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
32
GRADUATION UPDATE
36
LEARNING FROM THE PAST
40
WHATS NEXT?
46
WELCOME TO THE POINTE SHOE CLUB
48
BACKSTAGE BALLET
50
ASK THE ARTISTIC DIRECTOR
52
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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 year 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
Pre-PTP Level
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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.
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 10-12 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
AND
WITH JESSICA
PERFORMANCES
ARTS
BALLET IN CINEMA
Throughout history, film has been developing as technology evolves. Each advancement creates new ways of producing and creating film. From the early years of photographs to silent films, to the introduction of sound and continuing to present day with 3D and advanced cinematography, ballet and dance has played a role in the history and the future of cinema.
In the early years where the was no dialogue, films used dancing as a focal point. During the golden age of cinema when technology advanced to including sound and dialogue, films utilized both song and dance. Here cinema skyrocketed and the industry of films became the main form of entertainment, as well as social media revolving around the very lives of the stars. Actors and actresses that excelled at both song and dance rose quickly to fame and the films reflected the public’s desire to see this genre.
Cinema began to take the ethereal and graceful image of ballet, but instead of focusing on the dancing itself and instead focuses on the grueling behind the scenes. They utilize the extreme conditions that dancers endure in their training and twist it to become horror and psychological thrillers.With its high stakes and genre-driven origins it has carved its own space in the horror niche. Ballet is also frightening not only because of the intense dedication it requires but because of the physical and mental vulnerability that a dancer must express while performing.
As technology became more advanced and the film industry developed increasingly high tech cinematography and special affects led the focus from actual dance and song numbers in the movies, and towards action and adventure oriented films.
HISTORICAL DANCE FILMS
The Red Shoes (1948)-Film classic with dance editing far ahead of its time. Directed by Michael Powell and Emeric Pressburger, starring Moira Shearer. Intricately weaving backstage life with the thrill of performance, this film centers on the dilemma of a young ballerina torn between the composer who loves her, and the impresario determined to fashion her into a great dancer. An American in Paris (1951) - Oscar-winning musical based on George Gershwin’s compositions Starring Gene Kelley and Leslie Caron. Suspiria (1977) - A legendary horror film directed by Italian Dario Argento where a new student at a dance academy/school for girls experiences strange goings on. The Turning Point (1977) - The story of two women whose lives are dedicated to ballet. Deedee left her promising dance career to become a wife and mother and now runs a ballet school in Oklahoma. Emma stayed with a company and became a star though her time is nearly past. Both want what the other has and reflects on missed chances as they are brought together again through Deedee's daughter who joins the company. Starring:Shirley MacLaine, Anne Bancroft, Tom Skerrit, Anthony Zerbe, Leslie Browne, Mikhail Baryshnikov and Alexandra Danilova. White Nights (1985) - movie starring Mikhail Baryshnikov about a Russian dancer who wants to defect. Dancers (1987) - movie starring Mikhail Baryshnikov about a ballet company. Billy Elliot (2000)Set inEnglandduring the 1984-85 miner’s strike, the film is about a working-class boy who discovers his passion for ballet, despite his father's objection and the negative stereotype associated with being a male ballet dancer.
Ballet Shoes (2007) - Three adopted sisters, Pauline, Petrova and Posy Fossil where each has a different talent: acting, machinery and ballet. Center Stage: Turn It Up (2008) - Kate Parker auditions for the American Ballet Academy but she doesn't get a place. She starts work in a trendy hip-hop club and teams up with a former hockey player as she continues to perfect her dance skills. Mao’s Last Dancer (2009) - Based on the autobiography of Chinese dancer Li Cunxin, this movie tells the story of his selection from an impoverished rural village to train at Madame Mao's Beijing Dance Academy. The film then follows Li as he travels to the US and is confronted with cultural differences (East/West; Communist/capitalist) and his desire to be true to his artistic soul. Directed by Bruce Beresford.
