CONTACT
3
OUR MISSION
4
WELCOME
5
ARTS AND PERFORMANCES
12
INTO THE VARIATION
20
INSIDE BALLET AND TECHNIQUE
24
PRIORITIZE, ORGANIZE AND NUTRITIONIZE
28
COMPETITION PREPARATION
32
BALLET CHOREOGRAPHERS
40
ASK THE ARTISTIC DIRECTOR
42
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table of contents
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Contact
8505 Fenton Street, Suite 206 Silver Spring, MD 20910 Tel:301-593-6262 Email: contact@akhmedovaballet.org Web page: http://akhmedovaballet.org
Editor in Chief: Jacqueline Akhmedova Managing Editor: Jessica Novakovich
The Akhmedova Ballet Post is a product of the collaborative efforts of the students of the Akhmedova Ballet Academy. We wish to spread our ideas and knowledge to connect with others in this uncertain time.
The Akhmedova Ballet Academy Students created this video to inspire others in this time!
welcome
our mission
ADULT CLASSES
The Akhmedova Ballet Academy’s Introduction to Ballet program offers an excellent introduction to the Russian Vaganova Method for children age 6-8 years of age. This class will develop the strength and flexibility young dancers are required to have for the preparatory and the pre-professional programs. They will learn the foundation of ballet positions and movement through slow and methodical classes. This program is preparing students to be ready to enter into the next level of ballet training. No audition is necessary to join this level. A minimum of 4 students is required to do this class.
ENROLL NOW IN OUR NEW CLASSES FOR SEPTEMBER
INTRODUCTION TO BALLET
The Akhmedova Ballet Academy's Adult Program teaches the basic foundation and technique of the Russian Vaganova Method. Adult students will increase their flexibility and learn to explore artistic expression through movement and music. This class is a wonderful opportunity for adults to learn and appreciate the beautiful art form of ballet while exercising and toning the body.Throughout the hear the students will transition from a beginner ballet class to an intermediate level as their knowledge and ability grows.
PTP Level 3/4
PTP Level 1
The PTP LEVEL 1 Division is a program for talented students age 9-11 years old. It offers aspiring young students the opportunity to train in the Vaganova method with one of our wonderful Vaganova teachers. The program utilizes the Vaganova Method in which some of the greatest ballet dancers such as Nureyev, Makarova, Baryshnikov, Zakharova, Vasiliev, and Smirnova were trained. The PTP 1 program utilizes elementary exercises that develop the student’s mastery of the basic stance of the body and the positions of the feet, arms and head. These foundations of classical ballet will be developed through slow and meticulous classes that prepare the students for progress to higher levels of training. Students will learn the basic technique, posture, barre, proper stretching and strengthening, ballet discipline and etiquette, small dance compositions and contemporary dance. Through these classes the students will develop the skills necessary to prepare themselves for class and most importantly to cultivate a work ethic. Classes are kept small so that dancers receive the finest quality ballet training in a “semi-private” training environment. This level has 2-hour technique classes three times per week, Pilates and Contemporary class once a week. Students will perform at some of our shows during the year at discretion of the teacher and Artistic Director. A minimum of 4 students is required to do this class. Admission to the Preparatory Division is by audition only. Please contact ABA by email or call to set up an audition date.
TRAINING PROGRAM CLASSES
ENROLL IN OUR PROFESSIONAL
Professional Training Program 3/4 is for talented students age 12-14. Professional Training Program utilizes the Vaganova Method in which some of the greatest ballet dancers such as Nureyev, Makarova, Baryshnikov, Zakharova, Vasiliev, and Smirnova were trained. Classes are kept small so that dancers receive the finest quality ballet training in a “semi-private” training environment in which size does not exceed 8 students. This level trains 5 days per week 3 hours per day. This level develops the strengthening of stability in all classical ballet movements both on demi-pointe and pointe. Focus is on the mastery of the technique of beats, tours and larger poses. In this level begins the development of plasticity of the arms and body as the combinations become more complex and advanced. Each student is given an opportunity to learn pieces from the classical repertoire, as well as contemporary group pieces and character dances to be performed at a professional venue on a full-size stage twice a year. Performances in community settings are scheduled throughout the year. Selected students are chosen for national and international ballet competitions. Private instructions are available by appointment. The PTP 3/4 includes: Classical Technique, Pointe, Repertoire, Character, Contemporary, Pilates, Conditioning and Stretching. Admission to the Professional Training Program 3/4 is by audition only.
