8505 Fenton Street, Suite 206 Silver Spring, MD 20910 Tel:301-593-6262 Email: contact@akhmedovaballet.org Web page: http://akhmedovaballet.org
Text
Contact
Editor in Chief: Jacqueline Akhmedova Managing Editor: Jessica Novakovich JeriTidwell Photography
table of contents
CONTACT
3
OUR MISSION
4
WELCOME
5
NEW SUMMER PROGRAMS
12
ARTS AND PERFORMANCES
14
INTO THE VARIATION
28
INSIDE BALLET AND TECHNIQUE
34
FROM THE STUDIO TO THE STAGE
38
CODE NAME RESILIENCE
46
BLACK HISTORY MONTH AND BALLET
52
A COVER PAGE YEAR IN REVIEW
60
ASK THE ARTISTIC DIRECTOR
62
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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 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.
INTRODUCTION TO BALLET
ENROLL NOW IN OUR NEW CLASSES FOR SEPTEMBER
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 IN OUR PROFESSIONAL
TRAINING PROGRAM CLASSES
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.
PTP Level 3/4
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
PTP Level 5/6
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.
Pre-PTP Level
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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.
INTRODUCING THE NEW BALLET INTENSIVE 1 FOR 10-11 YEAR OLDS
Ballet Intensive (10-12) Dates: June 21st to July 2nd, 2021 (2 weeks) Time: 10am to 4pm Monday through Friday Cost: $1600 (2 weeks) Classes will be taught by our professional ABA faculty and well-known guest teachers.Each student is given an opportunity to learn a solo variation and an ensemble piece to be performed at the end of the intensive in studio. This summer intensive is a fun and engaging way to offer an excellent introduction or continuation to the Vaganova Method of Ballet.This is the perfect program to get to know our wonderful faculty and be considered for the year-round program. More advanced students are also able to attend the 6-week intensive. The ABA Summer Intensive includes classes in: Technique Repertoire Contemporary Character/Folk Pilates Conditioning/Stretching Ballet Mime Please contact us to find out more about the classes and how to audition/register. Email: contact@akhmedovaballet.org
THE LITTLE HUMPBACKED HORSE
AND
ARTS
WITH JESSICA
PERFORMANCES
The Little Humpbacked Horse, also known as The Tsar Maiden is a ballet in four acts, eight scenes and an apotheosis. With the libretto by Arthur Saint-Léon and based on the fairy tale of the same name by Pyotr Yershov. The original choreography was debuted by the Imperial Ballet in Saint Petersburg in 1864 with original choreography by Arthur Saint-Léon and set to the music of Cesare Pugni. This was the first ballet based on a Russian story and Pugni included Russian folk songs in the music and Saint-Léon included Russian folk dancing. As Saint-Léon was french he did not have much knowledge of traditional Russian folk dances and in 1876 Solokov re-staged the ballet in Moscow at the Bolshoi and used genuine Russian dances.
SYNOPSIS The synopsys of the ballet is published in the author's version of the Set Designer Maxim Isaev Act I 1. A house on the edge of a field. An Old Man is at home. Gavrilo and Danilo are at home. Ivan the Fool is at home. It is crowded in the house. The Old Man goes out to cut the rye wheat. Gavrilo and Danilo are glad. Gavrilo and Danilo make merry. Gavrilo and Danilo arrange an outdoor party. Gavrilo and Danilo dance with the Wet-Nurses. The Old Man returns from the field. The Old Man drives the Wet-Nurses away. The Old Man tells his sons of a terrible villain. This villain comes at night. The villain cannot be seen by anyone. The villain tramples on and ruins the wheat. The villain must be caught and destroyed. The Old Man himself is weak and infirm. The Old Man sends his sons out to guard the field. Gavrilo and Danilo set out on patrol. They don’t take Ivan. They think Ivan is too young. They think Ivan is clumsy. They think Ivan is a fool. Ivan asks to go to the field with his brothers. Ivan also wants to catch the villain. Ivan knows that he can confront the villain. Ivan is afraid of nothing. Ivan sets out into the field alone.
