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About vagansmom

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  • Birthday August 16

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    musicality coach to dancers, professional dancer's parent
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  • State (US only)**, Country (Outside US only)**

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  1. While people who decide to become ballet dancers aren't doing it for the money (how I wish that could be true!), certainly once they are in a company, they deserve to be paid based on the roles they're dancing. I know that at some union ballet companies, corps dancers get extra money per performance if they are dancing solo or principal roles. Several years ago, a friend of mine lamented privately to me the irony of it that by being promoted to soloist, he was being paid less doing the very same roles he'd been dancing as a corps member. The soloist salary was less than his net as a corps member +soloist roles.
  2. I had a similar injury at her age and saw a wonderful PT who said that the results were even among those who had surgery and those who had meds and good PT. I followed the latter route. It's now over 30 years later. I still have full range of motion in my neck. My sister, who chose surgery at the same age for the same problem (inherited), had to get a second surgery because the first one failed, and has been living with severe pain, loss of range of motion, pain meds (I'm not on any), and gets injections of various kinds every few weeks. She lives from injection to injection. All this is to say that you never know which is the best route, and as a dancer, I'd go the conservative, non-surgical route first. It seems more and more, curiously since the 2008 economic crash, that the AMA is stating that the same results can be had with non-surgical interventions for many conditions (I specifically remember knee issues and blocked arteries) as with the previously de rigeur surgical recommendations. Certainly, non-surgical is the less expensive option.
  3. Delighted to hear the happy news for Hyltin whom I miss. I too feared it was injury.
  4. Maybe you CAN blame the weather. 60 degrees in NYC in early February would certainly keep me outdoors rather than inside! In fact, that's exactly what I did. I was in the city for several days and thought I'd see a NYCB performance, but who wants to be inside with warm winter weather! For me, 40 degrees in winter is cause for staying outdoors.
  5. Ok, since some people felt that talking about frontal lobes is diagnosing, I'll rephrase it in common language. Please know that I stated this was my opinion. An opinion is not a diagnosis. I believe that Waterbury is handling this immaturely.
  6. Canbelto, I also teach high school students, as well as middle school students and am a learning specialist who has taught many "Teens & Tweens" parenting series and teacher education series over more than 30 years. The final stage of childhood is 18-25. That is to say that the myelin on the neurons of the frontal lobes lays down somewhere within that age range, rendering a person a mature adult. All that middle and high school social media drama is intense, but it should be fading by the time individuals are Waterbury and Maxwell's ages. I don't see that Maxwell is behaving like a teen at all. I think she felt forced to defend her choices publicly and that she probably is sick of it all. On the contrary, I believe that Waterbury may be a late bloomer who may not yet possess the mature judgment of a frontal lobe myelinated individual. I am not commenting on the merits or otherwise of her case, but simply saying that her behavior is still stuck at an immature level.
  7. Does she have any solos in the Nutcracker?
  8. Canbelto's tastes generally are similar to mine: Hyltin as SPF and Peck as Dewdrop are my favorites. Like Leah, I would be thrilled if Emma Von Enck got SPF or Dewdrop. I think she can dance almost anything. She's such a natural onstage too.
  9. Nanushka, I read that article in full and came to that same conclusion: that she's moving away from classical ballet. I believe its demands are just too much for her body. IMO, she moved too quickly through the ranks, arriving at principal dancer with too many technical imperfections and not enough time (all those endorsement opportunities?) to work through them. I wonder if they, along with her age, have contributed to her recent spate of injuries. However, she chose a route that has brought her more financial security than she would have received otherwise. Make hay while the sun shines. I wouldn't begrudge her that if it weren't that other, better dancers have suffered from lack of roles. I lay that at McKenzie's feet, though. He too was taking advantage of quick money. In his case, though, I believe it's detrimental to the company longterm and to current morale, no matter how much dancers may like Copeland personally.
  10. I'm left to conjecture that her injury has prevented her all summer from learning the role, but that she kept hoping it would improve enough to get some rehearsal time in.
  11. Very disappointed in this news also. I generally avoid Kourlas's reviews. Oh well.
  12. She's listed on the Boston Ballet website as a "Coming Soon" artist, which is the corps member level.
  13. Musician, former dancer, educator and author, Michael Limoli has recently published a biography of Marina Svetlova.
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