Développé - Winter 2008 Edition - January 5, 2008 RBAI.biz  -  Previous Issue  -  Next Issue  -  Subscribe by email 
Contents:
  1. Roman Nikiforov
  2. A Note From Russ: Ballet to Business
  3. New 2008 Spring Semester Schedule
  4. RBAI 2008 Summer Educational Opportunities
  5. Student Spotlight
  6. Did You Know?
  7. 2008 Spring Performance Schedule
  8. Ballet 101: The Pointe Shoe
Roman Nikiforovreturn to top 
A native of Krasnoyark, Russia, Mr. Nikiforov began his training at the prestigious Krasnoyarsk National Ballet Academy at the age of 10. Upon graduation he joined the Krasnoyarsk National Opera and Ballet Theater. Soon after, he received an invitation to become a dancer with the Russian State Ballet of Moscow under the direction of Vyacheslav Gordeyev. He joined Ballet Internationale in 2004. His repertoire includes Don Quixote, Sleeping Beauty, Cinderella, Swan Lake, and Giselle. Mr. Nikiforov was a non-competing partner at the 2006 and 2007 Regional Youth American Grand Prix ballet competition, as well as the 2007 New York finals. Since joining the Indiana Ballet Company, Mr. Nikiforov has performed numerous featured roles under the direction of friend and colleague, Artistic Director Alyona Yakovleva. Such works as Paquita, The Nutcracker, On Earth We Stand and Phantom of the Opera comprise IBC successes in which Mr. Nikiforov played a major role. Mr. Nikiforov danced the principal role of Raoul in IBC's original ballet production of Phantom of the Opera last fall. His hard work and dedication has paid off to garner reviews like this:
"Roman Nikiforov gives authority to Raoul, the Ballet Master, whose love for Christine is evident." Rita Kohn - Nuvo

"Roman Nikiforov danced Raoul with enough snap and authority in his postures and partnering of Mayhew that the character never sagged into a stick figure..." Jay Harvey - Indianapolis Star News
Mr. Nikiforov's winter has been just as fruitful. Before his splendid showing in RBAI's 2007 production of The Nutcracker, he was a guest artist for the Metropolitan Ballet of Topeka's 20th anniversary production of The Nutcracker as well. He danced the 'Snow Pas de Deux' and 'Spanish Chocolate Variation' opposite Morgan Tongish, a student at New York's Academy of Musical and Dramatic Artists.

We feel blessed to have such a talented, dedicated, and versatile dancer/instructor performing at IBC and teaching at RBAI.
A Note From Russ: Ballet to Businessreturn to top 
Dear Families,

As you have likely seen by now, tuition has gone up slightly for the spring 2008 semester. Several factors went into this decision. First: Tuition, historically, has not covered the cost of classes; this semester, it will finally happen. Second: The $500 donation request has been replaced. Although it was designed to foster donations and volunteerism, and was a good tool for the academy to illustrate how little we charge (relative to the services the students receive), it is not as essential now that tuition has been adjusted to cover teacher wages.

Going forward, RBAI will focus on seeking donations and grants to cover other critical overhead expenses like taxes, supplies, insurance, and administrative staff salaries. However, we hope the volunteerism idea will remain strong in everyone's minds. Volunteerism keeps costs down. For example, the idea of a $25 registration fee per semester was floated. Those funds would directly cover the cost of cleaning the academy regularly and professionally for the whole year. I believe in our families, and I believe that the volunteer spirit (can you tell I am from Tennessee?) will keep that fee from coming to realization. If not, we will look at borrowing ideas from other areas -- like private schools -- and charge little bits here and there to cover overhead.

Here are some other ways you can volunteer. Donations from sources outside our families are very helpful -- for example, your employer may want advertising space, or wish to sponsor a dancer, a teacher, a class, TEAM RBAI (our YAGP competitors), or even a given levels' leotards -- anything that comes to mind. We are not asking you to sell for RBAI, simply to make the first contact for us. We will schedule the appointments and make the arrangements. Thanks again for the opportunity to help the academy grow, and thanks for trusting this wonderful artistic staff with your children.