2. It is night. Ivan is guarding the field. A Young Mare trots into the field. The Young Mare is beautiful. The Young Mare is wild. The Young Mare tramples and ruins the wheat. The Young Mare enjoys itself. Ivan grabs the Young Mare by the tail. Ivan climbs onto the Young Mare. Ivan is dexterous. Ivan sits on the Young Mare back to front. Ivan finds this amusing. The Young Mare is embittered. The Young Mare attempts to throw off Ivan. But to no avail! The Young Mare makes Ivan a gift of some Horses and a Humpbacked Horse. If only Ivan will free her! The Horses are indeed beautiful. The Horses are large and powerful. The Humpbacked Horse is little. The Humpbacked Horse is weak. The Humpbacked Horse is most peculiar. What can he do? The Fire Birds land in the field. The Fire Birds dance. The Fire Birds play. The Fire Birds fly past. The Fire Birds are free. Ivan runs after the Fire Birds. Gavrilo and Danilo arrive in the field. Gavrilo and Danilo notice the Horses. The brothers like the Horses. Gavrilo and Danilo abduct the Horses. Gavrilo and Danilo are cunning. Ivan returns with a feather from the Fire Bird. Ivan likes the feather. Ivan is easy and relaxed. Ivan notices the Horses have disappeared. Ivan is upset. Ivan cries bitterly. The Humpbacked Horse comforts Ivan. The Humpbacked Horse proposes that Ivan pursues the abductors. The Humpbacked Horse promises to help Ivan. The Humpbacked Horse can, in fact, do a great deal. 3. A square in the Capital City. The people are on the square. The people are enjoying themselves. The people perform a round dance. The people dance a quadrille. Gavrilo and Danilo are on the square. Gavrilo and Danilo plan to sell the Horses. Gavrilo and Danilo want money. The Tsar enters the square. The Tsar loves to walk amongst his people. The people love to see their Tsar. The Tsar loves to look all around. The Tsar sees the Horses. The Tsar likes the Horses. The Tsar is ready to buy them. Ivan and the Humpbacked Horse rush onto the square. Ivan recognises the Horses. Ivan recognises his brothers. Ivan upbraids his brothers. Ivan takes the Horses from his brothers. They are his Horses. The Tsar has become attached to the Horses. The Tsar bargains for the Horses with Ivan. Ivan is prepared to let the Horses go. The question of price remains. The Tsar takes off the Gentleman of the Bedchamber's hat: there is a wonderful price. Ivan is delighted with the hat. The hat really suits Ivan. The Guardsman is furious with Ivan.
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4. In the royal chambers. The Tsar's rooms. The Wet-Nurses are feeding the Tsar. The Tsar is eating. The Tsar is sate and falls asleep. At the entrance to the room, Ivan lies down to sleep. The Gentleman of the Bedchamber observes Ivan. The Gentleman of the Bedchamber steals the Fire Bird's feather from Ivan. The Gentleman of the Bedchamber sneaks into the Tsar's chambers. The Gentleman of the Bedchamber wakens the Tsar and shows him the feather. Where has Ivan acquired riches such as this? The Tsar loves the feather. The Tsar has a vision. The Tsar sees the Fire Birds. The Tsar sees a Tsarevna. The vision fades. But the Tsar is already in love with the Tsarevna. The Tsar needs the Tsarevna. That is an order! The Gentleman of the Bedchamber wakens Ivan and gives him the Tsar's order. Ivan is in despair. Ivan doesn't know where to seek out the Tsarevna. The Little Horse comforts Ivan. The Little Horse knows what to do. Ivan and the Little Horse depart for the Tsarevna.
