• Contributors
    • Catherine L. Tully, Owner/Editor
    • Dance Writers
      • Rachel Hellwig, Assistant Editor — Dance
      • Jessika Anspach McEliece, Contributor — Dance
      • Janice Barringer, Contributor – Dance
      • José Pablo Castro Cuevas, Contributor — Dance
      • Katie C. Sopoci Drake, Contributor – Dance
      • Ashley Ellis, Contributor — Dance
      • Samantha Hope Galler, Contributor – Dance
      • Cara Marie Gary, Contributor – Dance
      • Luis Eduardo Gonzalez, Contributor — Dance
      • Karen Musey, Contributor – Dance
      • Janet Rothwell (Neidhardt), Contributor — Dance
      • Matt de la Peña, Contributor – Dance
      • Lucy Vurusic Riner, Contributor – Dance
      • Alessa Rogers, Contributor — Dance
      • Emma Love Suddarth, Contributor — Dance
      • Andrea Thompson, Contributor – Dance
      • Sally Turkel, Contributor — Dance
      • Lauren Warnecke, Contributor – Dance
      • Sharon Wehner, Contributor – Dance
      • Ashley Werhun, Contributor — Dance
      • Dr. Frank Sinkoe, Contributor – Podiatry
      • Jessica Wilson, Assistant Editor – Dance
    • Dance Wellness Panel
      • Jan Dunn, MS, Editor
      • Gigi Berardi, PhD
      • James Garrick, MD
      • Robin Kish, MS, MFA
      • Moira McCormack, MS
      • Janice G. Plastino, PhD
      • Emma Redding, PhD
      • Erin Sanchez, MS
      • Selina Shah, MD, FACP
      • Nancy Wozny
      • Matthew Wyon, PhD
    • Music & Dance Writers
      • Scott Speck, Contributor – Music
    • Interns
      • Intern Wanted For 4dancers
    • Contact
  • About
    • About 4dancers
    • Advertise With 4dancers
    • Product Reviews on 4dancers
    • Disclosure
  • Contact

4dancers.org

A website for dancers, dance teachers and others interested in dance

Follow Us on Social!

Visit Us On YoutubeVisit Us On TwitterVisit Us On PinterestVisit Us On FacebookVisit Us On Instagram
  • 4dancers
    • Adult Ballet
    • Career
    • Auditions
    • Competition
    • Summer Intensives
    • Pointe Shoes & Footwear
      • Breaking In Shoes
      • Freed
      • Pointe Shoe Products
      • Vegan Ballet Slippers
      • Other Footwear
  • 4teachers
    • Teaching Tips
    • Dance History
    • Dance In The US
    • Studios
  • Choreography
  • Dance Wellness
    • Conditioning And Training
    • Foot Care
    • Injuries
    • Nutrition
      • Recipes/Snacks
  • Dance Resources
    • Dance Conferences
    • Dance Products
      • Books & Magazines
      • DVDs
      • Dance Clothing & Shoes
      • Dance Gifts
      • Flamenco & Spanish Dance
      • Product Reviews
    • Social Media
  • Editorial
    • Interviews
      • 10 Questions With…
      • Dance Blog Spotlight
      • Post Curtain Chat
      • Student Spotlight
    • Dance in the UK
    • Finding Balance
    • Musings
    • One Dancer’s Journey
    • Pas de Trois
    • SYTYCD
    • The Business Of Dance
    • Finis
  • Music & Dance
    • CD/Music Reviews

CD Review: Music For Ballet Class 3 By Ayumi Hirusaki

December 26, 2012 by 4dancers

by Emily Kate Long

dancer in tutu“Music for Ballet Class 3” by Ayumi Hirusaki contains 27 tracks (including repeats) for barre and 14 for center. The center tracks do not repeat. This disc features a mix of improvisations by Hirusaki, widely-known ballet tunes, and other classical and popular music. Hirusaki’s compositions are lovely; and I would have liked to hear more tracks by her over a few of the show tunes on this CD.

