CCDC News Archives - 2007

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12.30.2007: Rockettes and Roll!

The production elements are cutting-edge! There were enough smart lights, strobes, glittering snowfalls, elaborate costumes and drops to choke two camels, a few sheep and a donkey. And, that was a veritable menagerie of animals trotted out during the final Living Nativity Scene. So many, in fact, that some of the adoring sheperds on stage may have had to double as sheep herders backstage!

And, Scott Willis brings a larger-than-life ebullient personality to his portrayal of Santa Claus. He's quick with a wink and has an adequate singing voice. And, who knew Santa was such a decent dancer? Maybe that's why he lacks a belly that shakes like a "bowl full of jelly". Willis even threw in some references to city landmarks that brought smiles of recognition around me. But, I would've been even more impressed if he had used some local colloquial mispronunciations like: Tama, Buena Vista or Nevada!

Beth B. Austin looked like she stepped out of a Norman Rockwell painting or Currier&Ives print of a traditional 1950's Mrs. Claus. My two favorite supporting dancers (besides Bob the elf!) were the two Clausettes in the Everybody's Waiting For The Man With The Bag number. Alanna Martinez and Allison Stodola made the most of some old school, what we used to call Liza Minelli style jazz dance backing up Mrs. Claus.

Local dance student Jacqueline LeWarne also made the most of her turn in the spotlight early Saturday evening as the Young Girl/Clara planted in the audience. She's got a great smile and lovely stage presence. But, since this is a dance blog with ballet emphasis and I am a nitpicky Scrooge-like Grinch, she just needs to work more on turning out those saute' arabesques and not jumping her echappe's sur la pointe. The larger-than-life stuffed bears and pandas dancing around LeWarne in the tribute to the Nutcracker are too cute for words. Must be tough dancing en pointe while someone's shining blinding lights in your eyes and you're fighting a big padded panda costume!

And, speaking of Grinch-like Scrooges, I've mentioned before how much I dislike prerecorded tap sounds during hoofing sequences. To me, it's cheating. It's like lip-synching during a Super-Bowl half-time show. Or, using steroids to extend a major league pitching career. Or, using human growth hormone to break a hallowed home-run stat. Just cause everyone's doing it doesn't make it right, Mr. Clemens!

I did not see a single misstep or faux pas during the entire dozen dance scenes. Admittedly the Rockettes didn't always completely execute the tougher tap steps: the single or double-wings, for example, but, at least they attempted them at the right times. I hold professional dancers to a higher standard when I review them and, except for the wings, the Rockettes held up their end of the bargain.

The Rockettes are world-renown for their particular style of Broadway Jazz dance and precision execution of high kick-lines. The local audience would almost always start to applaud whenever a kick-line would begin. And, the Rockettes served up a cavalcade of them: sitting, standing, sequential and even in circles. Now, some jaded, nitpicky dance critics may argue the Christmas Spectacular choreography seems a little less spectacular and showing its age after up to 75-years, but, most will agree the traditional dances should be preserved for a new generation of kids and families to enjoy.

12.20.2007: Bad Santa

12.18.2007: iPod uPdate

But, since this is a ballet blog, I'll skip over most of the podcasts and videoblogs I download on a daily basis. (Who has time to listen to so much product anymore?) I'll mention a few of the dance-oriented downloads available from iTunes: theWinger.Com, SFB and PNB. It's a chance to access dance offerings from around the country. And, because my iTouch has WiFi capability and a button for YouTube, I can search for and access new viral ballet video at my neighborhood Panera or hot-spot coffee shop.

But, here's the other exciting thing: making all the ballet class music available without having to waste valuable class time switching the record, the 8-track, the cassette or CD. I can plan a class while listening to my MP3 player in the office or (safely) car and, then, I can patch that music directly into the studio amplifier during class. (Couldn't resist and bought the necessary cords without waiting for Santa!) I'm planning to create a playlist with all the class music from all the CCDC CDs. That means I won't be confined to one recording while planning or giving class. I can't adjust the pitch like I can with CDs, but, I should have access to enough different pieces to make up for that lack.

The other thing I appreciate is the ability to purchase and download new class music at light speed. I searched for "ballet" in the iTunes store and a number of ballet class albums came up. That includes the talented Lisa Harris catalogue. And, the cost is at a significant savings over other media with no shipping costs! There was a problem with the download on two of the three albums I bought, but, the program kept at it until all the tunes showed up a few days later. You can also burn these to CD for use in a variable pitch player for even more options!

And, here's another technological postscript, I was just tossed a digital video camera at work the other day. It connects directly to my computer via a USB port. That means I can use it to record and upload content to the website eventually. Hmm...the possiblities are mind-boggling!o) New ballet classes or Pas de Deux basics on your iPod NE1?

12.15.2007: Patz O' De Back

12.13.2007: Dance Disorders

But, experts also report a rash of other dance disorders persisting despite the best efforts of good instructors. In an effort to inoculate the dance community from the spread of further deficiencies, Capital City Dance Center and the Federal Bureau of Ballet Standards today released the following list:

Mirror-itis:

Over fixation on staring at self in the mirror. Often causes loss of proper tilts and turns of the head.

Toes-acea:

Chronic inability to completely point the pedal extremities. Can lead to terminal arch-nophobia, improper use or lack of use of the entire foot and ankle.

Chicken Pox or, more fully, Chicken Wing Pox:

Dropped elbows and fingers causes sufferers to look like they're extending sad, plucked little 'chicken wings' to the side.

Epaule' Virus:

Inability to spiral body gracefully to address the shoulders with an uplifted chin and focus. Shoulder blades need to remain engaged and under.

Chronic Cranial Absencia or Sporadic Space Case-dness:

Lack of concentration or attention when teacher is giving combination or corrections. Leads to lack of retention. Sometimes known as "In One Ear And Out The Other" Syndrome.

Posterior Protrusion usually accompanied by Abdominal Obtrusion:

Often caused by improper pelvic placement. Symptoms are self-explanatory...and will only get bigger.

Turner-culosis:

Inexplicable disappearing act during pirouettes. Instead of lifting more by pushing into the floor and speeding up the turns by getting taller and tighter, sufferers just waste away during the end of turns.

Selective Hearing:

Similar to Chronic Cranial Absencia. When students stop listening after only hearing part of a correction or compliment. Often leads to misunderstandings.

Floor-us Fixation:

An unexplained fascination with looking down at one's feet. Occasionally accompanied by hiccups.

Fellow Fever or Fellow Spotted Fever:

Reduces many otherwise serious dancers to giggling messes and flirtatious behavior when new, hot guy takes class. (Even not-hot-guys! And, if this isn't incentive for you boyz 2 men to volunteer for partnering class, I don't know how to spell it out plainer!) But, girls, if it's not Channing Tatum, Bloom or Depp, bat your eyelashes on your own time!o)

12.12.2007: The Return Of The Prodigals

"Many students experience intense feelings during the winter break between semesters," says Thomas Brounk.

