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10 Questions With…Sue Lobrano

September 22, 2010 by 4dancers

Today we have an interview with Sue Lobrano, Executive Director of the International Ballet Competition…

1. What is your background in dance? 

Growing up in a small Mississippi town in the 1950’s presented a challenge in finding dance classes.  Early years put me at the mercy of whomever came to town to teach until I found a wonderful teacher in Memphis, Tennessee.  I turned out to be a pretty good hoofer and she sent me to study jazz with Gus Giordano.  

2. How did you become associated with the USA International Ballet Competition?

Sue Lobrano

After the first IBC in 1979 I thought that I might like to be associated with it.  I was looking for a change and so I was employed as the IBC’s “girl Friday!”  I later moved to General Manager and in October of 1986 was promoted to Executive Director.   

3. Can you tell readers a bit about why this competition is unique? 

The USA IBC was the first competition to be held in the Western Hemisphere joining with competitions in Varna, Bulgaria, Moscow, and Tokyo.  In 1982 it was designated as the U.S.’s official international ballet competition through a Joint Resolution of Congress.     

4. Would you talk a little about how the competition has grown over the years? 

We have certainly grown in audience, providing more opportunities for our participants such as company contracts for dancers, jobs in the field from contacts made here,  establishing a festival of dance in ancillary events and definitely grown in the number of applications we receive.

5. What is it like behind the scenes? 

I have 3 fulltime staff members plus me.  I later add staff on two-year to 6-month contracts. We are fortunate to have so many volunteers that work on 18 committees.  Behind the scenes is, well, interesting.  During the event it can be exhausting, but the thing that keeps me going mostly is feeling the tensions of the day slowly float away when the curtain opens and the dancers begin to create their magic.  Then the next day, back to the craziness of the schedule.

6. What can people do to get involved with this event if they would like to help out in the future? 

I suggest they log on to our web site at www.usaibc.com, click on the SUPPORT tab and look at the volunteer options we have available.  Call or email if there are questions.   We do have returning volunteers from many different states who are very much an important part of what we do.  So, ya’ll sign up and come join us. 

7. The competition isn’t the only thing going on during this time  period–what are some of the other events you have had?

A Festival of Dance surrounds the two-week competition which includes dance films, dance related workshops, exhibits and much more.  The recent 2010 USA IBC presented PHILADANCO in a two day residency which included a Master Class, a Lecture/Demo and an evening performance; noted dance photographer Lois Greenfield held a one day photography workshop and an exhibit of her work was displayed throughout the month. Lunch with the IBC was popular throughout the event featuring different and diverse speakers, and TuTu.COM held a weeklong workshop for costume makers.  All dancers may request a private evaluation session of their performances with one of two dance professionals.  We also do a USA IBC Reunion Gala featuring past medal winners every other year between competitions.

8. How is the dance school tied into this? 

The IBC Dance School allows students to participate in classes during the day and attend the competition at night.  A Teachers Workshop is also available.  One thing that really does set the USA IBC apart from the rest is that each dancer who progresses to the finals, Round III, receives a $1,000 stipend.  I also think I should mention that the USA International Ballet Competition is a National Endowment for the Arts 2010 American Masterpiece as designated through the Mississippi Arts Commission.        

9. What has been the most satisfying aspect of being involved with the USA International Ballet Competition? 

Having been associated with the USA International Ballet Competition for 30 years, this is a hard one.  Overall it is seeing many incredible young dancers come to Jackson at the beginning of their careers and later seeing them go on to dance with some of the world’s great companies.    Two that come to mind instantly are Jose Carreno (ABT) and Nina Ananiashvilli (ABT).  There are many, many more.  

10. What is next for you? 

Next for me is more of the same.  Planning has begun for the 2014 USA IBC and it will be here before we know it is time.

Bio: Sue Lobrano joined the USA IBC in 1980, and she has served as executive director of the organization since 1986. Sue directs and oversees all operations of the USA IBC, develops the USA IBC budget and is the official spokesperson of the organization. She also supervises office staff, determines volunteer committee needs and represents the USA IBC Board of Directors at sanctioned competitions and international dance meetings around the world. Sue is a former dancer and dance teacher. She taught at the Jackson Ballet under the direction of Thalia Mara and operated her own dance school for 13 years.