ACT II 5. The Fire Birds live on the edge of the world. Among them is the Tsarevna. Ivan and the Horse have come to the edge of the World. To the Tsarevna and to the Fire Birds... Ivan wants to capture the Fire Birds. The Fire Birds fly away. Ivan sees the Tsarevna and cannot take his eyes off her. A miracle, what a beauty! The Tsarevna allows Ivan to catch her. She allows herself to be carried to the Capital City. The Tsarevna likes Ivan. Oh, well! 6. The Tsar and the Boyars are in the royal chambers. They are waiting for the Tsarevna. The Tsar is anxious. He is like a cat on hot bricks. The Tsar falls asleep. The Boyars, devoted servants, fall asleep too. One of the Boyars is still awake. He sees Ivan returning with the Little Horse and the Tsarevna. The Boyar wakens the Tsar. The Tsar wakes up and sends everyone away. The Tsar declares to the Tsarevna that he plans to marry her. Ivan is distressed. Ivan loves the Tsarevna. The Boyars bring the engagement ring. The Tsarevna agrees to marry, but the ring is not right. For the wedding the Tsarevna needs a stone that lies on the seabed. The Tsar is confounded. How can he get the stone? The Gentleman of the Bedchamber is at his side. How about Ivan? The Gentleman of the Bedchamber sends Ivan to the seabed. Ivan is grieved. The Gentleman of the Bedchamber is pleased. He awaits Ivan's death. 7. The seabed. There, the Sea People are living their marine lives. Ivan and the Little Horse reach the seabed. Ivan looks for the ring. The ring is nowhere to be found, nowhere! What he can do he does not know! No! Ivan then asks for help from the Princess of the Sea. The Princess of the Sea will help Ivan, yes! The Sea People bring the ring to Ivan, oh yes!
8. A square in the Capital City. The Tsarevna is invited to dance by the Tsar. The Tsar and Tsarevna dance. The Tsar tires quickly. The Tsar is old. Ivan appears with his Little Horse and the stone. The Tsarevna is pleased that Ivan is unharmed. The Gentleman of the Bedchamber is angry. The Gentleman of the Bedchamber takes the ring from Ivan. The Gentleman of the Bedchamber drives Ivan away. Ivan is not required any longer. The Tsar is ready to marry. But the Tsarevna is not. She does not fancy the Tsar for a husband. For a husband she needs a man as handsome as a picture. If the Tsar wishes to marry, then he must become such a fine fellow. But how? He must jump into a cauldron of boiling water, that's how! The cauldron is brought in. The Tsar is in terror. How can he jump into boiling water? The Gentleman of the Bedchamber proposes the cauldron be tried out using Ivan. Ivan is pushed into the cauldron. The faithful Little Horse works a spell. Ivan is transformed into a handsome fellow indeed. Ivan becomes a Tsarevich. The people rejoice. The people are anxious. They all want to be young and beautiful; they all want to be tsars and tsarevnas. The Tsar orders all be kept back from the cauldron. The Tsar himself is immersed in boiling water. The Tsar perishes. The people mourn. The people bury the Tsar. The people find life hard without a Tsar. The people need a Tsar. Ivan Tsarevich and the Tsarevna are delighted. Preparations for the wedding are made. Then the people too are happy. The people will have their new Tsar. Handsome and young...
Alex Ratmensky’s reproduction of The Little Humpbacked Horse at The Mariinsky took the fairy-tale plot and created an extravagant production that is both entertaining to the children and adults alike. With iconic costumes designed by Maxim Isaev and the incentive choreography by Ratmensky himself along with the emotional music of Rodion Shchedrin create a truly breathtaking ballet. The score of the ballet was written by Shchedrin while still a student at the Moscow Conservatoire. Full of mischief, colorfulness, and affirmation of life it inspires musicians and choreographers to find their creativity and individualism. This reproduction is truly a child of the early 21’st centruy; a dynamic, merry and iconic production that allows for both classical and character dances, mime scenes, serious virtuoso skill and reckless humor. Full of traditional character pieces, with the inclusion of revised folkloric dance steps to bring the ballet to life with a bold sense of humor.