Sincerely,

Russ Smith
Executive Director
New 2008 Spring Semester Schedulereturn to top 
In order to offer our RBAI families a bit more down time, we have switched to a 19-week semester with only five days of classes per week. Students now have two days off each week, versus the previous schedule that allowed for only Sunday off.

We hope that this change lessens the strain of participation in our programs. There are reduced class schedules available upon request from the Academy Director, and upon approval of the Artistic Director. For maximum progress, a student should take all recommended classes in the curriculum for his/her level.

Beginning this semester, only dancers will be permitted in the studio hallways (beyond the lobby). We ask that parents, family members and visitors remain in the RBAI lobby or the waiting room if you choose to wait at the academy for your dancer's class to conclude. With increasing enrollment, limited locker space, and much traffic between classes, it is difficult at best for our dancers and teachers to navigate the hallways between classes and access their gear. Please keep in mind that our waiting room is set aside for dancers to eat in and work on homework, so a study atmosphere is encouraged. We hope that this will keep distractions to the dancers at a minimum. Unfortunately, due to the size of our current facility, it is not feasible for large numbers of parents to stay at RBAI while their children dance, but we hope to alleviate this problem when we have the funds to move to a larger facility.

Please make sure to mark these important dates on your calendar. If you have any further questions, please contact the Academy Director at (317) 228-1917.

January 8, 2008 Spring Classes Begin
January 21, 2008 School Closed (Martin Luther King Jr.'s Birthday)
February 13, 2008 Faculty Meeting
February 18, 2008 School Closed (Washington's Birthday)
March 15, 2008 Mid-Term Evaluations Distributed
March 30 - April 5, 2008 School Closed (Spring Recess)
April 14, 2008 Faculty Meeting
April 22-25, 2008 Observation Week
April 26, 2008 Spring Exams (Special Class Schedule)
April 29 - May 9, 2008 Spring Performance Rehearsals (Special Class Schedule)
May 5, 2008 Faculty Meeting
May 10, 2008 Spring Performance
May 16, 2008 Last Day of Classes
RBAI 2008 Summer Educational Opportunitiesreturn to top 
RBAI offers families several options for students' continued education during summer months. When Spring Semester classes end on May 16, 2008 there will be a short break followed by several class options. All dates are final.

The first option is the 2008 Summer Intensive that will begin June 16, 2008 and end July 12, 2008 with an end of session performance. The Summer Intensive is for intermediate to advanced students. Disciplines that will be explored include Ballet, Pointe, Variations, Partnering, Character, Contemporary, Modern, Men's Classes, Acting, Ballet History, Ballet Theory, Stage Makeup, Nutrition and Bio Writing,. Ms. Maria Gribanova, of the Vaganova Ballet Academy in St. Petersburg, Russia, will be one of the many world-renowned instructors featured at the 2008 Summer Intensive. Application forms are available at www.rbai.biz. An audition or video-tape is required.

July 14th through 26th we will hold a Summer Intensive for Young Dancers. This is to provide the young dancer, ages 6-12, ready for one or two weeks of challenging dance instruction an opportunity to explore the many segments of dance. The format differs from the Summer Intensive in that SIYD students have slightly shorter days and one or two week schedule with an age-appropriate Summer Intensive experience. Ballet Technique, Pre-Pointe, Historical Dance, Physical Conditioning, Nutrition, Music Appreciation, and additional upbeat dance genres for this mini intensive will be taught by Alyona Yakovleva, Tatiana Pali and Sergey Sergiev. Space is limited to 30 students and auditions are required. New students please call the Academy Director to schedule an audition time.