"It is a time of the year that tends to stimulate feelings associated with past memories and expectations. Many students will return to their families after having been away from home for several months, and many will celebrate holidays."

However, says Brounk, a specialist in student anxiety management and group therapy, it can take some time for family members and students to get used to living under the same roof.

The break is also a time for students' feelings to surface associated with being — or not being — with family. The extremes often associated with the season, including food, drink, feelings, expectations and memories, can create an atmosphere for stress.

Brounk says some common stressors for students include:

• Lack of money to buy gifts


• Not feeling as "jolly" as the media tells and shows them they ought to feel


• Experiencing the holidays differently as they grow older


• Having to deal with "family dynamics" when they return home


• Overindulgence in food and alcohol


• Feeling rushed to get everything done (shopping, studying for finals, baking, etc.)


• Feelings about friends and family not present during celebrations


• Fear of not celebrating winter break the way they would like to

While stress can often not be eliminated, Brounk offers the following tips to students to help manage it:

Know what fills you

What kind of contact will be fulfilling for you? What kind of gift exchange will be meaningful to you? What do you need to help yourself feel refreshed? If you know clearly what you want, it is easier to choose activities that are likely to satisfy you.

Ask for what you want

Don't hint. Don't wait for someone to read your mind. Don't expect others to guess what will satisfy you. Speak up. If you're lonely, ask someone to share your celebration—or ask to share in someone else's. If you like surprises, let people know. If you need time alone in the midst of togetherness, say so. If you can't get what you want, try to want what you get. It's much more satisfying than wishing for the impossible.

Give yourself permission to feel as you do

Listen to yourself. Feel what you feel, not what you "think you're supposed to feel," or "wish you felt." When you feel down, allow yourself to feel down. It won't last forever. When you feel excited, go ahead and enjoy it. Manipulating your feelings, or acting contrary to them, will distance you from yourself.

Select patterns with care

Remember your past, and bring it into the present. Your "treasure box of memories" will contain pain as well as warmth and joy, but it offers you a personalized source of depth and richness. Repeat a tradition you've always kept. Ask others about their rituals, pick one that's new for you, and try it as well.

Set Priorities

List all the things you want to accomplish before/during the holidays. Cross out unnecessary activities. Do unpleasant tasks as quickly and painlessly as possible, and then reward yourself! The best way to assure that you feel rushed is to procrastinate and get everything done (gift buying, telephone calls, cards, making plans) the day before the holiday. The more stressed and rushed you feel, the more likely it is that you will have a hard time getting into the spirit of the occasion. Keep for yourself the activities you enjoy, even if they aren't essential or could be done by others. You need them.

Turn obligations into energizers

Even exciting tasks, repeated year after year, can turn into obligations. Update the tasks in a creative way so they provide new energy. If your holiday card list conjures up an image of drudgery, write a compliment to a friend rather than a history of the past year. Surprise selected people on your list with a brief long distance phone call. Pack up your cards and do the job at the library or a favorite restaurant. Any new approach can energize you.

Make positive contact with others

At a party, make sure you have a good conversation with several people. If parties aren't your thing, make contact in some other situation (at church? at the Laundromat? with a classmate? on the bus? with a neglected friend or neighbor?). If your friend or family list is disturbingly short, look around for others in the same situation. Someone in your community could benefit from your caring. Try to reach out and touch someone at a crisis shelter, local hospital, a halfway house, or nursing home — for both of your sakes.

12.7.2007: From The eMail Bag

"...I just wanted to take a minute to let you know how much (my daughter) and I both enjoyed the Civic Center’s production (of Nutcracker) this year. Not only was it more convenient (drive time), but (she) really was able to connect with more gals from (her school) who dance at other studios. She did not have a clue about how many of her other classmates at school danced. I think that is great!

Your skills as a teacher really showed thru on the gals that you helped to clean. All of your students did a very fine job up on stage. They have a lot of skill and confidence compared to the others!"

12.5.2007: The Evidence Is In!

These findings reveal that sixth graders with shorter nightly sleep durations were more likely to be overweight. And third-grade students who got fewer hours of sleep, regardless of their body mass index, or BMI, were more likely to become overweight in sixth grade. Results from this study appear in the November issue of the journal Pediatrics.

Foot problems are common in women, particularly with advancing age. Years of frequent high-heel wear can permanently damage tendons in the heel. Shoes that fit too tightly can cause problems. Here are common concerns about feet and what might help:

Blisters:

They are caused by the friction of shoes over the skin. Blisters shouldn’t be popped. Instead, applying moleskin or a bandage helps. A blister that breaks should be washed, treated with antiseptic ointment and covered with a bandage.

Bunions:

These are misaligned big toe joints where the big toe slants toward the second toe. They can become swollen and tender, especially if aggravated by tight shoes. Wearing wider shoes, as well as using cushioning pads or shoe inserts, may help. In severe cases, surgery may be needed.

Corns and calluses:

These thick, hardened layers of skin develop where the shoe frequently rubs the foot. Moleskin or padding may help relieve discomfort. Corns and calluses should never be cut at home. Instead, seeing a podiatrist is advised.

Hammertoe:

A toe, often the second, bends like a claw. Hammertoe usually results from a muscle imbalance, but it can be worsened by ill-fitting shoes or hosiery that’s too tight. Wide shoes can help. Occasionally, surgery may be needed to realign the toes.

Heel pain:

The cause is stretching or tearing of the band of tissue that runs along the bottom of the foot (plantar fascia). Pain can worsen with lack of proper arch and heel support. Ice massage, gentle stretching of the arches, and arch-support inserts can help relieve tension. Splinting or physical therapy could be recommended, too.

Ingrown toenails:

Often improper clipping causes toenails to grow into the skin. Nails should always be clipped straight across. A doctor can remove ingrown nails that are painful or infected.

Joint pain in the ball of the foot:

Called metatarsalgia, this condition is commonly caused by wearing high heels. Pain can be relieved by applying ice to the foot and avoiding further stress. Shoe inserts, such as metatarsal pads, shock-absorbing insoles and arch supports, may help.

Pump bump:

This is the common term for a bony enlargement on the back of the heel. Shoes with rigid backs or straps can aggravate the bump. Pain can be eased by avoiding shoes that aggravate the condition or using a pad to cushion the heel.

Tight heel cords (Achilles tendinitis):

High heels are the culprit again. By elevating the heel, high heels prevent the Achilles tendon -- which connects the calf muscle to the heel bone -- from fully stretching. The result can be tightening and shortening of the tendon, causing discomfort. Rest and the application of ice can ease acute pain. Stretching exercises and orthotic devices may relieve discomfort over the long term.

A combination of factors keeps the kneecap, called the patella, in its appropriate place. When it’s out of alignment, the patella and femur, the large thigh bone, become stressed. That stress can cause pain with activity. Factors that can contribute to misalignment include flat feet, weak hip muscles, which cause the femur to move out of its precise alignment under the patella, leg length differences, tight muscles on the front and back of the upper leg, weak quadriceps or tight tendons. Effective treatment usually involves identifying and addressing the cause and modifying activities accordingly. Applying ice to the knee for 15 to 20 minutes several times a day can help, as well as taking acetaminophen (Tylenol, others) as directed.

