my advice on how to get started as a dance writer:

  1. Think about what issues you face or you see in the dance world. Propose these to editors, and do so with a personal twist. You don’t necessarily have to say that you experience the issue yourself, but let them know that you have seen the issue first hand or that you know people who have. If you or some other dancer you know has experienced something, in all likelihood other dancers have, too.
  2. If you can suggest professionals in the industry to interview, do so. Editors love it when you have new sources to offer.
  3. If you see something exciting happening regionally, don’t be afraid to send a query on the topic to a national magazine. However, you might want to try and give the story more appeal by tying in to a trend or other similar happenings across the country.
  4. Be sure to tell the editor why you are the best person to write this story. Don’t just include your dance credential; also include your writing credentials. You must be a good writer and researcher to write for a national magazine.
  5. If you’ve never done much writing and have no published clips, try suggesting a short piece for a section of the magazine that features short articles.
  6. If you don’t have published clips, try writing about dance for the local parenting magazine, regional publications or newspapers in your area. Once you can show that you can and do write about dance on a regional level, you’ll have an easy time convincing national editors that you can do the same—or better—job for them.
Human Kinetics Book

BIO: Nina Amir is a seasoned journalist, nonfiction editor, author, consultant, and writing coach with more than 30 years of experience in the publishing field as well as the founder of Write Nonfiction in November, a blog and writing challenge. Currently, she also serves as the Jewish Issues Examiner and a staff writer at Grocery Headquarters magazine. Additionally, she is the author of the popular dance blog, My Son Can Dance.

Using her degree in magazine journalism, she has edited or written for more than 45 local, national and international magazines, newspapers, e-zines, and newsletters on a full-time or freelance basis. Her essays have been published in five anthologies and can be found in numerous e-zines and Internet article directories. She also has a proven track record as a nonfiction book editor; her clients books have been successfully self-published and purchased by Simon and Schuster, William Morrow, Sounds True, and O Books.

Amir is an inspirational speaker, spiritual and conscious creation coach, teacher, and the regular holiday and spirituality expert on Conversations with Mrs. Claus, a weekly podcast heard in more than 90 countries and downloaded by 110,000 listeners per month (www.thefamilyyak.com). She has written and self-published 5 booklets and workbooks and currently is writing five books, including  So You Think You Wanna Dance, Advice and Encouragement from Professional Male Dancers for Those Who Want to Follow in Their Footsteps. Through her own writing and speaking, Amir offers human potential, personal growth and practical spiritual tools from a Jewish perspective, although her work spans religious lines and is pertinent to people of all faiths and spiritual traditions.

Amir lives in Los Gatos, CA , with her husband and two children.

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Filed Under: 4dancers, 4teachers, Online Dance Resources Tagged With: blog, dance spirit, dance teacher, dance writer, movmnt, my son can dance, nina amir

Teaching Tip: For The Older Teacher

January 18, 2010 by 4dancers

Teaching TipI am a teacher who is over 40, and I have noticed a few things that I would like to pass along to teachers who are no longer dancing full-time. Please feel free to share your own if any come to mind that aren’t on this list:

+ Be sure to warm up your feet and ankles prior to teaching a class. Taking a few minutes to stretch out your Achilles tendon and calf muscles can make a world of difference. I’ve noticed that my ligaments and tendons need a little blood flow to work properly now. Demi plies and slow ankle circles make a good warm-up.

+ Choose shoes carefully. I found that once I stopped dancing full-time it was less comfortable to wear regular technique slippers. I now use “dance sneakers,” but have seen teachers wear everything from character shoes to jazz shoes for teaching class. The important things are comfort and the ability to show the steps clearly to students.

+ Utilize students for demonstration. I’m no longer up to doing a grand jete–much less doing one without having done a barre first. When you can, use a student to demonstrate steps that can possibly cause you injury. It makes the student feel good and saves your body the impact.

+ Schedule yourself sensibly. You may want to spread classes out over a few days rather than doing four of them back-to-back. Your body will tell you what it can and cannot handle, so be sure to pay attention to the signs of overdoing it. If you feel stiff, bruised or exceptionally tired, you may be taking on too much at once.

It can be very difficult to adjust your teaching style to adapt to changes in your body as you get older. As dancers we don’t like limitations–we have been taught to push our bodies as hard as we can. Even so, making some minor adjustments can mean that you are able to teach more effectively as well as feel better physically, so it really is worth it in the long run.

Any tips to share?

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Filed Under: 4teachers, Teaching Tips Tagged With: dancing, teacher, teaching

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