INTO
THE
VARIATION
WITH ISABELLE
This year, for competition, I am dancing the Variation of Hebe from the Awakening of Flora. The ballet is only one act, choreographed by Marius Petipa and Lev Ivanov, and composed by Riccardo Drigo. The ballet tells the story of the nymph, Chloris, and her husband, Zephryus, who are saved from the Boreas by Helios, the sun god. Later, Zephryus and Chloris are granted immortality by Zeus and are brought a cup of nectar from Ganymede and Hebe, who is the goddess of youth. The nymph Chloris is now deemed Flora, goddess of flowers, and Olympus is revealed, along with the gods Zeus, Hera, Poseidon, Hephaestus, Athena, Demeter, Ares, Hades, Persephone, and Aphrodite.
THE AWAKENING OF FLORA
The variation of Hebe was not originally a part of the ballet, but was added later by Riccardo Drigo, following the 1894 premiere. Hebe dances shortly after her arrival is announced by Mercury, messenger for the gods.
The variation is light-hearted and relatively upbeat, with many jumps and extensions. I am really enjoying working on this variation because it is a change from the types of variations I normally dance, which tend to be slower and more lyrical. While I love those kinds of variations as well, I am glad to have the opportunity to move more and improve my jumps, in addition to my technique where faster movement is concerned.
TECHNIQUE
WITH TESS, JOJO AND JULIANNA
BALLET
INSIDE
Preparing your pointe shoes is an important step in finding success in ballet. It is necessary for the ballet dancer to have the pointe shoes fit as closely to their feet as possible. The shoe should enhance the line of the dancer’s foot as well as articulate precisely with the dancer's movements. Some factors to consider when preparing pointe shoes are placement of ribbons and elastics. According to your foot structure, you want to place the elastics as close to the highest point of your arch to pull the shoe tight to your foot. Another thing to consider is how long your shoe will last. Some dancers like to put jet glue on the box or shank of the shoe to make it harder or last longer. If you need to break the shank in a bit more, you can put water on the front area of the box to soften the glue and make the shoe moldable to your foot shape. Stepping on the box will also help the shoe to mold to your foot with ease, as it breaks in the material and gives the shoe a slim profile.
If you need more traction between the floor and your shoe, you can use an exacto knife to scrape the bottom of your shoe, so it is less slippery when you dance. You can also bang your shoe on a hard, flat surface to soften the shoe so that it will make less noise when jumping and running while performing. Lastly, some dancers darn their shoes around the platform for more stability and for the purpose of feeling where your weight is while standing on your shoe. This list is just a handful of things dancers do, everyone prepares their shoes differently and should take the shape and size of their foot into consideration before preparing their shoes. You can always ask a teacher for help if unsure of what to do when preparing your pointe shoes.
In March 2021, Akhmedova Ballet Academy will be competing at YAGP Philadelphia. We are all very excited to be able to perform on stage again. I am also extremely thankful to be given the opportunity by Mme. Akhmedova to choreograph 3 character pieces and have them performed for the first time, That’s Amore, On the Volga, and Gypsy Fire.
WITH SASHA
Gypsy Fire is solely a character piece in two parts and embodies the spirit of a gypsy who lives life to the extremes. This is a tale of a beautiful girl who lost someone she holds dear and her sorrow and pain is shared with her fellow gypsy’s. When the heart broken girl decides she will not let this break her spirit and she will not let this burden her anymore she turns to her comrades and they celebrate the life that they have with joy and ferocity.
That’s Amore is an Italian Tarantella piece. This combines character steps with classical ballet for a very energetic trio. Between the three dancers is a competition for the audience’s attention, so this piece showcases many tricks and upbeat steps with the goal of entertaining the audience.