One leading reason people take vitamin supplements is to protect against cancer. But sadly, this strategy has been a flop. While studies continue on whether vitamin E and selenium can help reduce prostate cancer risk, data already show that beta carotene actually boosts the risk of lung cancer in smokers. And zinc, as well as high doses of folic acid, may also do more harm than good for men seeking to ward off prostate cancer. The bottom line: Supplements do not reduce cancer risk.

In addition, vitamins are not recommended for heart disease prevention. Trials of B vitamins have failed to demonstrate protection against heart disease. But people who eat fish twice a week enjoy a reduced risk of heart attack and sudden cardiac death. Leafy, green vegetables and whole grains also help protect against heart disease.

If supplements can't protect you against cancer or heart disease, what can? Current evidence suggests that exercise may be a crucial weapon in reducing the risk of some cancers. Studies show that active people are less likely to develop colon cancer than sedentary individuals, and that women who exercise can reduce their breast cancer risk. Exercise’s effect on prostate cancer, however, is less clear; studies have produced varying results. Evidence is also incomplete for lung and pancreatic cancers. But when it comes to reducing the risk of heart disease, regular exercise is associated with a sharp reduction in heart attacks and cardiac deaths.

Researchers found that adults over age 60 who died were older, had lower fitness levels, were fatter and had more cardiovascular risk factors than survivors.

The study, conducted between 1979 and 2001, is the first to examine the link among fitness, body fat and death in older Americans. “Fitness level is a strong predictor for risk of dying in older adults,” said Dr. Steven N. Blair.

Fit men and women who were overweight or obese had a lower risk for death than did those who were of normal weight but had low fitness levels, he said.

The least fit 20 percent of the 2,603 people in the study had a death rate four times higher than the 20 percent who were the fittest. In fact, the least fit 20 percent were twice as likely to die as the next 20 percent in the fitness distribution.

The study is important because America’s aging population, obesity and physical inactivity are significant public-health challenges, Blair said.

“By 2030, approximately 70 million people will be older than 65,” Blair said. “Already we know that nearly one-third of Americans are obese, and the majority of adults do not get enough physical activity.”

The review shows gains in balancing ability across different groups of adults who participated in a variety of exercises including walking, strength and balance training, dancing and tai chi. “Our message is that some form of exercise will improve balance and it’s never too late to exercise. Specifically, exercise that challenges your balance is best,” said lead review author Tracey Howe.

12.3.2007: Ballet Connisseur Reax

"...I read the little 13-year-old's review of the Moscow Ballet's Nut. I could understand why she said what she did. But I'm also sympathetic to a few things too. What made it the most mediocre were the local dancers (I think they were from a Perry dance studio (maybe I'm not sure)). The local dancers were pretty sad! Some of the older pre-teens were kind of like my 4-year-olds that I teach who have so much potential. So I have to say that made me sad. I can see why Moscow Ballet involves local dancers. Otherwise, they would run the risk of having nobody in their audience.

Their corps was better than mediocre. Definitely uneventful - but we all know how hard it is to get a corps de ballet to all be together with heads, legs, and arms all going the same way with floor patterns precise and accurate. CCDC corps could have done as nice of a job, but how fortunate they were to have as many males as females dancing in their corps! So that was refreshing to see when you're starved for ballet...

I really thought their soloists did a very nice job. The local dancers often detracted from the soloists. They would put the local children out in front of the professional soloists. I learned to block the little local chilren out of my brain so that I could appreciate the soloists. The Arabian dancer was quite lovely. She really felt the music (in addition to being amazingly flexible)...

...Obviously, this is only a city civic dance company. It's not a national ballet company like Kirov, Bolshoi, Paris Opera, Royal Ballet, English Festival, NYCB, or ABT (etc.). It's a city ballet company from Russia. But it seems to be all we have tromping through our neck of the woods. ..."

12.1.2007: Indy Champ Wins!

11.29.2007: eFAQ Addendum

"...I know that...they aren't supposed to wear skirts...(But)...My question (for my young daughter) is, do they normally not wear underwear under their leotards? I just noticed that her underwear is sticking out on all sides and looks kind of tacky, but I didn't quite know how you guys managed that.

Sorry for the silliness...you can tell I never danced...:)"

Here's the answer from Capital City Dance Center Artistic Director Melissa U:

"...Not a silly question at all...most people don't realize or know this.

No underwear, her tights are her underwear when wearing a leotard. ..."

11.27.2007: Kick-Line Conundrum

"...I’m dancing with the Rockettes this Friday AM at 6:15 on CH 13.

Could I get a quick training session sometime this week during work hours?

I must redeem myself!..."

"...B-Rad, you don’t need my help! You’ll be fabulous! I’m sure job offers will be coming your way from Rockettes after they see you cut the rug!

But, if I were you, I’d be working on strengthening my core this week.
Be sure to wear shoes that won’t slip or stick too much on whatever surface you’ll be dancing on.
I’d wear a jock and loose enough pants that won’t split on high kicks.
Stretch as much as possible after warming up every day this week.

You’ll be great! Looking forward to watch your successful return to dance on YouTube.Com after you’re done!..."

"...Hahaha I forgot about youtube! Ok bud… Sticky shoes and stretching!..."

"...Don’t forget! Core strengthening! Aerobic conditioning! Not *TOO* sticky shoes! That makes it hard to dance, too. Are you going to be on slick concrete?..."

"...I’ll probably be on the concrete studio floor..."

"...You might want to test out which shoes are best on that surface. Relax, Frankie Goes 2 Hollywood! You’ll be great! Take a deep breath and enjoy being in the company of some very pretty professional dancers!..."

11.26.2007: Archival Copy

I was in Milwaukee for business this past weekend...and, as usual, I was looking for a ballet class to take in my spare time. Unfortunately, the Milwaukee Ballet was done for the season and the school was in hiatus before summer classes resumed. But, I soon discovered there's more ballet in the Brew City than just one company. I called around and arranged to take classes at Danceworks on Thursday night and Ballet Wisconsin on Friday morning.

So, I'm at the new Danceworks studio in the Northern Lights building getting ready to take class when who should rush in late but an AAB regular? I didn't know it then but...the other guy in class turned out to be "Pumukau". (And, before all you women e-mail me for a description: He's about 6'5" and a macho mass of rippling muscle and flawless ballet technique. He looks a lot like Fabio before his close encounter with that flying drama critic.)

We started talking after class and I asked him when how he started dancing. His story sounded familiar and I figured out I'd read it before on an AAB thread. One thing lead to another and he finally confessed to being the infamous "Pumukau"! And, here I thought, he was just an urban legend! Reminds me of the time I met Baryshnikov at Stanley Holden's...but, that's another story.

I encourage everyone to take classes in whatever city or town or hamlet they find themselves in. You never know when you might stumble across one of these humble "Guys of Truth"!

