school of american ballet

10 Questions With…Derrick Agnoletti

June 16, 2011 by 4dancers

Today we have another interview with a member of the company at the Joffrey Ballet. Derrick Agnoletti is with us to talk about his career…

Derrick Agnoletti-WP_copy — Derrick Agnoletti

1. How did you become involved with dance?

I was a water polo player and swimmer growing up. I don’t think dancing had ever crossed my mind. At the advice of a coach, I tried a class to improve my coordination. It was like nothing I had ever experienced. I loved the music and the body moving together. I remember specifically seeing the dancers doing ronde jambe at the barre and thinking it was so beautiful and opulent. It was from here (San Jose Cleveland Ballet School) I began my training and further moved on to San Francisco Ballet School and School of American Ballet to name a few.

2. What are you currently doing in the field?

I am currently employed at The Joffrey Ballet as a dancer since 2003 (almost 10 years!!!). I also teach at the Joffrey Academy of Dance and choreograph for the Joffrey Academy as well as many outreach programs through out the Chicagoland area. I love choreographing on students who have never danced. Several of those works have opened The Joffrey Ballet gala as well as the Chicago Dancing Festival. Giving these students the chance to share the stage with companies like Joffrey, New York City Ballet, the Royal Ballet and American Ballet Theater.

3. Would you share a special moment from your career with readers?

I have so many favorite moments, and so many stick out so I will chose a few. I remember sitting in a chair after Mark Goldweber walked me from my audition class to Mr. Arpino’s office, and I had to sit there and wait for him to finish reading something, and then finally Mr. A (as we called him) said I looked like a Joffrey Ballet dancer and asked if I was Italian. Then immediately they offered me a job. It was surreal. I also remember very vividly my first principal role as Mercutio in Crankos, Romeo and Juliet. I enjoyed throwing myself into a “Derrick like” Mercutio. I loved fine tuning every moment to have inner dialogue and understanding what my relationship was to the rest of the cast. It was such a great experience. I carry those things with me in everything that I do.

4. What is the best advice you have received from a teacher or mentor? [Read more…]

10 Questions With…Miriam Landis

October 19, 2010 by 4dancers

Today we have an unusual interview–with writer/former dancer, Miriam Landis. She is the author of a book about ballet…but I don’t want to give everything away so…read on!

1. How did you wind up in dance?

My mom noticed early on that I was walking around the kitchen on my tippy-toes, so she put me in dance classes before I was even three. As I grew up I enjoyed ballet more and more and discovered I was good at it. When I was thirteen I started going away for six weeks to ballet summer programs in San Francisco, Philadelphia, and eventually New York. When I was sixteen, I attended the summer program at the School of American Ballet and they invited me to return for the full school year. I moved away from my family in Salt Lake City and lived in a dorm at Lincoln Center to attend SAB for my last two years of high school. After the annual workshop performances at the end of my senior year, Edward Villella invited me to join the Miami City Ballet.

2. What was your career like?

It was a whirlwind. I joined Miami City Ballet when I was eighteen and started dancing soloist and principal roles within a year. My first big part was the Flower Festival in Genzano pas de deux. I worked hard and the big parts came quickly. I danced leading roles Scotch Girl in Scotch Symphony, the ballerina doll in The Steadfast Tin Soldier, and even Liberty Bell in Stars and Stripes. By the time I was twenty-two I felt like I had accomplished what I wanted in ballet and was ready for a change of direction. Ballet was such a core part of my identity that it was difficult to move on. It’s still a huge part of who I am today and I’ve been able to apply the discipline and other skills in many other aspects of my life. I also made lifelong friends who I’ll feel connected with forever. I was fortunate to have the experience of dancing with such a prestigious company and felt so close to the people I trained and performed with every day for four years. My whole world revolved around dance during that time in my life.