Barre includes a good mix of meters and speeds, all with clear tempos. Composers here include Gershwin, Tchaikovsky, and Bach. The center portion of the CD contains tracks for tendu, adage, two pirouettes, plenty of allegro and pointe selections, a grande allegro/grande valse, coda, and reverence. Music by Joplin, Prokofiev, Minkus, and Hamlish is played with skill and clarity by Hirusaki. Teachers of intermediate and advanced classes will appreciate and make good use of “Music for Ballet Class 3.”

Filed Under: 4teachers, Music Reviews Tagged With: Ayumi Hirusaki, ballet class music

CD Review: Ragtime For Dance by Charles Matthews

December 19, 2012 by 4dancers

piano keysby Catherine L. Tully

This fun CD is a great resource for ballet teachers of all levels. Featuring well-known ragtime tunes such as The Entertainer and Maple Leaf Rag by the wonderful Scott Joplin, there are 16 tracks in all to choose from. Some are by other composers and are not as well known, but each track here works well for dance class.

Ragtime music has a gloriously upbeat tempo and feel to it, so it’s a wonderful choice if you need to give a class a “boost” or infuse a little energy into a combination that still needs work but is getting a little tired…

Matthews isn’t just any pianist–he has extensive experience working with ballet and contemporary dancers and understands their needs. The tracks here are edited into even phrases of eight so they are easy to use and they are played with attention and verve. It’s always nice to have a CD like this on hand for times when you want to change things up a bit and add some pep. Nothing does that better than some good ragtime!

Ragtime for Dance lends a 20’s feel to the classroom and is a super fun CD. There are a few sample tracks here if you’d like to have a listen.

Filed Under: 4teachers, Music Reviews Tagged With: ballet class music, charles matthews, dance class, dance music, ragtime for dance, ragtime music, scott joplin

CD Review: “I’ll Be Seeing You” — David Howard And Steven Mitchell

November 12, 2012 by 4dancers

by Emily Kate Long

ballet music

l’ll Be Seeing You – David Howard And Steven Mitchell

I was so excited to try this CD out! I regularly use three other of Steven Mitchell’s CDs (“Solo” and both of the David Howard Covent Garden classes) and love them. I was not disappointed this time. David Howard and Steven Mitchell have come together for a third collection of great music.

The CD includes length, time signature, and counts for each track. There are thirty tracks total, sixteen for barre and fourteen for center. The variety in speed and time signatures for all the degage and allegro tracks makes this a great CD to use for both lower and upper-level classes. The songs themselves range from pop tunes and standards to classical music, some of which is playfully jazzed up as only Mitchell can. The tempi are consistent, the beats are strong, and the preparations are easy to hear—especially great for my junior high-aged class. With all that, none of this music sounds plodding or academic.

This CD is one I’ll turn to again and again.

dancer doing arabesque
Emily Kate Long, Photo by Avory Pierce

Assistant Editor Emily Kate Long began her dance education in South Bend, Indiana, with Kimmary Williams and Jacob Rice, and graduated in 2007 from Pittsburgh Ballet Theatre School’s Schenley Program. She has spent summers studying at Ballet Chicago, Pittsburgh Youth Ballet, Pittsburgh Ballet Theatre School, Miami City Ballet, and Saratoga Summer Dance Intensive/Vail Valley Dance Intensive, where she served as Program Assistant. Ms Long attended Milwaukee Ballet School’s Summer Intensive on scholarship before being invited to join Milwaukee Ballet II in 2007.

Ms Long has been a member of Ballet Quad Cities since 2009. She has danced featured roles in Deanna Carter’s Ash to Glass and Dracula, participated in the company’s 2010 tour to New York City, and most recently performed principal roles in Courtney Lyon’s Sleeping Beauty, The Nutcracker, and Cinderella. She is also on the faculty of Ballet Quad Cities School of Dance, where she teaches ballet, pointe, and repertoire classes.