On the Volga is a traditional Russian character piece that showcases all of the students from ABA that are participating in the competition in Philadelphia. The music is is full of contrasting themes that are reflected by the dancers as they move throughout the intricacies of piece. The Volga is the longest river in Europe that flows straight through Central Russia and the dance itself is about a vivacious and joyous spring day with friends and their trip on the Volga. This piece is filled with fun moments of fast and technically difficult character steps that show the individual personalities of each in the group, and of the music.
WITH , LUCY AND MAGGIE
We started this piece a couple of months ago, and we have practiced to make it better and better ever since. This group dance will be performed in competitions that are coming up and also the many performances that we will have. Because this piece is a group dance, we have been trying to execute all the choreography together to seem like we are one person. In the last few months, some little details in the choreography had to be changed in order to make sure everyone is in sync and able to do it. These details are like specific arms, head placements, and other important corrections like how low someone has to plié for everyone’s head to be at the same level. Besides this, we talked about showing intensity in the dance and having the right amount of strength in each movement. The level of energy within this ensemble is very fierce and powerful. Lucy
This year, the 2020-2021 school year, 9 of the PTP dancers were choreographed a new contemporary group dance, Code Name Resilience. This dance was choreographed by Ashley Canterna-Hardy, who has choreographed many ABA group dances for competitions in the past several years. The music of our piece is called Code Name Vivaldi, played by The Piano Guys.
This year we will compete in YAGP 2021 with our many solos, trios, and group pieces. Among the group pieces there is one contemporary group piece, Code Name Resilience. We have the privilege of having the talented choreographer Ashley Canterna Hardy for this piece. After a few practices, she was able to find and include a lot of our strengths into this number. With this accomplished, the dance is an extremely powerful group number and will catch every eye. Since it is an all-girls number, we want to convey a message of female strength and power through our moves. With this in mind, the music and most of the steps in this piece are sharp and strong. I could not have hoped for a better group of girls to dance with and am so excited to perform this beautiful and empowering piece. Maggie
WITH KENDALL
BLACK HISTORY MONTH AND BALLET JANET COLLINS
Black History Month is a time to learn, reflect, and celebrate the intricate and vast topic that is black history all around the world. People of all backgrounds gain knowledge of the experiences of black people as a marginalized community, and how black people in all areas have continuously fought to overcome discrimination, oppression, damaging stereotypes, and racism.
Representation and diversity are life changing. Seeing someone successful who’s similar to you, even in the smallest way, makes you feel as if you too can be like them. As a black girl who's grown up surrounded by strong, successful, and powerful black women in all areas of my life such as school and dance, I’ve never felt as if there was something, I couldn’t do because of how society perceived me. Especially in the arts, specifically ballet, looking up to women including Ingrid Silva, Allison Storming, Precious Adams, Misty Copeland, and Micheala DePrince has assured me that I can also become as a beautiful a dancer as they are, regardless of skin color, body type, economic background, etc. However, much work is needed to be done to increase the amount of diversity in ballet. Throughout ballet history, the idea of a homogeneous company in which everyone looks identical has been prominent, excluding dancers’ different shades and body types. Yet, determined black and brown women have pushed past these ideologies, and continue to break barriers for girls of color everywhere.
While Collins impressed those that she auditioned for, she continuously strived to be accepted as a black dancer, without the need for alterations to a piece of work or herself.At the age of 15, Collins auditioned for the Ballet Russe in Los Angeles, but later declined their offer as she would have to dance special roles created for her or lighten her skin on stage. In an interview with dance critic and reporter,Anna Kisselgoff, in 1974, Collins states “I said no...I sat on the steps and I cried and cried” (Dunning, 2003).Yet that experience pushed Collins to tirelessly work, improve, and grow as a dancer.Being a black dancer was a part of her identity, however, Collins didn’t want that to be the only way in which she was viewed on stage.