Summer Session 2008 will be offered for ten weeks beginning on May 26th and ending on August 2nd. These will be evening classes to compliment what the dancers are covering in other RBAI programs during the morning hours. The Summer Session classes will be provided to students attending; Creative Movement, PreBallet, Division I Ballet, Division II Ballet, Division III Ballet, and Introduction to Pointe. RBAI Instructors will vary upon availability.

RBAI Summer Camps will also be offered from July 14th through 26th. Enchanted Kingdom for Creative Movement is offered for children ages 3 to 5. These classes will be Monday through Friday from 9:30 a.m. to 12:00 noon. Our Enchanted Tales Ballet Camp is for students ages 6 to 8, Monday through Friday, from 1:00 p.m. to 4:00 p.m. Each day the students will explore a different ballet-story theme in preparation for ballet technique class while participating in activities involving strength and flexibility exercises, reading the story of a ballet, dancing to music of that ballet, dressing up in simple costumes, creating a related craft, and enjoying games and snacks.

To ensure proper class sizes, enrollment is limited and is offered on a first-come, first-served basis. All classes are subject to minimum enrollments. Please visit RBAI.biz for registration forms or call the Academy Director at (317) 228-1917 for more information.
Student Spotlightreturn to top 
Beatrice Rowlands is an 8th grade student at St. Lawrence Catholic School. She has been studying ballet for 11 years, first with the Clara R. Noyes Academy of Ballet Internationale and then the Russian Ballet Academy of Indiana. Ms. Rowlands has danced in many productions with both Ballet Internationale and the Indiana Ballet Company, including The Nutcracker, La Fille Mal Gardee, Sleeping Beauty, Chopiniana, Paquita, and Phantom of the Opera. With RBAI, Ms. Rowlands has also performed at the Penrod Art Fair, International Festival, and Fishers Art in the Park. She also competed with RBAI in the 1st place ensemble Chopiniana at the 2007 Youth America Grand Prix Finals in New York City.


Ben Thomasson is 13 years old and is in the 7th grade at Cornerstone Baptist Academy. Mr. Thomasson has been a student of ballet for six years. He has taken instruction at the Clara R. Noyes Academy, Noblesville Conservatory of Classical Ballet, and the Russian Ballet Academy of Indiana. He has performed with Ballet Internationale in Don Quixote, and in NCCB's The Butterfly. Mr. Thomasson's RBAI productions include featured roles in The Nutcracker, Paquita, and On Earth We Stand, along with performances at the Penrod Art Fair, International Festival, and Fishers Art in the Park. Mr. Thomasson holds a black belt in Tae Kwon Do, plays the piano and oboe, and plans to continue dancing throughout high school. Ben aspires to become a Baptist minister after graduation and seminary.
Did You Know?return to top 
Did you know that RBAI offers a customized level of performances, based on your child's interest and your family's preferences? Unique to RBAI, students may elect to participate in the number of performances that make the most sense for them. A primary performance is offered at the end of each semester: The Nutcracker or other winter-themed performance at the end of the Fall Semester; a Spring Concert (usually a ballet excerpt) at the end of the spring semester; and a closing demonstration at the end of Summer Intensive, SI for Young Dancers, or Summer Camp. These performances are strongly encouraged as a part of the curriculum followed by RBAI. Ballet, like all performing arts, is practiced in the vacuum of the studio and brought to life for audiences on stage. Stage performance also allows students to explore musicality, stage presence, and artistry in a way that is difficult to reproduce in the studio. These major performances, while highly encouraged, are voluntary--students who choose to participate sign up via a performance contract, receive rehearsal information, (in most instances) pay a nominal fee, and are then commited to participation in a production that will give them valuable insight into being backstage, and on stage, as a ballerina or danseur.

"What happens," you might ask, "if I elect not to participate in an end-of-semester performance?" This is a question with a three-part answer. First, expect that the Academy Director will check with you to learn about and address any concerns you may have. Logistically, the only impact is this: while the majority of students are in rehearsal for the performance (two weeks of the semester), combined classes on an alternate schedule will be offered for those students.