3. What have you done since you retired from dance?

I branched out my interests when I left. I traveled through Europe and did two different study abroad programs in France. In fact, much of the book was written while I was living in France at a time in my life when i could reflect in a meaningful way. I completed all of the pre-med courses in college but eventually decided I didn’t want to become a doctor. l found it hard to go from working with bodies in perfect form to bodies with disease without becoming emotionally overcome. I switched my major to English instead and pursued a career in publishing. I started writing “Girl in Motion” during my junior year of college. After I graduated from Stanford I moved back to New York and worked as an assistant editor at a major publishing house in New York. Three years later I had a great opportunity to move to Seattle and work at Amazon in book merchandising. I’ve been in Seattle for three years and met my husband here.

4. Why did you decide to write the novel, “Girl In Motion”?

There were two reasons. One was that I read a lot of ballet books as I grew up and never found one that fully reflected what my experience was like. I felt a real need to share what I learned with younger ballet students. Second, the writing was also for myself. I was trying to come to terms with leaving the ballet world, and writing was a good way to process my experience.

5. What audience is the novel aimed at?

It’s for ballet students and their parents, and anyone who is interested in ballet.

6. How did you draw on your personal experience with dance in terms of your writing?

I wrote about the emotions I felt and the struggles I watched my friends go through. The feelings remain vivid in my mind ten years later. It was easier to examine how we became professionals through the lives of fictional characters because so many of the themes are universal to every young dancer.

7. What was the experience of writing a novel like?

It was so challenging. There was too much I wanted to say and didn’t know how to express in words. Dancing is all about saying things without words, and writing is completely the opposite. I wrote so many drafts of “Girl in Motion.” At certain times it was in third person, had different titles, and focused on different characters. I tried so many different ways of expressing the story.

8. Do you have any advice for people who might be thinking about writing a dance novel?

The publishing industry is difficult and a unique business world, which makes getting published through traditional routes a real challenge, especially if you don’t already have a persuasive way to market the book. Publishers want to see that. I’d say to worry about that later though, and first try to write the book. I always felt the challenge was to refrain from over-dramatizing ballet the way you often see it in done in films. It wasn’t easy to make the dancers seem like real characters that normal people can relate to, and that’s really important in a novel. Most people don’t go through the specific intense competition involved in a dancer’s life, and dancers’ experiences aren’t universal. Fiction needs to have more universal themes.

9. Can you share a favorite memory from when you were dancing?

One of my favorite memories was my very first performance with Miami City Ballet. We were dancing Western Symphony at the Olympics in Atlanta. I remember standing in the wings and watching all the dancers creating the ballet together, and there was just this incredible feeling of teamwork and love for what we were doing. I could see every person pushing themselves, concentrating, and striving for something larger than we could have done alone. The energy was just incredible.

I was so excited to be a part of it.

10. Where can people purchase your book?

Writing About Dance — Human Kinetics Book

The easiest place to find “Girl in Motion” is on Amazon.com.

You can also join the “Girl in Motion” Facebook page.

I’d love to know what people think of “Girl in Motion,” so don’t hesitate to post a review on Amazon or make comments on the Facebook page.

I hope people enjoy the book!

BIO: Miriam Wenger-Landis was a student at the School of American Ballet and a professional ballerina with the Miami City Ballet. She graduated from Stanford University and lives in Seattle.

10 Questions With…Matthew Powell

July 20, 2010 by 4dancers

Today for our “10 Questions With…” series we have Matthew Powell; choreographer, teacher and dancer…

1. How did you become involved with dance?

Like many male dancers, I entered the world of ballet because my sister was already taking lessons. She was put into ballet classes when she was little to correct a hip alignment issue she was born with. Every week, I would go with my parents to the studio to wait for her to finish. Since I was hanging around so much, the director invited me to come in and take class. Luckily, I had a wonderful teacher who loved to choreograph. Our days in the studio were filled with rehearsals of her ballets. I think if my time were spent doing only plies and tendus in class, I would easily have become bored. The intricacies of learning choreography, feeling the musicality, and finding ways to put a piece of myself into my dancing are what kept me coming back. I stayed at that little studio for ten years, until I left for the School of American Ballet. I am so grateful for my time there, because it taught me at an early age the importance of being an artist rather than just a dancer executing steps.