Filed Under: 4teachers, Music Reviews Tagged With: ballet class music, david howard, i'll be seeing you, music for ballet, music for ballet class, piano music, steven mitchell

Dancers – Embrace Your Body

October 22, 2012 by 4dancers


Some of Lucy Vurusic-Riner’s dance students

by Lucy Vurusic-Riner

I’ve been avoiding the teacher perspective on body image post for a long time. It’s that subject that lurks in the shadows and I’m too close to want to address it. However, in the aftermath of last month’s Wisconsin news anchor debacle, where a woman just doing her job (well, I might add) was criticized for her weight (which in no way impacts her ability to report the news, I might add again). I feel that it’s time to broach the topic.

The fact is, body image plays a huge role in my day to day. In fact, to say I don’t think about it every single day as a high school dance teacher would be a flat out lie. Over the last 18 years I have thought about body image at least once a day, EVERY day, as I enter one of my classes. The issues have varied depending on the school and community surrounding it. The frequency of how many girls are noticeably affected by it differs as well. But it’s always safe to assume that there is someone in the room with me looking at their body in a distorted way; maybe even me.

Personally, I have been lucky with the gene pool bestowed upon me. Because quite frankly, I think that’s where you have to look first. We are as short or tall as we are because of how the chromosomes matched up. My long torso was not something I had to do massive amounts of bar hangs to achieve. I have it because I have my grandmother’s body, and alas, she too had a long torso.

Likewise, I have some pretty crappy feet and bad turnout as far as the dance world is concerned. My genetics could have told me that I had horrible arches as early as 7 or 8, when I tried shoving my feet into pointe shoes. I bought the do-hickey that stretches your arches and I laid on my belly in frog position to open my hips for hours at a time. To a certain degree maybe that torture, as well as determination in class and a strong work ethic, did make me a better dancer, but guess what? My feet and turn out are still nothing to write home about. But truly, amidst all of this, to the common person’s naked eye, I have always had a body “suitable’ for dancing. Phew.

So how do I approach this in my dance classes? My tactic for the most part has been to diffuse it at every turn. In my first years of teaching I had some pretty severe cases. Girls that wanted so badly to be in the highest level classes and have the most performance experience. Girls who wanted to please their parents (who often consciously put pressure on their daughters), girls who needed to live up to their friends and acquaintances ideas of what being a dancer meant. And a lot of the time, I couldn’t even blame them. So much of what being a dancer means to the general public is solely based on cheesy movies and fantasy. How many of you have ever told someone you were a dancer and then had to tolerate some stupid comment about stripping or lap dances? I found that “controlling” one’s eating was the one place that my students could feel they were empowered to do something about the way that others perceived them. They might not be able to physically alter their flat feet or poor turnout–but they sure as hell could get skinny.

With a few more years of teaching under my belt, I started to notice that poor body image was becoming less of an issue with my students. Sure, I still had the occasional one or two that popped up every three or four years; the ones that need to be hospitalized or get counseling. But it soon became an issue that was manageable.

What had happened? Had body image problems become a thing of the past? Hardly. I sat down with a group of my dancers a few years back and we had a long discussion that, at first, was simply a conversation about nutrition and diet and what people like to eat, but then turned into a riveting discussion on exercise and how to most efficiently take care of our bodies.

What I learned was that part of the reason I wasn’t seeing that problem was because we had formed a safe dance community within our classroom.

I rarely talked about weight. I never degraded my body or how I looked in front of my students (in fact, they often had to listen to me talk about how I embraced by big butt). And I ate what I wanted to eat, when I wanted to eat it, in front of them and with no guilt, because feeling shameful, about anything, has never helped someone overcome any sort of obstacle.

I want my students to be appreciative of their bodies and how to live in them. Adolescent girls have enough to worry about with their changing bodies, raging hormones and the pressure of becoming young, responsible adults.

I believe teaching dancers how to take care of themselves and respect their bodies needs to become an intuitive practice; one that we take part in each day when we talk about foods that we love, clothes that we feel comfortable in and dance classes that we take that make us feel good about ourselves. Some dance teachers might read this and say that I’m not being a very honest teacher or mentor if I don’t talk to my girls about their weight. Guess what? It’s not going to happen.

