CONTACT
3
OUR MISSION
4
WELCOME
5
ARTS AND PERFORMANCES
12
INTO THE VARIATION
20
INSIDE BALLET AND TECHNIQUE
24
PRIORITIZE, ORGANIZE AND NUTRITIONIZE
32
TIPS AND TRICKS TO STAYING HOME AND SANE
34
ABOUT ABA'S SUMMER INTENSIVE
40
SNEAK PEAK INTO THE QUARANTINE SUMMER INTENSIVE
46
ASK THE ARTISTIC DIRECTOR
48
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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
Quarantine for many people was a time of isolation and fear of the unknown future. However, the dance world is not one to shy away from the unknown. We grow up dreaming about dancing in front of big audiences but once we become older this clear dream becomes distorted by all of the additional factors that play a part in making that dream a reality. The unknown does not make us hesitate, but instead, it makes us even more motivated to persevere.
In this century, we are very fortunate to have the type of technology that can bring together people from all over the world. Throughout the past half of a year, the dance world has used this to its advantage. Social media platforms have been used by companies, schools, and dancers to keep in touch and work together during this uncertain time. Many companies have been having live ballet classes with some of their leading dancers. Other companies have posted their company class for dancers to follow along with. This has given many aspiring dancers a unique opportunity to get a closer look into the companies and get a better understanding of the company’s style and technique. The internet and social media has made it possible for dancers all over the world to learn about these companies without even having to leave their homes.
Social media provided a channel for dancers to connect during this difficult time. It allowed for an outlet of creativity when we were unable to continue our art form. Despite this positive outlet, social media is not a substitute for the art form. Dancers and companies are hurting and although social media provides a current distraction, it is not a permanent solution.
Social Media allows artists from different art form and genres to work together to push the boundaries and create beauty in the world.
Here is a link for a video of a collaboration between acclaimed ballerina Alessandra Ferri and singer Sting.
This year could have been very different if it weren’t for social media but thankfully we were able to use it to bring our community together during this time of isolation.
INTO
During the last 3 weeks of the Akhmedova Ballet Academy summer intensive, I have been practicing a new variation. This variation is from the ballet Paquita, but it is also used in the ballet Don Quixote. Paquita, which has two acts and was composed by Ludwig Minkus, and takes place in Spain. Paquita, who is a gypsy girl, doesn’t know that she was captured by a gypsy family as an infant, and is the daughter of a nobleman. Since she doesn’t know her real family and her actual social status, she is unable to keep the romance she has with Lucien. Later, after traveling the country, she is able to find her family and reunite with Lucien.
THE
WITH LUCY
VARIATION
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It is so much fun to dance and rehearse this variation, but much of its technique is also quite challenging. There are many diagonals, including ones with turns and others with jumps. As I was practicing my variation, I received many corrections that helped me as I was dancing. My teachers changed sections of the variation so that I could execute it better. For the very first part of the variation, some corrections that I got include holding my arms, using my head, getting on top of my leg in an arabesque, having a strong supporting leg and ankle. For the second part, which is a diagonal of attitude turns.
Corrections that I got for this part of the variation are things like turn by using my supporting leg and also standing on the box of my pointe shoe so that I don't fall off of my leg. After this, the next part contains many grandjetés! When doing these jumps, instead of doing a développé, which is done in a grand pas de chat, the leg is brushed with a straight leg. It might feel like going over a chair, or mountain. I have gotten some corrections like bringing my back leg higher, pointing my feet in the air, and also making the “coming down part” shorter so that the actual jump is bigger. Finally, the last part is full of different kinds of turns, and is one of the harder parts. The corrections may include holding my stomach/ ribcage so it doesn't pop out, step in front and not to the side after a turn to keep the diagonal, and push by the knee to create more force when turning en dehors. There is still so much to improve, but these are the most common ones that I would get for this variation, and even just in general.
WITH ISABELLE
TECHNIQUE
BALLET
INSIDE
Petit and Grand Allegro In ballet, allegro is used to describe rapid movements, often jumping steps. Petit allegro refers to small jumps and grand allegro refers to large expansive jumps. The most common petit allegro combinations include sautés, changements, glissades, and sissonnes. The most common grand allegro combinations include grand jetés, or “split jumps”, tour jetés, and cabrioles. Petit allegro is different from grand allegro in that its movements are small, vertical, darting, or contained steps. On the other hand, grand allegro movements use large, vertical, and horizontal traveling steps
Petit allegro is often used in training dancers to develop musicality, coordination, and quick footwork that strengthens the lower legs. On stage, they are most often found in variations and/or character dances in full length ballets. Grand allegro usually occurs during the end of class, for a short period of time, because it is the most physically demanding. It is one of the most awe-inspiring moves on seen ballet stages and disputably the most athletic of all. Male dancers are better known for their “big jumps” than female dancers, because many classical, male variations consist primarily of “big jumps”, such as those found in “Don Quixote”.
Allegro, both petit and grand, requires dancers in their best physical condition because of the strengths, power and explosivity involved. It may have been difficult to regain ability to execute petite and grand allegro after being off for several months during quarantine. To aid in the recovery of technique, Mme. Akhmedova has arranged for a thoughtful and gradual way to allow ABA dancers to regain muscle mass and strength. Class is arranged in a sequence that builds up to petit and grand allegro combinations, which prevents injuries and allows for a speedy recovery of past peak skill levels. Not to mention, the “Back in Shape” intensive that will take place prior to the start of the school year!