The class itself was fine. I found myself nodding along in agreement with a lot of the corrections the teacher was giving: lengthening from a strong center. But, because it was an intermediate level class, I had to speed up some of the combinations...half-time pique turns are just too cumbersome after the first half of a diagonal.

Class was 8:00-9:30pm, Thursday night. I rarely find classes that late unless I'm in a much bigger metropolitan area. I may have to rearrange all my preconceived notions of Wisconsin and Milwaukee after all.

Second class review to follow.

---

One thing I learned doing stand-up...timing is everything. And this past weekend was apparently not the time to be looking for a ballet class in the Albany area. I was told by one of the guys I work with that it was graduation weekend in upstate New York. So, even the traveling circus I was a part of had sparse attendance at the Pepsi Arena (formerly Knickerbocker Arena) Saturday night.

Not that I didn't try...Even I'd heard of the Albany Berkshire Ballet...but, they weren't in session. Neither was the Albany Institute of Dance. No ballet classes at the Eba Dance Company or Cupertino's classes at the Egg. Despite a tip from the internet, the Hallenbeck Studios was only open Monday through Thursday. State University of New York at Albany had zero dance classes for the summer. The Albany Area Chamber of Commerce wasn't able to help me either. Ended up giving myself barre at the hotel...bleach! socks on carpet!

I've been to Albany three times over the past five summers...I have yet to get a class there yet. Same situation in Memphis...but, the franchise there has moved to Portland. Still haven't gotten a class in either city.

Well, only one scheduled road trip left for the regular season. To the Meadowlands in New Jersey. Last time I was there, I visited New York City for the first time in my life and took class at Steps. Does anyone have any suggestions on a good class in the City...or should I stick to Steps?

---

There should be a law against dancing on concrete. It should be treated like suicide. If you survive, you're charged with hard "substance abuse" and get put away until you promise to behave. So, I have no excuse for what happened after I discreetly pried up an edge of the marley at Ballet Wisconsin in Milwaukee and saw nothing between marley and cement but a quarter inch of foam padding. I should've gotten my money back and walked out right there...but, I'd traveled from my hotel and searched out this studio, walked around for an hour to kill time until the building opened up...I needed a class. I told myself I'd just do barre and no jumps.

Silly, silly me! ...that's like an alcoholic saying I'll just wet my lips...Donald Trump saying I'll just marry this one blonde...Dennis Rodman saying, OK, maybe one tattoo...President Clinton saying just this one... Well...you get the picture.

So, I ended up taking class. The barre was tricky, lots of changing legs. I didn't mind---It wasn't a professional class, it was a school class. Four female students, most with good proportions. Two(!) other guys there. One, a tall, well-formed professional...practicing entrelaces with battu and double tour to arabesque. (He kept drifting in and out of class which I thought was distracting and insulting to the teacher. But, she just ignored it.) The other guy was just beyond beginning---couldn't quite get all the combination if he was in front, but could follow fine.

But, the concrete started taking its toll. One of the girls sat down after barre and started icing an injury. I'm sure the hard surface didn't help. I kept going until the second small jump combination. Then, I apologized, limped to the side of the room and sat down and watched the rest of class. I couldn't help but wince at the grand allegro:

Echappe' to seconde, sissone to arabesque, saute' faille' to fouette' arabesque, saute' faille' to fouette' arabesque, releve'. Faille' through chasse' to jete' a la bournonville twice. Contre temps to tombe', pas de bourre', saut de chat...or in the case of the boys...double tour en l'air.

I'm glad I stopped. I should have stopped sooner. The only bad injury I had during my performing career was tendonitis and strain brought on by a season on a hard floor in a new studio. And that was marley over wood over concrete...not marley over concrete. I can't believe that a professional company would allow its dancers to rehearse and perform (the studio was also a performance space) on such an unforgiving surface. In their defense, I was told the company was moving to another studio at the end of the summer. God bless 'em...I hope the dancers survive 'til then.

I limped back to my hotel room and spent the rest of the afternoon icing my feet and knees. I took the next day off from dancing...but I could still feel it in my body in class the day after that. There oughta be a law...

---

Disclaimer: this review is being posted in response to an offer for a complimentary copy of the c-d.

Roger Hewett tries to be all things to all dancers in his "ballet Elite" class c-d...and, for the most part, he succeeds. There are two bands and tempi for plies. (Both 3/4 time, which I prefer!) Four for tendu/degages...three for batterie/frappes, etc. If you don't have pitch control on your c-d player (which he recommends in his liner notes) or access to a small library of c-d's, "ballet Elite" is the next best thing to having live accompaniment. If you're a teacher who's trying to achieve a specific result with a specific exercise at the barre, it can be very frustrating to be fighting a fixed tempo. "ballet Elite" gives you the luxury of different cuts for the same exercise.

The orchestration can take a little getting used to...one of the dancers I gave class to mentioned it sounded "Disney-esque...but, not in a bad way". I'm sure the arrangements could help develop musical appreciation in students. At worst, the orchestration can be a little distracting. At best, the arrangements will encourage a little more artistic flair and interpretation during class.

Be aware there are a lot of cuts on this c-d (37) and none of them repeat, even the barre exercises. If you don't have a remote on your player, you might want to get one. What's exciting for me is the extra cuts at the end of a complete class...music for "variations". Not just classical variations either, but original compositions patterned after well-known composers. It's an opportunity to put your own stamp on steps for a variations or pas de deux class.

What can I quibble about? Well, I don't like the cover art very much. A photo or better sketch of a dancer could be much more aesthetic. And there's a lot of information about the c-d in the accompanying literature. I just wish that was included in the liner notes so I wouldn't have to keep referring to extra papers cluttering up my dance bag. And, I'm a slow-turner so no one ever plays a big-enough and slow-enough waltz for balancing pirouettes for my taste. Quicker turns can be murder when I'm concentrating on my own or my students' placement.

Still, the experience Hewett has gained by actually playing for ballet classes for over twenty years shines through his arrangements. Very dancer-friendly, very teacher-friendly. When you work with a Lynn Stanford class C-D, for example, you know that he paid his dues. The best way to learn how to play for class is to play for class...day after day after day. Roger Hewett has paid his dues as well, and teachers and dancers everywhere can reap the benefits on his "ballet Elite" class c-d.

Visit "www3.symaptico.ca/roger.hewett" or E-mail me with any questions.

11.20.2007: From Russia, With Indifference...again!

11.16.2007: Common Question

"...Just a quick question.....I have been watching the website and perhaps I have missed it, but I am wondering about ballet over the Thanksgiving break. If there are going to be classes, will they be posted on the website?..."

"...Haven't gotten my official work schedule over Thnksgvng, so I can't set break classes yet. But, it will show up on the website asap..."

11.15.2007: Not So Nutty

11.14.2007: Corrections=Compliments!