IMG_9197gavinthomasphoto — Matthew Powell Photo by Gavin Thomas

2. What are you currently doing in the field?

I am happy to say that I am very busy! This summer, I am teaching ballet classes at Broadway Dance Center, Peridance, Brooklyn Ballet, Petrov Ballet, and substitute teaching at Ballet Academy East. Later in the summer, I will be heading to Martha’s Vineyard to work as Ballet Master with Morphoses during their residency at the Vineyard Arts Project. While there, choreographers Jessica Lang and Pontus Lidberg will be creating new works to music by David Lang. These will be performed at the Works & Process series at the Guggenheim on October 3^rd and 4^th. Every aspect of this project excites and inspires me. To have the opportunity to be in the studio for five weeks with some of the world’s best dancers and choreographers is truly a gift. Morphoses is overflowing with artistic energy and positive vibes as the company grows into its new curatorial model, and I am so happy to be a part of it all.

3. You are a choreographer as well. What have you done, and how did you wind up going this direction?

Choreographing gives me the opportunity to create something physical out of the fantastic (and sometimes crazy) sensory episodes that whirl around in my mind when I hear a piece of music that I love. Some of my favorite nights have been spent plugged into an ipod, dancing around the apartment by myself with a glass of wine and a good piece of brie. It’s a very personal experience for me, and for this reason, it can sometimes be difficult to muster the self-confidence needed to move forward with a piece. I love being in the studio and the process of creating, but once my work hits the stage, it becomes business and a part of my livelihood! Still, I enjoy the artistic challenges choreographing provides, so I continue. My first work was performed at a choreographic workshop at the Kansas City Ballet. Over the next two years, my Artistic Director, William Whitener invited me to create new works for the company’s summer residency in Colorado. He then nominated me for a fellowship from the New York Choreographic Institute, which I received in 2006. That work, Resonant Dances, was then performed as part of Kansas City Ballet’s 50^th Anniversary season.

4. Can you talk a bit about how you come up with the movements you select to go with the music? What is the process…

It’s hard to pin down any specific process that has worked best for me. I really go on a case-by-case scenario. Sometimes I create work on dancers I have known for years, so I have a good understanding of the way their bodies move best. Other times I am meeting the dancers for the first time the day we begin. When working with professionals, I like dancers to feel that the choreography I create for them meshes well with their strengths. This enables them to focus more on musicality and the overall feel of the piece. When I work with students, I often purposely create works that play on their weaknesses so they can use the piece as a means to become stronger dancers. Otherwise, my choreographic process is anyone’s guess!

5. What was the Crossroads Ballet Festival, and how were you involved with it?

IMG_9279gavinthomasphoto — Photo by Gavin Thomas

The Crossroads Ballet Festival was an incredible labor of love, and one of the most satisfying experiences of my career. Though I was the Founder and Artistic Director, it was only made possible thanks to the collaboration of some really wonderful friends in the arts community. The festival combined the talents of dancers from nine different ballet companies for two evenings of classical ballet favorites, three newly commissioned works, and George Balanchine’s Stars and Stripes Pas de Deux. Dancers who participated in the festival came from New York City Ballet, Milwaukee Ballet, Cincinnati Ballet, Ballet Florida, Pacific Northwest Ballet, Staatsballett Berlin, Kansas City Ballet, Suzanne Farrell Ballet, and Sacramento Ballet. Because the festival was presented in the middle of the summer, I was able to provide dancers with good employment, and balletomanes with incredible performances at a time of year when ballet companies are typically on hiatus. We had budgeted for houses at 70% capacity, but ended up completely selling out, and had incredible audience response after each show. We took the small surplus we accrued and donated it to dance organizations in need. My hope is to someday take the festival on the road every summer and perform in cities that do not have (or no longer have) a professional ballet company. Classical ballet needs more exposure in order to survive, and by bringing professional dancers to these communities, I feel this festival could help show just how wonderful and important the art is. One can dream.