Petit and grand allegro are not simply about the height of the jump. They are also about the perceived defiance of gravity and the sense of weightlessness, which portrays a feeling of flight and freedom.
PRIORITIZE, ORGANIZE AND NUTRITIONIZE WITH JESSICA
With the new school year starting soon and academies carefully beginning their in person classes, it is time to start making your yearly plan and goals. Start by writing down all that you want to achieve and/or accomplish during the year. Then write down the steps needed to accomplish the goal you set out to plan. From there create a plan for the day to day, week to week and for the duration of the year. As the start of classes draws nearer take time to make a schedule of your days for when classes start. If you have a schedule of your days it will be easier to manage time when homework and auditions begin to pile up.
WITH ABI
TIPS AND TRICKS TO STAYING SAFE AND HEALTHY
1. Always wear a mask, no matter how annoying it can get. 2. Make sure you clean your hands and phone throughout the day. 3. Follow all safety procedures set up at your academy or school, such as temperature taking and social distancing. 4. If you are allowed in for training, make sure to wash your barre spot before and after class. 5. Create a warm up routine for yourself that allows you to be prepared for class, while maintaining a distance from other dancers. 6. Consult the “Prioritize, Organize and Nutritionize” article on details of setting goals and plans for yourself.
That is all for this time! Be sure to check out the next Akhmedova Ballet Academy post for more arts and crafts and ways to stay safe and sane. See you next time, Abby.
Summer is ending and soon academic classes and ballet academies will be starting up again. Due to Covid-19 and the quarantine many schools are remaining online. Those who are lucky enough to be able to start in person classes at their ballet academy will be facing many changes to their normal class schedules and procedures. Here are some tips and tricks to staying safe for the new school year.
meet our accompianist Natasha Sutherland
t
Natasha Sutherland is an accompanist for ABA since September 2016. She was born in Moscow and graduated with honors from the Moscow Children’s Music School in 1976. She also graduated from the Mussorgky Conservatory in 1986 as a concert pianist with a master degree. Natasha accompanies the PTP 5/6. Photo: September 2019
ABOUT THE AKHMEDOVA BALLET ACADEMY'S FIRST PANDEMIC SUMMER INTENSIVE WITH JOJO, TESS AND NANDI
Amidst the struggles of the Pandemic and the quarantine the Akhmedova Ballet Academy was able to have a successful and safe in-person summer intensive. We instilled many safety measures so that the dancers, teachers and parents were able to remain healthy. Here are some testimonials from dancers that attended the intensive.
I have had the wonderful opportunity to be a part of ABA’s summer intensive this summer! I felt very lucky to have found a place that not only was in person, but also had top quality training. Every morning I would come in and have my temperature checked, along with always wearing my mask, cleaning my hands and cleaning equipment. I felt safe dancing, knowing that everyone took extra precaution. As I took my first few classes, I already knew I had so much new knowledge to gain. I was constantly receiving helpful corrections, which gave me a better understanding of where I am with my technique and artistry. Starting off with a ballet class each morning, I felt I got the attention I needed to grow and improve quickly. Other classes such as character, mime, musical theater, and repertoire allowed me to focus on expressing myself through movement. I also loved that I could end the day with a Pilates or cardio class, as it is so important to keep your strength and stamina up as a dancer. As a result, I could already feel myself getting stronger, and dancing with more ease in my other classes. Reflecting upon the great deal of improvement and fun I have experienced this summer, I can say that ABA is the perfect place to train! Tess Moayedi
I had an phenomenal six weeks studying at the Akhmedova Ballet Academy this summer. I had so much fun with the wide variety of repertoire we did. Also I learned so much this summer about the Russian technique. I am so thankful I got this opportunity to train safely in the studio at ABA during this difficult time. Jojo Levin
This past summer I was given an amazing opportunity to train at the Ahkmedova Ballet Academy. There, I was taught by amazing teachers in the art of Ballet as well as character and contemporary dance. Despite the uncommon circumstances in regards to COVID-19, my teachers brought forth rigorous training, allowing me to progress and improve as a student. All the while, various precautions were put in place to ensure the safety of all students and staff during these unprecedented times. Throughout the entire intensive, I was surrounded by an amazing community of girls whom I quickly began to consider my friends. Everybody was supportive, encouraging, and kind both inside and outside of the studio. All in all, I absolutely loved my time spent at the Ahkmedova Ballet Academy and hope to be back soon. Nandi Chase
ask the artistic director
with mme. akhmedova
Chicken soup for the Dancer’s Soul 1kg determination 700ml passion 500g patience 500g confidence 700g dedication 700ml perseverance 700 ml humility 500g endurance 1 liter empathy 2kg respect 2 liter hard work Mix well and drink daily. This recipe was handed down from generation to generation unchanged in its ingredients. Agrippina Vaganova always added an extra liter of hard work. This recipe is best served on an icepack. Share this recipe with a full house. Serve with love and chocolate !