She said it with a smile, but, it was obvious the relatively new student didn't understand that in dance classes---and, especially, ballet classes---corrections are a good thing. Corrections are compliments to ballet dancers. It means the teacher/choreographer/director/person-who-signs-paychecks-and-hires-and-fires-dancers is paying attention to you and thinks you are capable of doing better. Woe to the dancer who gets no corrections...or the same corrections all the time! (Sound familiar, NE1?) And, one usually leads to the other. Either you're perfect (HIGHLY unlikely--- ask me about the time I saw Misha, himself, getting corrected in Stanley Holden's classes!) or the teacher has given up on you. Temporarily or permanently. So, corrections are a good thing and it was up to me to use this "teachable moment" to communicate that to a few dancers.

"Why do I pick on you?" I asked as I shot my eyebrows skyward. (Ever the performer!) "I pick on you because you...and you!" (I pointed to another student "cursed by fabulous potential" nearby) "...could become one of the best, if not THE best dancer to ever come out of CCDC, out of this city, out of this state! But, it's not going to happen unless I keep pushing you and you keep working harder than you've ever worked before. Every. Day."

I looked intently at both of them without smiling to prove I wasn't kidding around. (Eyebrows in neutral.) I think they were briefly considering the heady possibility of being "the best" to ever come out of the state, out of the region. That sobered them up considerably. When you're that age you never consider the possibility of being the absolute best at anything. Shawn Johnson's of the world are rare, few and far between. My two dancers were both extraordinarily gifted, but, had no clue what to do with their instruments. It was as if I were a violin teacher condemned to play on a cigar box fiddle all my career and was watching students fooling around with rare Stradivarius Violins. If I had had such a similar instrument, I'd have been able to ascend out of the minor leagues of dance. I coulda been a contender! But, what is is what is.

"To whom much is given, much is expected, Spiderman!" I said with just the hint of a smile. (Eyebrows dancing lightly) That quote far preceded the Toby Spiderman Maguire movies, but, this generation is more familiar with recent offerings. "Cursed with great potential" is what I call it: good teachers will not let someone with such potential just skate by.

"...And, that's why I pick on you," I concluded. "You should start worrying if I ever STOP correcting you. Now, do it again WITH the corrections please..."

So, Grasshopper, take all your classes, and more, if you can. Work hard. Apply your corrections, more than you think. Until the teacher says "OK, a little less now!" ('Cuz that NEVER happens!) And, "steal" everyone else's corrections as well. Time is short and the water's rising. Just ask the upperclassmen at CCDC working currently to correct things they thought they had all the time in the world to correct. Time is short and the water's rising and miles to go before we sleep. So, do it again and, this time, with EVERYONE'S corrections...

11.13.2007: iCrazy4NuiPod

11.12.2007: Another Star is Born!

"...Lainey L won 7th place in the State High School Individual Dance Competition in the large school division. That's a pretty big deal since she's only a sophomore on the Urbandale Jaywalker dance team. She choreographed her own piece all by herself in a room at the Walnut Creek YMCA. The competition was held last week at Pella High School...

P.P.S. Lainey even chose and spliced her own music for her piece. She's got a lot of talent..."

11.8.2007: Mo Media Mentions

11.7.2007: Putting the "OH" in Odette!

"...My debut this weekend went very well. Unfortunately I didn't feel well prepared for the performance so I was a little nervous, but it turned out okay and I had a really good time performing it. The whole cast got really excited and pumped up right before we went on stage and the excitement helped get rid of some of the nervousness. Some of my friends from dance classes here, my mom, (sister) and (Myrtha) all came to see me. I didn't feel like I made any mistakes, surprisingly. The final performance was actually the best the piece had ever gone for me. The only thing that I wish I had known before I performed was what tempo the music was going to be. We danced to live music and only got to practice with the musicians a couple of times before the show. It was really difficult to stay with the music sometimes especially when it got really fast, but I think it still looked pretty good. Although this performance went very well, I'm hoping that the next one will be even better. I will definitely be better prepared next time. The one thing that I learned in this performance that I will take back to class with me is confidence. The choreographer kept telling me that I was beautiful and I knew the movement, I just needed to be more confident. Starting rehearsals at the same time as the rest of the cast instead of six weeks later probably would have helped with the confidence issue, but it is still something that I am going to work on.

I noticed that there is an article about the Bill T. Jones/Arnie Zane performance posted on the CCDC web site. I just got back from the show and it was very interesting. I liked it and there was some good dancing, I'm just not sure that I really understood it. I'm being exposed to a lot of different types of dancing here and I definitely had more of an open mind going into it than I would have a year ago, but it was still a little shocking. It was a good learning experience and I'm glad that I got the opportunity to see it.

Also, did you hear that the Moscow Ballet is performing the Nutcracker at Vets Auditorium on November 15th! I mentioned it to a group of friends before the Bill T. Jones/ Arnie Zane performance and they all freaked out. So, I'm currently working on talking my parents into driving us all...to see it. We'll see how it goes..."

11.7.2007: Dancing 4 Dollars

"...The Tournament will have one (1) winner, who shall win $5,000.00 ("Prize")...(If you make it in) The odds of winning are 1:32. ..."

11.5.2007: Message from Melissa

Dear CCDC parents and students:

Can you believe it’s November already? The Holidays will be here before you know it! But, before we get too much farther along in the school year, I want to take a moment to remind you all of some policies and give you some dates to write on your calendars.

RECITAL: (tentative Recital Week June 2nd-June 8th)

Each year CCDC does an end of the year production. For this production we perform a ballet which includes all levels of Ballet classes starting with Creative Movement through Ballet 6. After the ballet we do the second part of our show which includes all Tap classes, Jazz and all Open Division Classes (Hiphop, Lyrical, Tap, Modern, Highland and Jazz).

*In order to participate in recital, a recital fee of $45 must be paid, This fee was due in October as stated on the school Calendar. This fee is refundable through December 22nd. However, if I do not receive payment by November 15th or written notice that the student will not be participating in the recital, there will be a $15 late fee added to your bill. The recital fee lets CCDC know that costumes should be ordered for the student. Costume photos and prices will start appearing in the CCDC lobby by January and February. The full costume payments are due by February 23rd.

TUITION:

Tuition payment is due the beginning of every month. After the 10th, a $15 late fee is charged to the account and will be charged again if late longer then this. Statements are only sent if payments and fees are late.

HOLIDAY CLASS CHANGES:

• November 19th, Ballet 4, 5 & 6 combined at 6:45-8:45


• November 19th and 21st, Ballet 4, 5, 6: a warm up class will be given at CCDC for those in IDT Nutcracker. Time: To Be Announced.


• November 21st -November 25th, Thanksgiving Break


• December 22nd, Modern A and Jazz A Cancelled (Make up Jan 5th: Jazz A 11am-11:30 and Modern A 11:30am-12 noon)


• December 24th-January 6th, Winter Break

BAD WEATHER:

CCDC cancels classes if Urbandale Schools let out early or cancel completely. If anything develops later, we always put it on the website (GoCCDC.Com) and on the phone message of the school (276-1646).

HAS YOUR CHILD BEEN MISSING CLASSES?

A student is always encouraged to make up missed classes on another night of their level or the one below theirs. In Hiphop A and missed? The student can always take another Level A class to make up. Or, check with your child’s instructor.

