ibc

10 Questions With…Hannah Renegar

July 9, 2012 by Ashley David

Today we have 10 Questions With… Hannah Renegar from the USA International Ballet Competition…

1. What is your background in dance?

I graduated from the University of Florida in 2007 with a BFA in Dance Performance. Prior to and during my college career, I studied both classical and contemporary forms of dance and had the opportunity to perform with several pre-professional groups.

2. What are you currently doing in the field?

I am currently working as the Artistic Administrator for the USA International Ballet Competition. My main focus at the moment is preparing for the 2012 Reunion Gala that will take place in July of 2012 in Jackson, MS.

3. How did you first become involved with USA IBC?

Brooke Wyatt, the Artistic Administrator for the 2006 and 2010 competitions, contacted me about interviewing for the Assistant Artistic Administrator position for the 2010 competition. I was offered the position and was thrilled to be able to accept it.

4. What was it like to serve as the Assistant Artistic Administrator?

Serving as the Assistant Artistic Administrator allowed me to experience the administrative side of the arts first hand. I had the opportunity to be involved in the final stages of planning for this event.

I thoroughly enjoyed being involved with competitor and coach communication as dancers from around the world worked through the application process and prepared for their arrival in Jackson.

5. Has it been a big change to work in your new role as the Artistic Administrator? Why or why not?

While I have only been in the Artistic Administrator role since October of 2011, I do feel like I have assumed more responsibility and have been more involved in the decision making process as we prepare for the 2012 Gala. Working as the Assistant Artistic Administrator definitely helped me to prepare for this new role.

6. What are the duties of this position? [Read more…]

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?

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.

9 Questions With…Rhodie Jorgenson

June 22, 2010 by 4dancers

Today’s “10 Questions With…” is actually 9, but Rhodie Jorgenson makes for an interesting read…

She is another person who 4dancers is featuring from the 2010 International Ballet Competition. Enjoy!

1. What is your dance background?

I trained in New York City at the School of American Ballet and American Ballet Theatre. I also performed with the ABT.

2. How did you wind up getting involved with the USA IBC Dance School?

In 1998, I was a coach for Rasta Thomas and Adrienne Canterna. In 2002, I was invited to be on the faculty. That year, I also coached Ashley Canterna and Danny Tidwell. In 2006 and 2010, I am again on the faculty.

Rhodie Jorgenson

3. What is the experience like for you?

It is wonderful! I am so happy to be here and grateful to be part of this extraordinary event.

4. What do you think the experience is like for the students?

It has to be wonderful and exciting. So many classes are taught by enthusiastic teachers who love dance and want to share. And then, they get to watch all of the beautiful competitors! What an inspiration!

5. What is unique about this schooling?

Watching the USA IBC of course! It is the most outstanding ballet competition in the country.

6. Who attends this program?

The students are age 12-23. There are 260 students from many parts of the country. The students are placed in 7 different levels.

7. What are some of the instructors like?

The faculty is all men and women who want to share their knowledge and love for dance. I find the teachers very positive and still very eager to learn.

8. What would you say the value is of this program in particular?

The value is being surrounded by dance excellence in a supportive, nurturing environment.

9. What is next for you?

I teach full time at Maryland Youth Ballet. This summer, I am also guest teaching in Long Island, New York and in Delaware. And—I’ll go to the ocean!!!

Bio: Rhodie Jorgerson received her training at the School of American Ballet and the American Ballet Theatre School. She danced professionally with ABT, as well as the Metropolitan Opera Ballet, and in summer stock musicals on stage, TV and film. She is currently on the faculty of the prestigious Maryland Youth Ballet. She is D.C. Children’s Ballet Mistress for the Joffrey Ballet, where she has set children’s roles for their Nutcracker since 1992. This year, she is also assuming the same role for the Pennsylvania Ballet’s presentation of George Balanchine’s The Nutcracker, at Kennedy Center. In June 2010, she will return for the third time to be dance school faculty for the USA IBC in Jackson, Mississippi. She has coached gold and silver medal winners at the International Ballet Competitions in Jackson, Mississippi and Varna, Bulgaria.