ENROLL NOW IN OUR PROFESSIONAL TRAINING PROGRAM FOR SEPTEMBER
This level develops the strengthening of stability in all classical ballet movements both on demi-pointe and pointe. Focus is on the mastery of the technique of beats, tours and larger poses. In this level begins the development of plasticity of the arms and body as the combinations become more complex and advanced. Each student is given an opportunity to learn pieces from the classical repertoire, as well as contemporary group pieces and character dances to be performed at a professional venue on a full-size stage twice a year. Performances in community settings are scheduled throughout the year. Selected students are chosen for national and international ballet competitions. Private instructions are available by appointment. The Pre-PTP includes: Classical Technique, Pointe, Repertoire, Character, Contemporary, Pilates, Conditioning and Stretching, Ballet History. Admission to the Pre-Professional Training Program is by audition only.
Pre-PTP Level
The Professional Training Program 5/6 (PTP) is designed for the serious ballet dancer ages 15-19 years old. The program utilizes the Vaganova Method in which some of the greatest ballet dancers such as Nureyev, Makarova, Baryshnikov, Zakharova, Vasiliev, and Osipova were trained. The perfection and polishing of the program for the preceding classes, including the mastery of all the basic movements of classical dance. More complex combinations, especially in adagio, allegro and pointe using more complicated musical material. Development of performing artistry and virtuosity. Special work on individual development of each student. Classes are kept small so that dancers receive the finest quality ballet training in a “semi-private” training environment in which size does not exceed 8 students. This level trains 6 days per week 4 hours per day. Each student is given an opportunity to learn classical ballet solo variations, contemporary variation, as well as contemporary group pieces and character dances to be performed at a professional venue on a full size stage. The performances take place each winter and spring. All students are given the opportunity to compete at the Youth America Grand Prix. Selected students are also chosen for international ballet competitions. Private instructions are available by appointment. The comprehensive PTP 5/6 includes: Classical Technique, Pointe, Repertoire, Character, Contemporary, Pilates, Conditioning and Stretching. Performances on professional stages and Performances in community settings throughout the year. Admission to the Professional Training Program 5/6 is by audition only.
PTP Level 5/6
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PERFORMANCES
with sasha
AND
ARTS
Looking back through history, there have been many extraordinary women who have fought for their rights and beliefs. In our new adaptation of the Nutcracker, we are getting the chance to portray these women from different times as characters. The story begins with these well-known activists coming together for a Christmas party at the home of Elizabeth Cady Stanton. Elizabeth is there with her children Margaret and Harriot, and her close friend Susan B Anthony.
Equal Rights Night: Nutcracker with a Twist Election years are always very important. We get to be an active part in our democracy and its future. However, we tend to take advantage of it rather than appreciating what it took to get us to this point as a country. This year Akhmedova Ballet Academy is taking a special twist to the classic Nutcracker story.
To celebrate the holidays Elizabeth has invited many influential women including Rosa Parks, Amelia Earhart, Jane Austen, Emmeline Pankhurst, Harriet Tubman, Anne Frank, Ella Fitzgerald, Nina Simone, and Simone de Beauvoir. Last to arrive is Justice Ruth Bader Ginsberg, godmother to Elizabeth’s youngest daughter Harriot. Ruth Bader Ginsberg gives Harriot a gift - a book. This is not just an ordinary book but it’s very special because it holds the knowledge and wisdom from each of the women at the party. This includes all of their life’s work and everything that is needed to create a strong and independent woman. Jealous, Margaret tries to take the book from Harriot resulting in the book ripping apart. Ruth comes to the rescue and repairs the book using logic and a tiny bit of magic. Harriot is relieved and happily dances with her friends at the party.
When the party comes to an end, the guests leave and the Stanton family gets ready for bed. After a very exciting night, Harriot stays awake reading her gift.As the clock strikes twelve, she falls asleep while still reading her book and dreams. Inspired by the last words of wisdom she read, “Be independent, travel the world and experience all of its joys. And most of all - dance.” She dreams of traveling the world to see all the beautiful places and rich cultures.Harriot wakes from her dream with the book in her hands. She remembers the independent women and vows to follow in their footsteps creating a better world for strong women.
Women have come a long way but we have so much further to go. With the respect and memories of the past activists, we can keep them with us as we learn from our history in order to provide a better future for generations to come.
Throughout the beginning of this dance year at Akhmedova Ballet Academy, my classmates and I have begun to learn and work on the pas de trois, “The Nymphs”, from the ballet Walpurgis Night, composed by Charles Gounod, and choreographed by Leonid Lavrosky. This ballet represents the witches sabbath, an event that takes place before the holiday Saint Walpurgis Night, that celebrates the coming of spring and fertility rites.