DRESS CODE:

Please remember (Ballet 1 and up) NO SKIRTS allowed in ballet classes. Instructors need to see and reinforce proper dance technique. Ballet 4 and up should also have their hair in a bun if long enough. A clip may be used or hair pins with a hair net. Long hair can whip into eyes during turns if not secured properly.

Thank you all for dancing with us at CCDC! As always, if you have questions please email us (Missy@GoCCDC.Com) for quickest response or call 276-1646.

Sincerely,
Melissa (Missy) Uyehara
Missy@GoCCDC.Com

11.5.2007: Ode 2 Odette

"So…how’d your University debut go this past weekend?

• How nervous were you?


• Did you have a good time?


• Who was there to see you?


• Make any mistakes? What was the best part?


• What do you know now that you wished you knew before you performed?


• How much better will you be next time?


• What will you take back with you to class?

Drop me a few lines and I’ll put it on the web!

Congrats!"

11.2.2007: Shock 2 The World!

After-shocks as DWTS fans just start picking their jaws off the ground. Witness this following e-mail exchange:

"...Didn't remember to tape the results show this week so I just saw who got voted off Dancing with the stars. I won't tell you cause I know you try to avoid it. But I will just say it was a terrible mis-justice..."

"...I haven't watched it yet either. But, this was such unexpected big news, I couldn't avoid seeing the results, too.

And, I agree with you. The Osmond, the Soap Star, even, the x90210er should've gone first. Even the Indy 500 Champ's been sputtering lately after a strong first two weeks.

Do you want me to try and save the results show tape 4 ya?"

"...Don't worry about saving the results show - don't know when we'd find time to watch it. But I think Seymour or Osmond should have gone home. Both nice ladies but Sabrina was far superior. What...were the voters thinking?!"

11.1.2007: Exclusive Interview!

Just one of the questions on the minds of many Capital City Dance Center students this past Halloween after an apparent super-hero wanna-be burst into the Advanced Tap and Adult Jazz Classes Wednesday night.

"He just flew around the room!" laughed one CCDC instructor.

Well, because "inquiring minds wanna know", the CCDancedoC caught up the mystery hero (?) or zero and asked a few FAQs:

CCDC: "Who are you?"

Mystery Man: "You can call me The Harbinger of Heat! Or...just "hot guy" for short."

CCDC: "Is that why you wear a black bandana with 'Hot' written in flames on your forehead?"

Hot Guy: "Is that a question or an observation?"

CCDC: "A little of both actually, but, what are your super powers?"

Hot Guy: "Well...uh...I make villains burst out laughing and they are powerless to resist officers of the law! And, I give good therapeutic back and foot rubs!"

CCDC: "I like your cape! Tell me about it."

Hot Guy: "Well, I borrowed it from a sorceress friend of mine. The Dread Necromanceress Rothbarta! Perhaps you've heard of her? Or, visited her website?"

CCDC: "Does it help you fly?"

Hot Guy: "Not actually. It's more of a fashion statement."

CCDC: "What were you doing at CCDC?"

Hot Guy: "Just trying to bring a little Halloween excitement to lives of ordinary citizens! Mingle with the fans. All that stuff. Wanted to teach a little Pas De Deux. But, that hasn't happened yet."

CCDC: "Can I take a picture?"

Hot Guy: "If you can catch me, you can try!"

11.1.2007: Mistress of All Media

10.30.2007: A Wave From "Beyond the Grave"!

"...Thanks so much for the card from everyone at the studio!
Tell everyone else thank you too. It made my day!

Thanks for sending me your Hubbard Street article. I agree with you -
I loved the first piece. The second was amazing as well, but the last two didn't appeal to me as much.

Hope everything is well with you!

Thanks again,
Elizabeth"

10.29.2007: E-Mail From Certain Female!

"Hey everyone at CCDC!

I'm just e-mailing to let you know that I am going to be performing in Dance Gala this coming weekend. I didn't audition, but one of my ballet teachers told me that he was really disappointed that I didn't audition for his piece and he asked me if I would still learn it. The only problem is that by the time he told me this the rest of the cast had already learned the entire piece. It was really last minute for me and as a result I have only learned the first movement. The piece is called Evermore and it was choreographed by Eloy Barragan. It's a contemporary ballet-ish piece and it is supposed to reflect the happiness of a child's smile. I'll be performing it on Saturday the 3rd at 8:00. I know this is pretty last minute and my part is not a big deal so don't worry about coming, I just wanted to let you know.

I hope everything at CCDC is going well! Thank you for the card that you sent me, I loved it! I miss you all and I will see you at Thanksgiving!

~Sarah"

10.29.2007: Capital City Artz Shortz

Shumaker, who teaches in the MFA Rainier Writing Workshop, will give a presentation on her book Blaze and the process of collaboration in the Cowles Library Reading Room. Blaze is a book of poetry and paintings about the Alaskan landscape composed in collaboration with artist Kesler Woodward.

This collection brings together 30 years of Woodward's birch portraits and forest close-ups. Over those same 30 years, Shumaker has traveled inner landscapes via images drawn from two deserts -- the Sonoran and the Subarctic. Her poems embody the harsh beauty of heat and cold, the force of true extremes.

Shumaker has generously donated 100 copies of Blaze for distribution to anyone interested in attending the reading and discussion.

Shumaker will also read and discuss Just Breathe Normally, a collection of her brief lyrical nonfiction pieces, at 8 p.m. Oct. 30, in the Cowles Library Reading Room.

November's featured story is The First Moccasins. Chief Tenderfoot has a big problem. His bare feet always hurt, and now he has become the laughing stock of the entire village. Can the Medicine Man come up with a solution before it's too late? Come and share this Plains Indian tale.

The nature of this exhibition has varied from year to year, dependent upon the perspective of the curator. The exhibitions have ranged from multi-artist shows generated from an open call for entries to invitation-only solo exhibitions. Featured artists have ranged from Alex Brown, a fast-rising artist on the international art scene, to local craft artisans. As the term “drawing” is no longer defined by just pencil on paper, the works exhibited in this show will vary in scope, theme, and medium. Works may include – but are not limited to – traditional drawings; drawing-based prints; digital drawings; architectural, mechanical, engineering, and industrial drawings; scientific and medical illustrations, charts and maps; book illustrations; fashion designs; tattoo designs; choreographic notation; cartoons and comics; therapeutic drawings; wall drawings; drawing-based animation or film; and websites about drawing. Artists may even submit proposals for site-specific drawings to be created in the gallery.

10.26.2007: Prix Weak End Thots

10.25.2007: La Bamba Groupie Alert!

Deena Conley, Drake assistant professor of theatre arts, will moderate the talk, which will take place from 2 to 3 p.m. in Bulldog Theater in Olmsted Center, 2875 University Ave. This event is free and open to the public.