10 Questions With…Christopher Fleming

June 21, 2010 by 4dancers

For today’s “10 Questions With…” we have Christopher Fleming, one of two competitor evaluators for the International Ballet Competition in 2010. Competitors may take advantage of the Competitor Evaluation Program, which offers a private session with a noted dance professional to discuss jury scores and provide guidance on the dancer’s strengths and weaknesses.

1. Can you tell readers a bit about your background in dance?

I am a former dancer with The New York City Ballet. I’m now a freelance choreographer and teacher, as well as a part-time professor with the Dance Department at Goucher College.

Over the last 12 years, I have created Solos and Pas de Deux for dancers competing in competitions in New York, Paris, Havana, Tokyo, Moscow and Helsinki. Many of these dancers have won medals, critical acclaim and more importantly contracts with major companies.

As a member of the New York City Ballet, I danced solo and principal roles in works of George Balanchine, Jerome Robbins and Peter Martins. I also headed a group of solos and principals from the New York City Ballet, which toured Europe and performed my choreography as well as that of George Balanchine. With Mr. Balanchine’s encouragement I embarked on a career as a choreographer and received a fellowship from the National Choreographic Institute.

I served as the artistic director of the Compania Colombiana de Ballet at the Teatro Colon in Bogota, Colombia from 1985 to 1990 and was named artistic director of Bay Ballet Theatre in Tampa, Florida in 1993. In the mid 2000s, I was co-director of Contrast Dance Theatre based in New York City, and I have served as assistant director and resident choreographer for The Rock School for Dance Education, formerly of the Pennsylvania Ballet, for nearly ten years. I am currently undertaking a freelancing choreographic career.

I’ve choreographed a broad variety of works appearing in the repertoire of a number of different companies, and my work has won medals of accomplishment by students in such acclaimed competitions as Youth America Grand Prix, Grand Prix du Cirque, Moscow Competition, and New York International Ballet Competition.

Christopher.Fleming — Christopher Fleming

2. How did you come to be involved with the IBC?

Four years ago, I was invited by Sue Lobrano, executive directorof the USA IBC, to be a Competitor Evaluator. I was thrilled. I still am thrilled to be involved. It is great to create works for the stage, but here I get an opportunity to help prepare the dancers and to then consult them on the experience.

3. What exactly in the Competitor Evaluation Program?

The USA IBC is committed to creating lasting educational experiences for participating dancers. Competitors may take advantage of the Competitor Evaluation Program, which offers a private session with a noted dancer professional to discuss jury scores and provide guidance on the dancers’ strengths and weaknesses.

4. How is this program helpful for dancers?

The program provides an opportunity to be seen and garner knowledge. It is really about the process. Dancers prepare 6 dances to be judged by the world—it’s hard work. There is a high turnover rate to jobs here. It’s ultimately a job fair.

5. What type of guidance do competitors get during the evaluation?

We accentuate the positives to support the efforts of their weaknesses.

6. What do you look for when evaluating the competitors?

We try to look for their strengths and weaknesses. We always present the strengths first and weaknesses second.

7. What can the jury scores tell you about a dancer?

The jury’s intention is to look for artists, not just the people who can do tricks. Their scores will reflect this.

8. This seems like a unique opportunity—how does it feel to be able to be a part of it?

I am thrilled. I choreographed solos for competitors for years, but I have never been an actual part of the USA IBC. Usually I would be sitting in the audience like everybody else, but now I actually have a part in the competition.

9. What are some of the things you might tell a dancer in terms of how to improve?

It depends on the situation—is it a job situation or a school situation? Are they working as hard as they can? Are they doing things in a smart way? Are they doing things in an educated way? One thing I love seeing about ballet in Europe is that the dancers know the history of the art that they are performing, and at times, knowing the history and meaning of what you are doing can help.

We also try to make class fun. There are lots of intense people in this competition, but if you make class fun, warm them up and increase their spirits, it makes our job easier. When the competitors get off the plane, they have to be ready to go. We can’t fix anything from this point. We just try to get them to relax.