INTO
21
THE
WITH KENDALL
VARIATION
One of the things I love about dancing this piece is the beauty of the ethereal characters we portray. In Greek mythology, nymphs are deities regarded as personifications of nature, and depicted as beautiful maidens. The music and choreography truly embodies the nature of goddess-like creatures. We dance with long scarfs, that we must learn to navigate while dancing, which also adds to the whimsical aspect of the piece. This piece is truly beautiful, and so fun to dance with friends.
We have all received many corrections, mainly focused on musicality, dancing in unison, andépaulement.Épaulement refers to the positioning of the head, neck, and shoulders in ballet. Proper épaulement can have a major impact on the look of a line or ballet position.As we have continued to work on this piece, we have improved our placement and the different positions we must execute in the choreography. We are also working on musicality and dancing together, which both influence the quality of the piece. Musicality can be described as how we hear and interpret music, which is essential to one's artistry expressed in dancing. It is important that we dance as a unit, because that is a factor that contributes to the beauty of the nymphs. Other corrections are to be applied throughout the entire piece, such as staying in formation, and quickly traveling in the transitional parts of the piece.These corrections are crucial to apply in order to stay on time with the music, and being in the correct space on stage. In addition to these corrections, a challenge of dancing this piece is the stamina and endurance it requires. Endurance is what allows us to get through any physically demanding piece to the best of our ability. We must work on improving our stamina so we don't become as tired as the piece continues, keeping our energy levels and performance quality the same the entire time. Overall, we have so much room for improvement, and are working very hard to better thispiece.
WITH TESS
TECHNIQUE
BALLET
Last summer I had been searching for a place to train which would provide lots of ballet technique instruction. Coming to Akhmedova Ballet Academy, I found exactly what I needed. Technique- heavy classes in the summer continued into the year round program and I could already feel myself improving. A huge part of improving my technique in a new environment has been learning from a new perspective. Teachers at ABA are constantly providing me with helpful corrections, and having different sets of eyes helped to point out certain habits I have. To fix old habits, receiving a variety of corrections has been extremely beneficial, so that I can quickly refine many parts of my technique instead of just focusing on one correction. While it is always valuable to receive input from new people, it can also be challenging at first.
INSIDE
Personally, I have found that getting used to a new style of dancing has been the most challenging part of switching my training. Anywhere you go there will be stylistic differences, but I have found training to be much easier when you have consistency. So far at ABA, I have been taught certain ways to execute headlines, preparations, transitions and a variety of steps. Doing new steps in ballet class with a consistent style, will help me to focus on small technical details, instead of constantly worrying about how I should execute a certain step. Not only has this stylistic consistency been helpful, Consistency in the amount of training I get has been helpful as well.
In the past, my ballet classes had been spread out, but at ABA, being able to rely on having technique class everyday has been valuable. I know that practicing technique everyday will lead to improvement through muscle memory. Without this consistency, you might find yourself struggling with certain aspects of your technique and a few days later continuing to struggle with the same issues. Working my muscles in the right ways everyday, makes me continuously feel stronger and more stable in daily classes. All of these recent changes have enabled me to feel more confident in my technique. New perspectives, consistency and having more time to train are all great things to look for when trying to strengthen your technique.
PRIORITIZE, ORGANIZE AND NUTRITIONIZE WITH JESSICA
Competition Throughout both my years as a student, and my professional career, I have competed in quite a few competitions. I gained much valuable insight and incredible lessons from each experience. As a nervous perfomer, competing helped me overcome the fear of dancing in front of judges, other dancers and an audiance. Nerves are hard to handle but just remember to focus on your choreography, your breathing and the corrections your teacher gives you. Backstage, before your time to perform can be a daunting experience but if you seperate yourself from all other compeitiors and focus on your everything you need to do. I also learned that you can always gain something from a compeition, regardless of if you win or not. Experience is important for the development of a student but adapting and growing from what you learned is what makes a dancers.
EXCITING NEWS!!!
Introduction to Ballet Level Due to popular demand we added another class! Wednesdays: 7:30-8:30pm and Thursdays at 7:15-8:15pm! Here is a link to the information from our Website
COMPETITION PREPARATION!
MEET THE COMPETITORS: LUCY JENNIFER ARIEL
MEET THE TEACHERS: MME. AKHMEDOVA MS. MARINA MS. JESSICA
This November, a few of us are going to Youth America Grand Prix (YAGP) to compete. We have been working very hard to get prepared for the competition physically and mentally. I am doing two classical variations and one contemporary, and all of them have great costumes! I am practicing at least two variations a day now, so I can remember the corrections. Also, I am able to practice my expressions in my pieces, which is very important in competitions. I am practicing my pieces using the actual tutus instead of a rehearsal tutu. The two have very different feelings compared to each other, so it is always nice to be prepared and know how the tutu will flow when I am dancing. I try to have a positive mindset, especially when I get nervous. When I am running through my variations, I attempt to make it seem as if the studio is the stage so that I can get more comfortable. And knowing that I still might feel anxious when competing, I always think about ways to clear my mind and to have fun. I could not do this without my teachers who support me 100% by giving their experience and knowledge to me and help me become the best I can.