Phillips is making his return to the stage as King Arthur in the Betts Broadway Series Presentation of Camelot, which runs through Sunday, Oct. 28. This follows his award-winning performance as the King of Siam in a stage revival of The King and I for which he received a Tony Award nomination, the New York Outer Critics Circle Award and a Theatre World Award. His extensive theater credits include A Hatful Of Rain, P.S. Your Cat Is Dead, The Lady's Not For Burning, Doctor Faustus, Hamlet and Whose Life Is It Anyway?

Phillips burst on the film scene in 1987's La Bamba as rocker Ritchie Valens. He followed this with another break-out performance in Stand and Deliver and received the Independent Spirit Award for Best Supporting Actor and was nominated for a Golden Globe Award for his performance. His film career has continued with Young Guns, Young Guns II and Courage Under Fire. His extensive television career includes recent appearances on the CBS Series NUMB3RS, The Triangle on TNT and the Hallmark Channel's A Trail of Hope Lost.

Before Camelot, Phillips was in Spain to film part of Steven Soderbergh's Guerrilla, where he plays a Bolivian alongside revolutionary leader Che Guevara, played by Benicio del Toro.

10.23.2007: Better Late Than Never?

The second number, B-Sides (12" Mix), started off with a modern dance cliche': dancers upstage in dim light forming a pulsating, organic primordial ooze with movements growing, glowing and lurching like a demented lewd lava lamp. I call it resorting to the trite "evolution of movement" motif. But, even starting in such a cliche', the talented dancers of HSDC managed to make it much more. The pulsing, throbbing rave music of Hybrid set a template that the dancers followed and expanded upon. Very musical. But, the costume design was unsettling at best. It was as if designer Alec Donavan was told "as ugly as possible". Bootie shorts with suspenders and horizontal stripes? Post-modern lederhosen? And, that was for the guys! Fortunately, dancer bodies look good in (almost) anything. But, this was an extremely close call! Besides, after awhile, the B-Sides dancing distracted from the costuming.

Passomezzo was a duet by choreographer Ohad Naharin set on dancers Robyn Meneko Williams and the previously mentioned Cerrudo. It started off promising, but, quickly lost its charm when the steps and movement started resembling slapstick. The dancers never resorted to mugging for laughs, but, the choreographer had already done that with his steps. But, duck walks aren't humorous to me. They just look like they hurt.

A much more intelligent approach to humor wrapped up HSDC's program, noted choreographer Jiri Kylian's Sechs Tanze (Six Dances). In the program notes, the Nederlands Dans Theatre director writes "...I have set six seemingly nonsensical acts, which obviously ignore their surroundings. They are dwarfed in the face of the ever-present troubled world, which most of us for some unspecified reason carry in our souls." Call me shallow, but, the context for the dances to the Mozart music just didn't register with me. I saw a spoof of classical ballet, with sly digs at the pretentiousness and preening posturing of some ballet snobs. Some of the humor was broad and sophomoric (over-powdered wigs causing a dust storm on stage!) and some a little more sophisticated. But, it was informative to watch two different attempts at dance humor back-to-back. After all, creativity is often defined as the unexpected juxtaposition of unique elements.

Hubbard Street Dance Chicago has grown and evolved from the humble beginnings of Lou Conte's six dancers performing at nursing homes and on elementary school stages. But, I'm not the only one that might have been left on the way-side of that development to a world-class company. Unlike the first HSDC concert I saw that long-ago night at Castle High School theater, I was one of only a handful that rose to their feet during the prolonged applause that followed their performance. So, the question lingers, like a white feather slowly twisting in the wind: has Hubbard Street Dance Chicago outgrown their local audience?

10.23.2007: Metro Artz Shortz

Dance Gala is one of more than a dozen opportunities on campus each year for dance students to perform, produce, and choreograph. They can also show their work in Iowa and surrounding states through the department’s touring company, Dancers in Company.

The University of Iowa brings many of the world’s best-known dance companies to perform at Hancher Auditorium. Dance students can experience these live performances, plus attend rehearsals and master’s classes, such as a recent visit by Hubbard Street Dance Company. And the Department of Dance guest artist program brings renowned choreographers and dancers to campus as well.

These experiences lead to accomplished dance careers. Graduate students from the Department of Dance have a more than 90 percent placement rate in the field, going on to perform with dance companies and to teach at universities around the country.

Dance Gala’s Allégro will captivate audiences with a diverse set of works by faculty and guest choreographers. The dance department’s pioneering faculty and talented students promise to make the event an unforgettable experience for audiences.

The apes creating the paintings for Apes Helping Apes did so voluntarily and as part of ongoing enrichment activities at Great Ape Trust, where scientific research seeks to understand the origins and future of culture, language, tool use and intelligence. The work at The Trust builds on a growing body of research that has found the four types of great ape – bonobos, orangutans, chimpanzees and gorillas – are thinking, self-aware and intelligent beings.

Vladimir Troschenko has partnered ballet legends; Nadia Pavlova, and Peoples’ Artists of the USSR, Ludmila Semenyaka and Galina Mezentseva. Troschenko continues the grand style of Russian classical ballet. Bridging the classical era with Russia’s new generation of dancers, Troscenko will introduce Prima ballerinas Masha Makerneko, Ekatherine Bortyakova (Winner Vaganova, Kazan, Arabesque IBCs) and Principal artists Dmitri Zavalevich and Akjol Musakhanov.

(Editor's Note: The company looks good on paper, but, is this the same group that brought such a mediocre Cinderella to the area a few years ago?)

10.22.2007: Hubbard Street Blues

The company I saw earlier this month was like running across an old girlfriend you haven't seen for years. She's managed to move on, become enormously successful, rich and sophisticated. Meanwhile, you're still living with your parents, shopping at second-hand stores and delivering pizzas to make a few shekels. She doesn't recognize you, but, you are flooded in an instant with memories and nostalgia and regret. But, before the metaphor gets more out of hand, I guess mentioning something about the performance itself would be apropos at some point. Check back for that.

(To Be Continued)

10.19.2007: A Familiar Refrain

"...I saw your entry about the results of the Radio City Christmas Spectacular Clara casting. My daughter tried out in Tampa and we just want to know if the role had been cast. It is discouraging that they are bringing in dancers from other cities. Do you know of a way we could find out the Tampa casting for Clara?"

"...CCDC got the information because we rented the studio space to the Rockettes organization. We sent an e-mail to their private contact address. But, I'm not going to provide that to you. However, you could always contact the owner of the studio your daughter auditioned at and request a similar query. Or, you could try the searchforclara@yahoo.com public contact e-mail address yourself. Or visit their website and use their contact page or phone number.

Merde, Capital City Dance Center"

10.18.2007: Overheard In CCDC Ballet Classes

"I'm not here to entertain you. I'm here to challenge you."

"Slower than you wanna go. Faster than you wanna go. Higher than you wanna hold. Practice this way and imagine how much easier it's going to be when we go back to regular dancing."

"Show me your two tendus in fifth position! Show me your movement before you even move. Stand out from the crowd!"

"Show me your 'dancer legs'. Legs stretched so long your stomach pulls in and up. Stretched so long your lower back lengthens. Stretched so long the back of your neck lifts. Stretched so long your chin raises. Constantly pushing the floor away from you...oh, and turn out, too!"