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Filed Under: 10 Questions With..., 4dancers, 4teachers, Editorial, Studios Tagged With: gus giordano, ibc, sue lobrano

Recital Savvy: Hiring A Great Photographer

September 15, 2010 by 4dancers

Finding a great photographer can be an uphill battle, and if you are having a recital, the last thing you want is an amateur at the wheel.

Some time ago I wrote a piece for Dance Teacher Magazine that outlines some stellar tips for finding the right match for your studio. There are some important questions that you should ask to make sure that you are getting a reliable pro instead of an opportunistic beginner.

Spend a little time on the front end making sure you have the right person for the job. You’ll be glad you did.

If you have any tips to share with other dance teachers for hiring a good photographer, please do share them here!

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Filed Under: Editorial, Studios Tagged With: dance, photographer, recital

Pas de Trois: How Important Is Barre Practice?

September 13, 2010 by 4dancers

It’s time for our next question on Pas de Trois (at dancing3.com)–answered first here by me…

If you are new to this collaboration, please visit the site and learn more about what we are doing. It’s a collaboration between David, Henrik and me–and we invite you to join us!

Today’s question is “How important is barre practice?”

To me, working at the barre is one of the most important things a ballet dancer does–especially if you study under a good teacher. Instructors who are knowledgeable know how to use the exercises at the barre to help you strengthen your muscles properly and ready your body for movement in the center. I have been lucky enough to study under teachers who really knew how to craft a class.

For me as a dancer, barre practice is also fun. In the center there is more going on, so it is harder to concentrate on technique. At the barre you can almost get into a “Zen-like” state as you focus in on working your muscles and doing things properly. It’s actually quite relaxing for me!

As a teacher, I spend a lot of time planning my barre. It sets the tone for the entire class. If I am going to have students work on something in the center, I incorporate bits and pieces of it in barre practice so that they can work on their placement and technique before doing it without support.

I guess you can see from my answer that I am a huge fan of barre practice! We’d love to hear what your thoughts are on this–join us and share your opinion…

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Filed Under: 4dancers, 4teachers, Editorial, Pas de Trois Tagged With: barre practice, Pas de Trois

On Growing Professionally

September 10, 2010 by 4dancers

by Lucy Vurusic Riner

I Teach, Therefore I Do. 

As a dance program director in a high school setting I have always been conscious of staying one step ahead of the game.  After all, I have some very talented dance students who are working at a level far above where I was at their age.  We live in a society where kindergarten is the new first grade and students are focused on what elite colleges and universities might be within their grasp.  So as dance teachers, how do we keep up?  How do we continue to be a resource to our young dancers who are looking to us for guidance?

Lucy Vurusic Riner

I have always hated the old saying, “Those who can’t do, teach.”  I have always thought the opposite.  “Those who do, teach others how to do as well.”  After all, as teachers don’t we learn that modeling is one of the most effective ways to teach our students what are expectations are of them? 

As a dance teacher I am constantly reminding my students that there are a variety of careers in dance.  Are they all lucrative?  Absolutely not.  But can you make ends meet doing what you love while finding ways to supplement your income with other things you love?  Absolutely yes. 

I had a former student once say to me that she dreamed of dancing for a captive audience each night.  I quietly thought to myself that I actually do that every day, for a salary and health insurance.  But I did understand her needs because regardless of how many students I touch with dance, my own personal fulfillment has always come from my own professional development.

I have the honor of knowing many dance educators, in my age bracket (which will go unmentioned) that continue to take class, rehearse for shows, and see dance on a regular basis.  When I look to hire teachers that work in my program, I expect that their drive come from a place where students look to them as an inspiration and motivation to see all that the dance world has to offer.  I want my students to know that they have options.  And I want all of the teachers that work for me to understand and model that as well. 

The world of dance will always have some constants.  I’ll always talk to my students about Doris Humphrey, Martha Graham and Merce Cunningham.  I’ll always expect them to know how to dress for class and behave in an audience.  I’ll always give my speech on the importance of not just performing for yourself, but always allowing your audience into your experience.  But in the meantime, I’ll keep taking classes to keep my lessons (and my body) fresh.  I’ll keep researching colleges and universities that are forever adding and evolving their dance programs for my potential students and I’ll keep seeing and learning about dance as it constantly changes and offers us new insight.