10. What is next on the horizon for you?

I just opened the Philadelphia Ballet School. I have a revival ballet in Tampa, Florida entitled Gaspar. I am also preparing a new Edgar Allan Poe ballet in the fall.

10 Questions With…Elisa Toro Franky

June 17, 2010 by 4dancers

Today we have an interview Elisa Toro Franky–a 2010 competitor in The USA International Ballet Competition. Representing Columbia, she studies at Dance Theatre of Harlem and credits Arthur Mitchell as the most influential person in her dance career. (Arthur Mitchell is the 2010 USA IBC honorary chairperson.)

4dancers will be featuring other people who are associated with this “olympic-style” competition over the coming weeks, so stay tuned. And now…Elisa…

1. How did you wind up a dancer?

When I was a child, my parents always encouraged my brother and me to explore different activities besides the normal school. Art has always been highly important in my family, and therefore, when I was 8 years old, my mother suggested me to start Ballet classes. I was captured by Ballet from the very first lesson, and as years went by, I chose to pursue the dream of being a professional ballerina.

Elisa Toro Franky

2. What road has taken you to the USA International Ballet Competition?

Since I heard about the USA International Ballet Competition in 2005, I saw it as a fabulous challenge for a dancer; the ideal scenario to offer one’s talent and hard work, while learning from excellent dancers from all over the world.

I applied for the 2006 USA IBC, without success. Since then, I have had the chance to learn and to gather performing experience during the last 4 years with the Miami City Ballet, then with the Washington Ballet, and now with the Dance Theater of Harlem. This has propelled me into the selected group of competitors for the 2010 USA IBC.

3. How have you prepared yourself for this competition, both physically and mentally?

Physically and mentally go together. I focused on the development of the physical strength required for each solo, exploring every movement transition, every corner of motion. I reflected a lot about the energetic shape for each role. In addition, the encouragement and support I received from my family, friends and co-workers was crucial in the process.

4. Do you have any advice for other dancers who are going to compete in dance?

Be very organized in the preparation process and do not waste valuable time. It is all about self-discipline and love for your art.

5. You have said that Arthur Mitchell is the most influential person in your dance career…can you explain why that is?

He is such an honorable man! He created a company that welcomes all races in one stage, where it is the mere quality of the craft that is important, not the race or the ethnicity. He opened a door for equal opportunities for African-American dancers and for dancers from over the world, and they excelled before a worldwide audience. Arthur Mitchell is respected and truly admired by all of us at the Dance Theatre of Harlem.

6. What is it like to study at Dance Theatre of Harlem?

I believe that the diversity of their repertoire made me a versatile dancer, which is essential in a dance career. The artistic faculty is there to coach us, to guide us toward the greatest dancers we can become. However, they are very strict and demanding, which impulses us to higher levels of performance.

7. Would you share something special from your dance career so far?

I find special the fact that I willingly left my country, my family and friends, in order to pursue advanced studies and a professional dance career in USA. I was 17 years old when I had to go far away from my nest in Colombia, so I could get closer to a professional Ballet environment abroad.

8. Have you had any challenges in terms of your career so far?

Everything has been a challenge, I approach it that way. Earning soloist roles, auditioning, going on tour, experimenting with my own choreography for the first time!

9. Who are your favorite dancers?

Viviana Durante, from the Royal Ballet, to mention one of many dancers I admire.

10. What is next for you?

I am looking forward to continue to dance with the Dance Theatre of Harlem Ensemble. I am looking forward to the concrete projects they have for re-opening the main company. That has been the greatest hope cherished at DTH during the last few years.

About the competition: The USA International Ballet Competition is a two-week, “olympic-style” competition where tomorrow’s stars vie for gold, silver and bronze medals; cash awards; company contracts; and scholarships. The event is designated as the official international ballet competition in the United States by a Joint Resolution of Congress. Presented under the auspices of the International Dance Committee, International Theatre Institute of UNESCO, the USA IBC is held every four years in Jackson, Miss., in the tradition of sister competitions in Varna, Bulgaria, and Moscow, Russia.

For more information about USA IBC, visit www.usaibc.com or join our Facebook community.

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