"Don't just bend your legs to bring them back in, turn-out more and push into the floor. Store the energy with active feet. Legs like switchblades!"

"Don't drop your knee at the very end of a developpe'. Think of it as a chance to show off your feet someplace way above your head!"

"Raise your knee up during enveloppe'. Raise your opposite seat muscle as well."

"Falling is gravity's way of telling you you're off balance. Are you listening?"

"The music starts. The magic begins."

"Hold on to your placement! Here we go!"

10.17.2007: Ain't No Joy In Newton-ville!

10.17.2007: Fledgling Company Takes Wing

"...I wanted to let you all know that my new dance company, Poetic Rebound Performance Company will be performing on October 27th at the Out of Bounds Event...This performance will be a duet featuring myself and the lovely and talented Rachael Hillman. This event consists of local musicians, dance companies, and all kinds of artists. It would be great to see you all there!

The show starts at 8 p.m. and we will be selling t-shirts! Admission is $5. Hope to see you all there!

Nicole Hussain
Artistic Director
Poetic Rebound Performance Company..."

10.15.2007: Rockette's Results

"...I'm not sure when a press release is going to be done, but to squelch the rumors and help the girls move on...we have cast Jacqueline L___ in the Christmas Spectacular in Des Moines. She will also be performing the role in Chicago. For the other girl, we have cast a girl from California who will be doing both the Chicago and Des Moines shows.

Thanks for all your help with the audition...."

10.12.2007: Pink Think!

10.12.2007: Arts Action in the Capital City!

10.11.2007: Competitive, Combative "Cuban Pete"!

10.9.2007: Clear, Concise...Contrived!

10.9.2007: Choreographer Wanted!

10.8.2007: Unlike the Cubs! Hamer Hammers Mo' Homers!

"...Another article in support of kids having more art in their lives! :) (It's called) Extracurricular Extras: What Kids Learn From the Arts - MSN Lifestyle - Family & Parenting..."

10.5.2007: Dancing With The Media!

10.5.2007: Local Arts Shortz

The Playhouse production features Jack Mishler, a longtime area favorite, as Morrie, and newcomer Craig Petersen as Mitch. Tuesdays With Morrie is directed by Rhonda Lake, a theatre professor at Doane College.

POETIC REBOUND PERFORMANCE COMPANY is Nicole Hussain, Alison Riazi, Colleen O'Connor and Rachael Hillman.

10.4.2007: New Words 2 the Wise from NewsWise

“A number of studies have demonstrated negative effects of heavy television viewing. However, timing of exposure is an important consideration as reducing viewing to acceptable levels can reduce the risk of behavioral and social problems,” said Kamila Mistry, MPH.

The study also found that having a television in the child’s bedroom at 5.5 years of age was associated with behavioral problems and poor sleep. Forty-one percent of the children included in the study had a television in his or her bedroom.

She added, “We have seen over the years that it does not work to make people feel worse about their bodies. The data are striking — talking about weight, worrying too much about diet, focusing on it increases risk not only of eating disorders, but also of being overweight.” Instead, she suggests modeling and positive encouragement of healthy behavior like making better food choices and exercising — and unconditional love, regardless of weight.

10.3.2007: Near-Brush With Fame!

10.2.2007: A Post-CCDC Possibility?

Today, dance is a thriving undergraduate major, has its own building on campus and is an integral part of the highly ranked theatre and dance department. And it will soon feature an innovative graduate degree focused on choreography of dance theater.

The new Master of Fine Arts in Dance Theatre at UC San Diego is unusual for a U.S. program in that it “quite specifically intends to develop the next generation of voices in dance theater choreography,” said Allyson Green, professor of dance at UC San Diego, who will co-direct the program with Professor Yolande Snaith.

“Dance theater” is a hybrid of dance and theater methods. The form traces its beginnings to aesthetic innovations by European dance companies and postmodern explorations in the United States in the 1960s and ’70s. “Dance theater creates a complete world visually and thematically,” Green said. “Rather than being a number in a show or subservient to the story, dance is the show, is the story.”

The program will serve as “an intensive research lab for dance theater artists,” Green said, and will emphasize collaboration with other disciplines.

The vision for the dance theater program at UCSD, she said, is in line with the evolution of the practice in Europe as well as developments in American postmodern dance (which include influences from around the globe). Both Snaith and Green are choreographers with extensive experience abroad. They – along with Liam Clancy, Eric Geiger, Patricia Rincon and department founder Margaret Marshall – bring an international sensibility to the dance faculty and the newly launched program at UCSD.

The three-year program is currently recruiting candidates. Instruction will begin in the fall of 2008.

Green said the program expects to attract “practicing choreographers who want to have the time and space to go more deeply into their work.”

The inaugural class will admit just two students, Green said – both so that they will be fully supported in their endeavors and so they will have greater opportunity to collaborate with the other graduate students in the theatre and dance department.

In their first year, the choreographers will attend a first-year collaborative seminar with graduate-student designers, directors, writers and performers, explained Charlie Oates, chair of the UCSD theatre and dance department, which is ranked among the top three in the nation for its graduate offerings by U.S. News & World Report.

It is hoped that the seminar will help the students make connections and partnerships for future collaborative projects. Also, it is anticipated that through the department’s ties to the departments of visual arts and music and to the California Institute for Telecommunications and Information Technology (Calit2) at UCSD, the students will form creative relationships with other artists across campus and, in Green’s words, create “syntheses between choreographic, theatrical, visual, technological and sound media.”

“The exciting thing,” said Oates, “is that I don't think we even know of all the possible projects that could happen when MFA choreographers come together with students from our existing programs. So much of the artistic future of our department is going to be determined when all these crazy imaginations come together.”

Future plans for the program include a professional repertory company that would work with the choreographers’ visions during their tenure as students and an endowed dance festival, which would not only showcase produced works to the public but also to seasoned professionals, serving as a career launching pad for graduating choreographers.

Green notes that UCSD is a perfect place for the new program because the department is already renowned for its “very physical theater.”

Oates, who is a movement coach when he is not chairing the department, said: “Our designers have a very dynamic visual aesthetic and our directors have big, adventurous visions for their productions. It seems only natural that the performances end up being physical. With a rigorous approach to the fleshing out of texts and bold interpretive statements being made, everything is going to be heightened. The new dance program fits right in.”

The program will also fit right in with the region, Green said.

“The dance community in San Diego is going strong,” Green said. “And there is also a fantastic dance community in Tijuana. The students will have a lot of terrific people to work with, not just at the university but off-campus as well.” For more about new program and its faculty: click here.

10.1.2007: Dancing With The B-List Celebrities!

10.1.2007: The Case 4 Common Dance Etiquette

“If we increase social skills, we see commensurate increases in academic learning. That doesn’t mean that social skills make you smarter; it means that these skills make you more amenable to learning,” researcher Stephen Elliott said. “In our research, we found that elementary kids and teachers value cooperation and self-control.