Center Stage (2000) - movie about the students of The American Ballet Academy. Save the Last Dance (2001) - movie starring Julia Stiles as a girl who wants to study as a professional dancer. The Company (2003) - An inside look at the world of ballet. With the complete cooperation of the Jeoffrey Ballet of Chicago, Robert Altman follows the stories of the dancers, whose professional and personal lives grow impossibly close, as they cope with the demands of a life in the ballet. Neve Campbell plays a gifted but conflicted company member on the verge of becoming a principal dancer at a fictional Chicago troupe, with Malcolm McDowell playing the company's co-founder and artistic director, considered one of America's most exciting choreographers. Wishing Stairs (2003) - South Korean horror film set in an all-girls art school, in which two of the main characters are competing ballet students. Flying Boys (2004) - South Korean film about a group of high school seniors who are reluctantly pressured into joining a ballet class. Dancing with Time (2007) - Four dancers, nearing their eighties, take up the challenge of Heike Hennig to return to the stage in Leipzig’s opera house.
Tutu Much (2010) - Traces the stories of 9 young girls vying for a place in the prestigious Royal Winnipeg Ballet School. Follows each girl as she participates in a month-long summer intensive that serves as an audition for the school. In the psycho-sexual horror film Black Swan(2010), New York Ballet dancer Nina (Natalie Portman) begins to lose her grip on reality when she is tapped to play the dual-lead role of the white and black swans in the company’s production of Swan Lake. Dance Academy (2010)- Fifteen-year-old Tara Webster has grown up on a farm in country Australia and has dreamt of being a dancer ever since she was a little girl. When she makes it into the National Academy of Dance - the best school in the country - she is sure her life is about to be spectacular. What Tara doesn't realize is how far behind she is in her training, and that there's a whole lot more to surviving the Academy than just dancing...Bunheads (2012) After impulsively marrying a man, a Las Vegas showgirl winds up teaching ballet alongside her new mother-in-law in the small coastal town of Paradise, California.
First Position (2012) - Follow dancers training for the Youth America Grand Prix, one of the world's most prestigious ballet competitions. The stakes are high: their performances will determine the success or failure of the young dancers' dreams. Bolshoi Babylonis a 2015 British documentary film directed by Nick Read. It is about the history of Russia'sBolshoi Theatre, includingPavel Dmitrichenko's 2013 acid attack onSergei Filin. PrimaBallerina- PRIMA BALLERINA is a double portrait of two icons of contemporary Russian ballet. SVETLANA ZAKHAROVA of the Bolshoi Theater in Moscow and ULYANA LOPATKINA from the Mariinsky Theater in Saint Petersburg are perhaps unmatched in today's ballet, and might be ranked amongst the greatest ballerinas of all time. Each have their own unique style and personality, on stage and off, as shown in these breathtaking films. Revealing interviews with Zakharova and Lopatkina, as well as their fellow dancers, coaches and dance critics provide an inside perspective on the motives, the agonies and the joys of a prima ballerina at the top of her game.
With the ability to create films about anything and everything, the development of documentary films created a genre for the behind the scenes of dance and its culture. These films look at major competitions, or scandals in ballet companies and famous dancers.
INTO
THE
VARIATION
WITH ARIEL AND JENNIFER
This year I am doing a variation called “The Fairy of Grace”. This variation is from Sleeping Beauty, which is choreographed by Marius Petipa, and composed by Pytor “Peter” Tchaikovsky. Tchaikovsky is a very talented composer. He composed “Nutcracker”, “Swan Lake”, and a lot more. Sleeping Beauty has a total of 3 acts. It is based on a newborn daughter who is cursed by a powerful yet evil fairy. The evil fairy is named Carabosse. She curses the newborn daughter, Aurora, to grow up to be the most beautiful and gorgeous of princesses, but on her sixteenth birthday she will prick her finger on a spindle and die. However, the Lilac Fairy changes the curse. Princess Aurora will prick her finger on a spindle, but she will not die. Instead, she will fall into a deep sleep for 100 hundred years until a prince finds her and bestow his love for her.