6. Would you share one of your career highlights?

I wore a vest for Allegro Brillante that had a shoestring-type front to it. I had done a lift with my partner and was sliding her down my chest. En route, her costume hook latched onto my vest…we were trapped. She next had to run across the stage in one of Balanchine’s signature winding patterns. Not realizing what had happened, she began to take me with her! Even worse was the fact that my vest was now drawn so tight it was restricting airflow. Frantic costume ripping ensued, and finally we were freed from each other. We still laugh about the fiasco to this day. Perhaps not a career highlight, but it was definitely a performance I will never forget.

7. What do you think are the most important qualities for a dancer to have?

Given the complexity and depth of artistry in today’s choreography, I think it’s important for dancers to be as versatile as possible. They should also be willing to drop inhibitions and take risks that may be out of their comfort zone. And, of course, they should have brilliant technique!

8. Is there any advice you can give specifically to men in ballet?

Thankfully, the social stigmas surrounding men in ballet have slowly become less of an issue over the years. However, it still can be tough, especially for younger male dancers. The best advice I can give is to work hard, be nice, and be patient – things will fall into place.

9. What is it that you love so much about dance?

I love dancing because it is an art that so perfectly combines the physical and emotional aspects of human nature. Even better is the fact that this marriage is mutually beneficial for both the audience member and the dancer. Throughout my career, I have tried to become as well rounded as possible so I could continue in this incredible field beyond my dancing years. Thankfully, I have been given some wonderful opportunities to do so. Yet, had these never presented themselves, I’d still find someway to stay with the art – I’d dance for nickels in the subway stations of New York if that’s what it took.

10. What is next for you?

I am excited about the prospects of working with such a pioneering company like Morphoses. I hope to continue to grow with them and contribute in any way I can. Along with that, I will be joining the summer faculty at the Rock School in Philadelphia, and traveling a bit for some other guest-teachings. I am in talks with a few places to choreograph new works as well. I’d also love to continue exploring the possibility of taking the Crossroads Ballet Festival on the road in the summers. This is the first time in my life I’ve worked solely as a freelance artist. It’s a little intimidating, but very exciting. I’m happy, healthy, and working in the field I love. What more could I ask for?

MATTHEW FLTC VB(6) copy — Photo by Jordan Matter

As a teacher, Matthew was a faculty member with the Kansas City Ballet School, and has taught classes at institutions such as the Universities of Iowa and Alabama, Marymount Manhattan, and Ballet Academy East. He has taught company class for Kansas City Ballet and Alvin Ailey American Dance Theatre while on tour. Additionally, Matthew served as the company ballet teacher for the West Side Story International Tour. He is currently teaching ballet at Broadway Dance Center and Peridance.

Matthew’s choreography received a fellowship from the New York Choreographic Institute in 2006. In 2008, he founded and directed the Crossroads Ballet Festival, a celebration of classical ballet performed by dancers from some of the world’s most renowned companies. He also worked as Assistant Director to Dorothy Danner for the Lyric Opera of Kansas City’s production of Pirates of Penzance. Most recently, Matthew has been working with Morphoses as Ballet Master, and will be guest teaching this summer at the Rock School in Philadelphia. http://matthewpowell.net

10 Questions With…William G. Hamilton, MD

June 23, 2010 by 4dancers

Today I have the pleasure of introducing a very special guest on 4dancers. I’m sure readers will find the interview with Dr. William G. Hamilton enlightening. He has worked with dancers at some of the leading companies and schools in the United States…

1. Can you tell readers a bit about your medical background and how you came to work with dancers?

I graduated from Princeton University with a degree in Engineering. Eventually I went to Medical School at Columbia University, College of Physicians & Surgeons. This was followed by a General Surgery internship and residency in Orthopedic Surgery, at the Columbia-Presbyterian Medical Center in New York City, NY. Then a post-graduate fellowship in children’s orthopedics.