Born March 7th, 1917, Janet Collins was a successful black woman in dance, becoming the first black prima ballerina to dance at New York’s Metropolitan Opera House as a full-time member of the Metropolitan Opera and an acclaimed dancer on Broadway. Collins captivated any audience she performed in front of, and even in a world of little opportunities for black women in dance, she did not allow her skin color to be a personal barrier in her career. Collins choreographed, performed, and taught dance throughout her career, while also maintaining talents in other art forms such as visual art. In 1921, Collins and her family moved to Los Angeles, California, where she later began her dance training at the age of 10. Her first dance training experience occurred in a Catholic Community center; she then went on to train primarily with Carmelita Maracci, a teacher that accepted black students, Lester Horton, and Adolph Blom. Alongside her dance training, Collins studied art on scholarship at Los Angeles City College and Los Angeles Art Center School.
Collins performed a great number of roles in many shows throughout her career. Collins danced with dancer and choreographer, Katherine Dunham, performing in the Dunham Company production of the 1943 film musical, “Stormy Weather”. She also danced a solo choreographed by Jack Cole in the 1946 film “The Thrill of Brazil”. Her New York debut in 1949, was a self-choreographed piece she performed and the 92nd Street Y. The next year, Collins played the role of Night in the Cole Porter Musical, “Out of This World”, on Broadway. The Metropolitan Opera’s ballet master at the time, Zachary Solov, saw Collins beautiful performance, and later informed general manager Rudolf Bing, of her talents. In 1951, Collins was hired as the first black prima ballerina of the Met. She went on to perform lead roles in productions of ''Aida,'' ''Carmen,'' the Dance of the Hours in ''La Gioconda'' and the Bacchanale in ''Samson and Delilah” (Dunning, 2003). Known as a pioneer for black people, specifically, women, in dance, Janet Collins opened doors and inspired black dancers everywhere.Other women with the same perseverance and determination that Collins had in her career continue to show that black women can also do ballet. Young black girls, including myself, are able to gain inspiration and motivation to become great in any aspect of life, no matter what prejudice or discrimination we might face, because great woman like Collins did the same.
As we approach the one-year anniversary of the public health emergency which shut down ABA, I recall the anxiety of not knowing if this could potentially be the end of ABA. How would we continue? Would the students stay? How long could we pay the rent? Many businesses had adopted a technology called Zoom in order to meet
ask the artistic director
with mme. akhmedova
virtually. So, we immediately pivoted to the only way we could think of to continue training. With the cooperation and dedication of our students, they persevered by training on pieces of marley floor we had left from our new Harlequin studio floors. They set up their camera phones and floor and “barre” in basements, in bedrooms, in front door foyers, wherever an arabesque or an attitude would not hit anything. As I reflect on that time, I am so proud of the dedication of my students. We made it work. We have made it through one year and, I believe, we all are stronger.
Fortunately, being a smaller-individualized school was a huge advantage. When the government allowed businesses to reopen with small groups in large spaces, we had the new large studios. Everyone enthusiastically came back and by faithfully following the health hygiene practices, we resumed ever so critical in-person training – socially distanced. We were open when most others were not. It has been a year of rebuilding, adapting and growing. Auditions have started for this year’s summer intensives and with the confidence that the vaccines will eventually allow us to return to more normal operations, I am excited for the summer and for the year ahead. It also is our one-year anniversary of our digital ballet magazine that is written and edited by our very talented ABA students. The magazine was a product of the shutdown. It is written by the students, initially to share their feelings and experience during the shutdown, but it has matured into a serious production which educates both the student writers and our readers.
Confident in the year ahead, ABA announced a new program, the Akhmedova Ballet Academy Studio Company. It is a new 1–3-year apprentice program that is essential to furthering ABA’s mission. It is for advanced dancers to continue developing their technical ability and artistry before joining or rejoining a professional company. During these difficult times, many dancers have been left without jobs. Until they can transition back into a professional company or get their first job. ABA Studio Company dancers will gain performance experience and receive the personal mentoring to fully develop as artists who can realize their dream as professionals with strength and pride in their ability. Enjoy our Studio Company Trailer above.