My variation is very challenging. I must make sure that the arms are soft and elegant while the feet are neat and precise. Because my music is dreamy-like, I need to make sure that my dancing matches with it. There cannot be any noise while lowering down from demi-pointe. I need to lift up and slowly roll down from demi-pointe. Some of my corrections are to turn out both of my legs, balance, and not sickle on demi-pointe. There are moments in my dance when I need to flow with the music. By that, I mean I need to match the music with my dancing. I can’t be stiff because it doesn’t match the music. A lot of work is required in my variation.
My new variation is from the Ballet Coppelia, choreographed by Arthur St. Leon. My new variation is when Swanhilda is pretending to be Coppelia to trick Dr. Coppelius into thinking he made a doll come to life. For this variation I am wearing a pink leotard, pant-a-loons, a small tutu, and a big bow in my hair! For the variation I have to act like a doll with my movements being stiff and mechanical, and I have to keep my facial expression fixed as a doll would. I will be performing my new piece at the upcoming competitions, which I am very excited for!
TECHNIQUE
BALLET
INSIDE
While ballet is a beautiful art form on the outside, there is so much hard work that goes on behind the scenes. Many outsiders who do not experience this kind of work, such as rehearsals and class, may have some misconceptions about ballet and how dancers train. One of the most common misconceptions is that ballerinas barely eat. This is untrue as it is important for dancers to fuel their bodies with the right kinds of foods. As a dancer, there is lots of physical work which must be done, so before rehearsals and performances, dancers must eat a good amount of protein, fruits and vegetables. This will provide long lasting energy for dancers to make it through a long day of work.
WITH JOJO AND TESS
Since ballet originated in the 17th century, people think we dance the same way that people back then did. This is not true because ballet has evolved over time. For example, the structure and style of pointe shoes have changed, allowing dancers to create better lines and more intricate footwork. Secondly, ballet technique has made its way into more contemporary styles. So, while dancers still have ballet classes, they also need to use ballet technique in contemporary and neo- classical works as well. Us as dancers understand where these myths and misconceptions come from, however, it is important to educate others on how the art form really works. It is important to understand these misconceptions are false, as it will allow you to better appreciate the art form.
Another common misconception about ballet is that it is effortless. With all of the beautiful costumes and elegant dancing seen on stage, It could seem as if ballet is glamorous and easy. While a dancer should try to make ballet look as effortless as possible, this is not what happens when preparing for a performance. Rehearsal is the opposite of glamorous though, it takes long hours of hard work and sweat to correct small details which make ballet look effortless. Additionally, people think that ballet is a feminine art form. This, however, is a myth because there are so many famous ballets with masculine roles. These ballets couldn’t be made possible without the male roles. Without men, pas de duex would not exist, which would inhibit the story lines of ballets.
CONGRATULATIONS SASHA GUTMAN
UPDATE
GRADUATE
ABA is excited to share very exciting news about our upcoming graduate Sasha Gutman who will be joining Confluence Ballet Company in September. She will move to Pittsburgh after graduating from ABA this year. ABA is very proud of her and will be following her successes in the future.
From our last competition, I have gained many valuable takeaways that will allow me to be more successful in future competitions and endeavors in general. Trying to remain calm and self-assured before going onstage, as well as eating a good breakfast and making sure I warmed up properly, proved to be very beneficial towards my performance. The mindset that I kept when competing at YAGP was one of confidence and positivity and that ended up making a huge impact on how I danced, how I felt after my performance, and how I felt about the competition experience in general. Going into the next competition, I want to remember all of these practices that allowed me to have a good experience at YAGP.