Dr. William G. Hamilton

In 1972 I was a young orthopedic surgeon practicing near Lincoln Center, treating young athletes and a few dancers. By a chance encounter, George Balanchine asked me to become the doctor for his company, New York City Ballet. I gladly accepted but knew that if I was going to treat these fascinating professionals I had a lot to learn about classical ballet, so I went to Lincoln Center regularly on the weekends to watch Balanchine’s Company classes and to learn the vocabulary of dance. This helped me to understand the source and mechanism of their injuries.

In 1975 Lincoln Kirstein asked me to be the consulting orthopedist for the School of American Ballet; the training academy for NYCB.

In the late 70’s Baryshnikov joined NYCB to work with Balanchine but shortly afterwards Mr. B’s health began to decline and this never really came to fruition. So, in 1980 Baryshnikov left “City Ballet” to become the director of American Ballet Theatre and asked me to become their doctor too. Currently, I also care for their school, the Jacqueline Kennedy Onassis School of Ballet at ABT.

Because most of the injuries to dancers occur in the foot and ankle, I developed a sub-specialty in this area of orthopedic surgery and in 1993 became the President of the American Orthopedic Foot and Ankle Society (AOFAS). I also belong to the International Association of Dance Medicine & Science (IADMS) plus numerous medical boards, associations and societies.

2010 marks my 38^th year with NYCB and the 30^th with ABT. I have enjoyed every minute of it!

2. Would you talk a little about what you are currently doing with dancers and for what organizations?

I currently diagnose and treat both acute and chronic injuries to dancers and athletes as well as non-performers and do various surgeries when they are indicated. This can be a challenge because dancers often have obscure problems related to their dance techniques that are not seen in athletes.

Another big challenge I’m involved with today is promoting wellness, screening, and injury prevention along with proper rehabilitation following an injury at NYCB and, to a lesser extent, ABT. This is a win-win approach both for the dancers and the dance companies.

I also consult for The Ailey School, as well as various Broadway shows and sports teams, such as the NY Yankees and the Knicks.

3. Are there any orthopedic injuries that you see repeatedly in dancers?

Dancers have two types of injuries: acute (sudden) and chronic (ongoing). The most common acute injury is the sprained ankle, which is also the most common injury in all sports that involve running and jumping. The most common chronic problem is tendonitis, which is a form of overuse injury. It is important that these injuries be diagnosed, treated, and properly rehabilitated to prevent recurrence or permanent disability. Unfortunately, most doctors don’t see enough dancers to understand the technical demands or their “weird” injuries. Many patients who come to see me for injuries that are not getting better have been misdiagnosed and the treatment regimen is not right for their problem.

4. What are some things that dancers can do to help prevent injury?

The key to injury prevention is to be in shape for what you are trying to do. This sounds simple but it is not always so straightforward. Each generation of athletes is running faster, jumping higher, and breaking old records and this is true for dancers as well. A double fouetté used to be a rare thing, but now it is seen all the time. So dancers can no longer get by with “class” only. Like athletes, they must cross-train in a gym—but not in mid-season—in offseason or in preparing for re-entry after a lay-off or injury. In mid-season cross-training can cause overuse injuries and burnout. Of course, proper nutrition, healthy weight control, and rest (sleep) are very important.

Linda Hamilton’s book: The Dancer’s Way. The New York City Ballet Guide to Mind, Body, and Nutrition. St. Martin’s Griffin, New York, 2009 is an excellent reference for all types of dancers.

5. Is it worthwhile to get an orthopedic screening, and if so, how often should you have it repeated?

An orthopedic screening is an invaluable tool because the body changes over time. Dancers need to know how to work with their unique “instrument.” This is especially important for professional-level dancers or those who are having chronic problems or recurrent injuries.