Over the past fifteen years, I have had the opportunity to work with many different dance teachers and see many different programs.  The ones that work do so because they have teachers that are in the “know.”  They have a beat on what is happening in their communities, whether that be at the local dance studios, theaters or universities.  The ones that remain complacent simply stay the same. 

Are we using lesson plans that are ten years old?  Do we get out much to see emerging dance companies in our communities or new national companies that are coming in on tour?  Do you know about new dance studios and college programs that are in your area?

These are the questions we should ask ourselves each year, as we head into a new school year.  Are we one step ahead?  Is our commitment to our own professional development as dancers and educators being met? 

We need to do and then teach.

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 BS Degree in dance and dance education from Illinois State University.  Lucy has been a member of Molly Shanahan/Mad Shak Dance Company, RTG Dance Company and Matthew Hollis’ “The Power of Cheer.”  She has also had the opportunity to be part of the community cast 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 has been the Director of Dance at Oak Park and River Forest High School since 1999. 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 in 2010.  This dancer theater company investigates humanity in movement through long distance collaboration.  Lucy has also begun work on a long-term project entitled, “The Moving Vessel” which explores the impact of motherhood on the professional dancer.  When Lucy is not working with independent choreographers and producing her own shows, she is at home with her two great kids, Margie and Luka, and her very supportive husband, Jim.

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Filed Under: 4dancers, 4teachers, Editorial, Studios Tagged With: dance program, dance students, dance teacher, high school dance, lucy vurusic riner, teach

10 Questions With…Jacqueline Moscicke

September 8, 2010 by 4dancers

Today we have 10 Questions with Jacqueline Moscicke from the Joffrey…

1. How did you become involved with dance?

When I was little I would jump off furniture trying to imitate Baryshnikov and ended up in the emergency room a few times. That’s when my parents decided to take me to a ballet class. 

Jacqueline Moscicke, Photo by Richard Brodzeller

2. What are you currently doing in the field?

I joined The Joffrey Ballet in July.

3. Would you share a special moment or two from your career?

One of my favorite moments was being featured in Margo Sappington’s, Common people.  The ballet turned into a film documentary called Gonzo Ballet with William Shatner. Another great ballet experience was being Clara in the Nutcracker, it will always hold a magical spot in my heart.

4. What is the best advice you have ever received regarding dance?

The best advice I received was from my Grandpa, he said “write it all down before you forget all these special moments”.

5. Do you have any advice for those who would like to dance professionally?

I would have to say there’s a company for everyone, you just have to search for where you feel comfortable and fit best.

6. What has been your biggest challenge in dance?

Injuries are the worst!  I had loads of doubts and insecurities when I had ankle surgery. I missed all the other dancers, felt left out, and wondered if I’d ever catch up again. 

Jacqueline Moscicke, Photo by Richard Brodzeller

7. What is it that you love so much about ballet?

It’s hard to explain my love for ballet, I just feel most at peace when I’m on stage.

8. Do you have a special routine that you go through before a performance, or is each one different?

I definitely am superstitious.  I can’t go up on stage too much before the show starts or I’ll get nervous, and I keep good luck charms with me in my dressing room.

9. Where you do think dance is headed?

Hopefully rock ballets continue to become more popular they’re great fun to do!

10. What is next for you?

I’ll be taking in all the wonderful new things I’m discovering in Chicago, with The Joffrey Ballet.

BIO: Originally from Sussex Wisconsin Jacqueline Moscicke received her formal training at Milwaukee Ballet School on full scholarship. In 2003, she received honorable mention in the National Foundation for Advancement in the Arts competition. In 2006 and 2008, Ms. Moscicke was featured as Clara in Milwaukee Ballet’s the Nutcracker. Other roles she has enjoyed performing are George Balachine’s Agon, variations from Marius Petipia’s Raymonda, appearing as the Songbird Fairy and Princess Florine in The Sleeping Beauty,  and Margo Sappinton’s Common People which is featured in William Schatner’s Gonzo Ballet Documentary. She spent seven years with Milwaukee ballet Company and is thrilled to be joining The Joffrey Ballet.

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Filed Under: 10 Questions With..., 4dancers, 4teachers, Editorial, Studios Tagged With: chicago, dance, jacqueline moscicke, joffrey, rock ballet

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