WITH ISABELLE AND MAGGIE
PAST
FROM
LEARNING
One thing I would like to improve on is the amount of sleep that I get before the day of competition. I was only able to sleep a couple hours prior to performing because of how nervous I was, and had to rely on caffeine and adrenaline to get me through my dances. Though I didn’t notice any major differences in how I danced, it would be very beneficial to get a good night’s sleep. Hopefully, now that I’ve already competed once, I will be less nervous the night before and will be able to rest properly. I am optimistic about the next competition and anticipate it being even better than our first one! -Isabelle
I also did not properly prepare myself for the different flooring of the stage. It was much more slippery than I was used to and I did not take enough caution whilst performing and that caused my dancing to slow down to prevent myself from slipping. This lead me to get behind on the music briefly which impacted my performance. Next time, I plan on properly feeling out the stage and use less force if the floor is more slippery than I plan. Overall, I am glad to have more opportunities to compete and apply corrections and more preparation. Mostly, I will be focusing on improving my spacing, and force in my performance. I am excited to see how ABA will shape me as a dancer over the next few years and cannot wait for future competitions and performances. -Maggie
This year I was able to attend YAGP 2021 for the first time in three years. Not only was it the first time I participated in competing group dances but it was also my first time performing three solos at one time. It was an overall fun and interesting experience that I am grateful to have been a part of with such amazing teachers and classmates. Although I am happy with how my dancing turned out, I know I can learn from this performance and go to the next competitions with more knowledge. At the competition, during open stage, it is crucial to mark the correct spacing no matter how many people are on stage. Merely practicing in studio will not always guarantee perfect spacing because on stage there are obviously not mirrors. At the first competition, I focused more on the turns and choreography and did not put enough time into spacing. This was made clear throughout my dances and I plan to apply more time into spacing out my dances in the next competitions.
Throughout the next few weeks, ABA will attend three different competitions, including the Washington D.C. Grand Prix (DCGP), Youth America Grand Prix (YAGP) Finals, and National Ballet Competition. The Washington D.C. Grand Prix will be held in the Jim Rouse Theater, right here in Columbia, Maryland. This year will be our first year attending this competition, and our studio will bring 16 competitors. The pieces we bring will include classical and contemporary solos, a duet, two trios, and two large ensembles, one contemporary and one character. A little different from the past competitions we’ve been to, this competition will have the dancers compete school by school. A week after the DCGP, we will participate in YAGP finals. Instead of happening in New York this year, this competition will be located in Tampa, Florida. We will bring 14 students to this competition, the majority of us competing in the ensemble category and also a soloist. The final competition we will go to is National Ballet Competition in Wilmington, Delaware, and this will be ABA’s third year! The stage we will be performing on is in the Grand Opera House. Like it says on the NBC website, this competition will also group the competitors by their school, instead of their age, but the awards will still be categorized by age. This time, we will have 13 students compete. Most of us have variations to perform, as well as two group dances and a trio. All three competitions will have master classes to go along with the competition. YAGP has some master classes for the dancers to warm up, while others are for scholarships. NBC is similar since it also includes scholarships after the teachers watch the students, but in this competition, it is required. For award ceremonies, DCGP will be in person and the other two competitions will be virtual. Overall, I am very excited to compete in all three of these competitions with my friends on actual stages, especially since the pandemic made that exceptionally hard for us.
WITH LUCY
Congratulations to Jennifer, Ariel, Anna, Ariel and Maddy on receiving your first pointe shoes.
I appreciate lessons learned from my teachers after many years of training right through the end of my career. I sometimes did not see the value of my teachers’ corrections, insistent repetition, and relentless dedication to perfection. I owe my long career and successes to all my teachers who guided my passion for ballet to true artistry. Loyalty means staying with your school and your teacher who cares about you. Progress does not come over night. Your teacher pushes you because she cares and wants you to progress. Trust in the process of training. Your teacher has a plan for you that comes from experience. Respect for the art form is paramount and a vital part of dance. Respect for the art form is reverence for teachers, directors, colleagues, audiences, parents, yourself and the tradition that is ballet. Ballet is more than technique. It is respect. It is passion. It is love. And, technique! Mme. Akhmedova
ask the artistic director
with mme. akhmedova
Part of a 3-century tradition for dancers is loyalty to their school, trust in their teachers and respect for their peers. Dancers need to be dedicated, consistent in their training, self-aware while working hard, kind and supportive to their fellow colleagues.