LUCY QIAN
PHOTOGRAPHY: JERI TIDWELL
My classical variation, “La Fille Mal Gardee”, is quick and very precise. After each rehearsal, I need to write down my corrections so I remember them. It’s important because it will help me dance the variation better. My performance on stage must be captivating. The judges are looking for clean technique, potential, and energy. They aren’t looking for a plain performance with no feeling, but rather a performance that makes it worth their time to judge. So, I need to bring my emotions and technique together and impress them. Proper technique is very important for a dancer’s choreography, but adding emotions and feelings to it makes it a masterpiece. My contemporary piece is a dance about hope. It’s about a little girl (me) who searches for hope. She then realizes at the very end that hope comes from the people and that hope relies on them.
JENNIFER
This contemporary piece has a lot of feeling to it, and I must portray it so that the judges understand me. Since I am finding hope, there are a lot of movements that portray the search. I really like dancing, so I think I must show it to the judges and the people watching me. In order for my performance to stand out, I must dance to the best of my ability. “Strive for progress, not perfection.” This quote means a lot to me. Not everyone is perfect at dance or anything they do. But striving for progress is most important. Therefor it is most important that I prepare for the competition by working hard on all of my pieces and expressing myself on stage.
Preparing for a competition is a very important part in a ballet career. My school, the Akhmedova Ballet Academy and my wonderful teachers make this possible and I am very grateful and happy to have this opportunity.
I am very honored to be allowed to go to the Youth America Grand Prix (YAGP). This is my very first ballet competition. I will be dancing the role of the “Fairy of Vitality” from the ballet Sleeping Beauty for my classical piece. The mood of the variation is lively; an advantage is that I learned the choreography earlier in the summer. A challenge is that I need to balance a lot, which can be hard. I will be wearing a beautiful blue tutu with shiny Swarovski gems and a silver tiara. For my contemporary piece, I will be dancing a choreography created for me called “Bonjour.” I will be wearing a hand-made red dress. The mood of my piece is playful. I find it enjoyable and fun to dance. The contemporary music is more difficult to count than my classical piece. I have been working extra hard to prepare. I am very lucky to have my teachers, Ms. Marina and Ms. Jessica, and Mme. Akhmedova working with me. The competition is 1 weeks away, and I am very excited!
ARIEL BARNETT
ask the artistic director
with mme. akhmedova
Going first time to competition might be stressful. But mainly it should be exciting. I personally love the process of preparing for it the most. The performance on stage is over in a blink of an eye, but what stays with you is the work put into during the long rehearsals. It made you better, it shaped you to fight for it and ultimately prepared you to perform. My advice: Focus If you become consumed thinking about winning or losing, you'll get distracted from the actions you need to perform physically. It’s important to learn to ignore the factors you don’t have control over, such as judges’ opinions or the other dancers’ performance. Focus on yourself, your performance and the corrections you received from your teacher.
1. Do not talk with the other dancers when backstage 2. Do not watch other dancers before you go on stage unless it is your fellow classmate 3. Always stand close to your teacher and listen to her. 4. Before going on stage do a barre, stretch and make sure your make-up and hair is impeccable. 5. Drink fluids, but not too much so your stomach does not hurt during dancing. 6. Eat not directly before going on stage. Give at least one hour of time for digestion 7. Be very quiet backstage, be respectful and listen to the stage managers and organizers 8. Open stage: make sure to place your variation so you know where to go during performance, try the most difficult combinations or run the entire variation depending on space and what your teacher says 9. Do not eat in costume 10. Do not walk around without booties when not on stage 11. Once done with your performance take your warm ups and booties from backstage and do not elaborate loudly about your performance. You do not express discontent or frustration over what you did. You did your best. Your coach will tell you what went wrong if it did. 12. Do not tell other dancers how you did. If you feel you have to say anything, say: “I did my best but so much room for improvement”. Always know that your teacher is proud of you no matter what.
Stress Can Benefit You Heading into competition, you may feel stressed. Recognize stress as something that can work for and or against you. A small amount of stress can help benefit your performance by energizing you and giving you a rush of adrenaline. What’s important is not letting stress consume you, or turn into anxiety. Learn to accept the presence of stress and use it to your advantage. Typically, your teacher will calm you down and stand by your side. Visualize Your Performance Go over your variation multiple times before going on stage. Get into a performance mindset, meaning get focused, concentrate on the performance ahead and do not get distracted by others.