PK

Healthier bodies!

I remember taking my daughter to the orchestra when she was four.Usually she was fine but once I thought I was going to die-she was so noisy.I ended up taking her out that time.I still tried and sometimes it worked,other times I removed her and ate the ticket! It's really hard being the parent of a little kid but I wanted her exposed early and often.I just appriciate when the adult removes them when needed!!

Another problem I have with this type of school described is that many do indeed put those "babes" on point. Of course not every child needs to wish to become a future dancer. But when dance is taught incorrectly it becomes a matter of doing harm to a body. I have a problem with that!

I attended a peformance where a cell phone went off on the person sitting in front of me(of course during the most tense time of the play),she couldn't find it to turn it off,she stood up and tripped in the isle and caused more commotion.Oye! At one theatre recently a gent with a lively British accent came over the speaker before the show and said "If you're going to talk during this performance,open candy wrappers,cough and sneeze,don't even think of it,and if any cell phones go off you will be whipped with a noodle!" Very cute(and effective).

In the recent issue of Dance Magazine is an article "On Education." It is written by an educator who does Project Motivate around the country. She poses the question"If you consider yourself a better technical teacher than others at another school,does that make your school better than theirs?" She continues with the answer of "not necessarily-many parents are searching for a simple dance education for their child." She explains that they are not seeking professional training,so if other schools are offering "what your community is looking for",they may not be as technically deficient as you think,just smart enough to understand the market.I have other views on this as I have seen many students come to professional schools only to relearn and start back at the beginning breaking old habbits. Please share your thoughts!

I once hated opera,then I studied it.I learned and now understand and enjoy it.I used to dislike modern art,then I studied it.I learned and now have a new view.But then again I know many people who only have(understand )one point of view about their music,art and ballet ,politics and life.

Certainly not I!!

Fred, I was wondering what kind of modern music you meant.Does the teacher play CD's of pop stuff?I am a musician for ballet classes and will play mostly classical music as I feel it good for dancers to be used to Chopin and Beethoven.I also throw in surprises(to keep myself on my toes)like classical Sesame Street or whatever.Ragtime is pretty standard now for ballet class,as well as character music.David Howard always liked to use Lynn Stanford music,which is just there in the backround providing the rhythm.I'd be bored playing that way every class every time.There is one accompanist who plays only improvised,weird,percussive music and I love taking class with him playing. One master teacher likes anything and everything as long as it fits the steps.Makes sense to me!

I just heard that in London an opera about Jerry Springer is coming out! That would make quite a ballet-you can imagine the topics!:rolleyes:

Last year when we saw the MiamiCity Nutcracker I loved when the SugarPlum was pulled across the stage on her perfect point in arabesque.

Yes, the Moldau! How about Porgy and Bess! I'm getting carried away!

I'd like to hear Mickey Hart's Udu Chant set with classical ballet. African rhythms with ballet.I thought of Lamberena with the mix of Bach and African drumming.

Here's something a bit wild but truely I'd love to see a huge chorus with the dance telling a story to something like Honneger's King David.I've seen Carmina Burana with chorus and it stuck in my mind.For me the melding of ballet and a choir is joy!

The Faure Requiem-but it's already been done!

Being someone who likes other arts as well as ballet,I always can't help notice the lack of young people in the audience.I don't feel ballet is an elite art(now opera is!).It's so obvious the arts are not of first importance in the USA.I see classical music not being written anymore-only in a small way.There are few classical composers left.What are the first subjects to go in our schools?Music and art.The future of the arts is in our young people.We aren't doing a good enough job reaching out to them with the arts.The Pennsylvania Ballet is doing some eye-catching advertising to draw in a younger audience.I recall Septime Webre promoting "Beer and Ballet" not long ago for the Washington Ballet,Miami City Ballet has some unusual programming grabbing a new audience.We need to spread all the arts more. Ballet needs to be more affordable and available and on television and brought into schools and to youth!

I'm reading a classic book for med students"House od God." Next lined up is Twyla's "Push Comes to Shove."

I finally happened on this thread! Such a creative question! I have been an accompanist for dance for many years.For me it's a lot of fun,as I play several different kinds of classes from adult to boys to pre dance to World dance forms.Sometimes I repeat passages over and over and over,but often I'm with wonderful teachers who'll sing the whole class.I am proud to be known as the "Music Mamma."I do enjoy my job.One teacher I have been with for years says along with me how lucky we are to be doing what we love.For beckster-if you can play piano pretty well I'm sure you can be coached to accompany classes.It's a plus if you're a great reader(of music),but I know accompanists who improvise and read little.If there's someone on music staff at your school who will help you ease into classes that would be great.Pre dance uses creative music(being a butterfly,etc.rhythms to move to the beat,etc.)These may be good starting classes.You need to know ballet terms and what goes with them.It takes time and with experience you'll grow.I also took up some hand drumming and will bring in the thumb piano sometimes.I'm glad to help if I can!Of course another way to be involved is to try class yourself!Then you can see that it's not easy what your kiddos are doing!And while they're spending all that time in class you can get fit!Get into those open classes!;)

Louis Armstrong was once asked what the definition of jazz was.His reply was"Man,If ya gotta ask"...Jazz can be defined but really just has to "be done." Musicality in dance is the same way in a sense in that the musical dancer moves and moves the audience by expression.When a dancer uses musicality in dance the dancing looks effortless.It flows with the music.The dancer knows the music,how it is put together,and can do any movements with ease.I believe skills can be developed relating to rhythm,musical form and style,but I do think some people are born with it,while others never quite get it.The naturally musical dancer is less concerned with the steps-and you can see their ability to feel the rhythm and move to the music expressively.You can see it.This kind of dancer is more than a master of the steps.He can anticipate phrasing,pauses and emphasis in music.It is harder to explain but you can indeed see it.

I always say if there was an ounce of ballet or dance on television,say as compared to sports on TV,I'd be happy!Bravo used to show ballet quite often,from the Royal Ballet to Mark Morris to Momix.I want to have it all.Unfortunately,Bravo's not around for us now.

I was lucky enough to experience the hula in a World Dance Forms class.I also enjoyed this article.

I was certainly impressed with Saturday afternoons performance .Although I felt some of the choreography didn't show (off) the dancers well and was at times repetative,the students looked quite nice.One dancer was quite a special standout.For those of you who have gone in past years-are there usually a few exceptional dancers?

It's expected for a dancer in a top company to have great technique.But much more rare is the dancer with what you may refer to as personality-I call it musicality,soul,the extra quality I don't always see alongside that technique.

It's expected for a dancer in a top company to have great technique.But much more rare is the dancer with what you may refer to as personality-I call it musicality,soul,the extra quality I don't always see alongside that technique.

Stan, This was indeed an interesting article! What do you think of NYCB as compared to other Balanchine based companies elsewhere in the country?

And how about Edward Villella's Prodigal Son? Real interesting about being a guy loving ballet back when he was a teenager-and all the challenges.Even more interesting later years-and enlightning on how he passes his teachings on now.