Why?  Because my dancers already know if they need to lose a few pounds. They knew before I did; they stared at themselves in the mirror long before I did, and they will continue to find things about themselves that aren’t good enough–just like I did. Yes, I want them to be healthy and make smart nutritional choices, and when it’s appropriate I talk to ALL my dancers about this as a group. Because–let’s be honest again…

Some of those skinny girls need to hear about how to take care of their bodies far more than the bigger girls. In the end, all that matters to me is that they love the body they are in.

Lucy Vurusic Riner

Contributor Lucy Vurusic-Riner is a native Chicagoan who has been supporting and contributing to the dance community for over twenty years. She received her Bachelor of Science Degree in Dance Performance and Dance Education from Illinois State University.  Lucy has been a member of Molly Shanahan/Mad Shak, RTG Dance Company and Matthew Hollis’ “The Power of Cheer.”  She has also had the opportunity to be part of the community casts of White Oak Dance Project and David Dorfman Dance.

Lucy has taught modern, hip hop, and jazz at numerous studios and high schools in the Chicagoland area.  She was the Director of Dance at Oak Park and River Forest High School from 1999 to 2012. In 2005, Lucy completed her Masters Degree in Education from National Louis University and also received the Midwest Dance Teacher of the Year award and was the youngest of four finalists in the running for the National Dance Teacher of the Year award.  Lucy and artistic partner, Michael Estanich, formed RE|Dance Group in 2010.  RE|Dance Group investigates humanity in movement through long distance collaboration.

In 2012, Lucy joined the dance faculty at New Trier High School in Winnetka, IL.  When she is not immersed in dance, she is at home with her two great kids, Margie and Luka, and her very supportive husband, Jim.

Filed Under: 4dancers, 4teachers, Editorial Tagged With: body image, dance, dancers, high school dance, high school dance teacher, pointe shoes, turnout

DVD Review: Bolshoi: A Renaissance

September 19, 2012 by 4dancers

by Catherine L. Tully

What an impressive renovation! The rescue and restoration of the legendary Bolshoi Theatre is the centerpiece of this interesting film, which has a  running time of 54 minutes. You can watch it in French if you can track it, or opt for English subtitles. Either way, it’s worth the time…

Directed by Denis Sneguirev, a combination of documentary footage, photographs, interviews and animation brings the story of this project to life for the viewer. Rather than present things by using a step-by-step approach–chronicling each phase of the restoration, the director chooses to highlight moments and use the voices of those involved with the project to personalize the breadth and depth of its importance. For example, we hear from the head of security, who walks through the space pointing out the fact that everything from the door handles to the mirrors is historic here—items that were touched by and gazed into by dignitaries from many, many years ago. It really does make one stop and think…

The theatre itself is interesting (did you know it was designed in the shape of a violin’s body?), but the film also does the artists themselves justice. Footage of icons from the dance world (think Ulanova, Plisetkaya) helps tie the space itself in with the fabric of Russian culture–something that is already inseparable there.

A section of the film that was especially interesting dealt with the acoustics of the theatre. Great care was taken to make sure these details weren’t lost during the renovation. For example, the experts wanted to make sure that the floor transferred vibration so that the audience felt the music in their bodies as well as heard it. Amazing.

Bolshoi: A Renaissance, BelAir Classiques

Filed Under: 4dancers, 4teachers, DVDs, Reviews Tagged With: bolshoi theatre, bolshoi: a renaissance, renovation, restoration, the bolshoi

  • « Previous Page
  • 1
  • …
  • 9
  • 10
  • 11
  • 12
  • 13
  • …
  • 78
  • Next Page »

Dance Artwork

Get Your Dance Career Info Here!

Dance ebook cover

Podcast

Disclosure – Affiliate & Ad Info

This site sometimes features advertising, affiliate marketing, or affiliate links, such as Amazon Associate links and others. When you click on these links, we get a small sum that helps to support the website operations. Thank you! There’s more detailed information on ads and our disclosure policy under the About tab in our navigation at the top of the site. We clearly mark any and all posts that contain these features.

Copyright Notice

Please note that all of the content on 4dancers.org is copyrighted. Do not copy, utilize, or distribute without express permission. We take cases of infringement seriously. All rights reserved ©2022.

Copyright © 2025 · Metro Pro on Genesis Framework · WordPress · Log in