Ideally, it should be done on a yearly basis.

6. Do you have any recommendations for dancers who are looking for a good orthopedic doctor?

As noted above, orthopedists with experience in dance medicine are rare. The 1^st place to start is to call up your local or regional ballet company and ask them who takes care of their dancers. Next would be to check the International Association of Dance Medicine & Science website at iadms.org. The next best thing would be to see a sports medicine doctor who takes care of the local soccer or football team.

7. Turnout is one of the ballet “buzzwords”…can you comment on how to approach improving turnout in a healthy way?

Turnout is complicated. The more you look into it, the more complicated it gets. It is the sum of the turnout in the hips + the knees + the foot & ankle; the hips being the most important. People are born with 3 types of hips:

Normal, with equal turn in/turnout (normal “version” in medical parlance).
Pigeon toed or turned in, ¯ turnout (“anteverted”).
Duck footed—turned out with ¯ turn-in (“retroverted”). These people are born to be ballet dancers.

The orthopedic literature indicates that turnout of the hip is pretty much formed by age ten and it is doubtful that it can be improved by early ballet training. So it’s mainly a matter of making the most out of what you have naturally.

Learning to work with what you have is very important because forcing your turnout or getting it from below the knee is the most common technique fault in ballet and can lead to many injuries of the knee, foot and ankle. An orthopedic screening and working with a dance-oriented physical therapist can help you be sure that you are working properly.

8. What is the most satisfying thing about working with dancers?

Dancers are terrific patients and are great to work with. They just want to get better and get back to what they love to do. For me, the most rewarding moments have been seeing a dancer get back to performing after having had a serious injury that might have ended their career. Fortunately, these types of injuries are quite rare, but when they occur they are devastating and the recovery can be one year or longer.

9. Can you talk a bit about the NYCB Wellness Program?

The New York City Ballet wellness program began with a study over two seasons at the company in 2000. The purpose was to try to identify and treat weaknesses or imperfections so they could be corrected before they led to an injury. It was led by Clinical Psychologist, Dr. Linda Hamilton, with the help of the rest of the Company’s medical team: Orthopedic Surgeon Dr. William Hamilton; Chiropractor Dr. Lawrence DeMann, Jr. ; and physical therapist Marika Molnar. Later, we included registered dietician Joy Bauer after discovering nutritional problems. In addition to educational seminars, the wellness program includes screenings for orthopedic problems that may require physical therapy, fitness screenings that encompasses flexibility, strength, and endurance with a specialized program at the gym, and dietetic evaluations and counseling for healthy weight control. Psychological counseling is available for dancers who are struggling with problems, such as a serious injury. We also offer educational seminars. This has resulted in a 46% decrease in weeks lost to disability, so it’s been beneficial for both the health of the dancer and a savings for the company.

10. If you could communicate one thing to dancers as a group—what would it be?

Injury prevention and survival in dance depends to a great degree upon knowing your own body’s limitations and working within your natural abilities. A perfect body in dance is a dream not a reality. All dancers, including principals and stars have their physical strengths and weaknesses.

In the end, the most important thing in dance is talent and this can make up for many physical deficiencies because it’s the illusion in art that makes it so exciting.

Bio: William G. Hamilton, MD is an orthopedic surgeon who practices in New York City. He specializes in injuries to dancers and athletes. He graduated from Princeton University and the Columbia University College of Physicians and Surgeons. He is the orthopedic surgeon for The New York City Ballet, American Ballet Theatre, The School of American Ballet and the Jacqueline Kennedy Onassis School of Ballet at ABT. He consults for The Ailey School, the New York Knicks and the New York Yankees. He has written numerous chapters and articles regarding injuries to dancers and lectured around the world. For appointments contact his secretary “Mary” at maryvelazco@covad.

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.

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