In addition to these major events, RBAI students may choose to take part in many other types of performances. We dance regularly at a wide range of venues, both formal and informal, as well as supplying students for demonstrations, appearances, and promotions. Some venues that have become a tradition in our short history are Penrod Art Fair, Broadripple Arts Festival, and the International Festival. Sometimes our students wear traditional costumes and dance in front of hundreds; other times, the costumes consist of classroom attire with simple additions and the audience consists of festival passers-by. Some programs include only classical ballet; others are geared toward ethnic, cultural or historical themes. We believe that each of these venues represents a two-fold opportunity: students who desire more than the end-of-semester performance can gain experience in a wide variety of appearances while improving their skills, and the depth and breadth of RBAI's instruction can be seen in and around the Indianapolis area through our student ambassadors. After each public performance, major or minor, we invariably enroll more students, receive more donations, and enjoy more word-of-mouth advertising than at any other time.

So, the next time a performance opportunity comes along, please consider whether the rehearsals and performance(s) would be a benefit for your child--and if the answer is "Yes," we hope it is a positive and rewarding experience, and we thank you. If the answer is "No," or "Not this time," please know that we respect your ability to make the best decisions for your student and family, and the invitation is always open in the future.
2008 Spring Performance Schedulereturn to top 
Following is a current list of Spring performances and festivals in which RBAI plans tentatively to participate. Please mark these dates on your calendars if you anticipate your child may participate. We are also looking for a Festival Coordinator to act as an liasion between RBAI and the respective festival organizers. If you are interested in serving in this capacity, please contact Academy Director Terri Messer for more details.

We are looking forward to a great semester.
  • Chinese New Year - February 8 & 9, 2008
  • Quest for Excellence - April 23, 2008
  • Earth Day Celebration - April 26, 2008
  • Grand Pas from La Bayadere & Harlequinade Š May 10, 2008
  • Broad Ripple Art Fair - May 17, 2008
  • Summer Intensive Performance - June 28, 2008 (tentative)
Ballet 101: The Pointe Shoereturn to top 
The history of the point shoe is an interesting one. The first dancer to get the credit or blame to first dance on pointe was Marie Taglioni. "It is established that in 1832, Marie Taglioni danced in the full length La Sylphide on pointe." (http://en.wikipedia.org/wiki/Anna_Pavlova)

Most believe that others had performed this feat before since there were comments in print of dancers 'falling off her toes', but regardless of who was 'first', Taglioni developed the technique and as a result revolutionized the art of ballet. She turned what had previously been a stunt, even a circus trick, into an art form. Ballet was transformed into an athletic challenge, not just a dramatic and artistic outlet.

"Her grace, lightness, elevation and style earned her an adoring audience and a brilliant career. In Russia, her fans loved her so much that they cooked her slippers and ate them with a sauce! Now that's devotion!" (.../wiki/Anna_Pavlova)

Partly because she had extremely arched feet, she transformed actual apparatus of the dance. She needed to come up with a way to strengthen her pointe shoe. Unfortunately, most at the time felt that this was 'cheating', beleiving that the dancer -- not her shoes -- must hold her weight while en pointe. However, her ingenuity served generations of dancers to follow.

Following is an explanation of the mechanics of a Pointe shoe from Dancer.com:

The foot is supported from underneath the arch by a stiff insole, or shank. The box of the shoe tightly encases the toes, so that the dancer's weight rests on an oval-shaped platform. The shank has varying degrees of flexibility, and the box may have different configurations. The outer material is usually pink satin and can be dyed for performance to costume designers' specifications. Most pointe shoes will fit either foot; there is usually no left or right. Except in rare cases pointe shoes are worn only by women.

Although the shoe enables the dancer to poise indefinitely on tiptoe, it is her strength and technique that bring her from the normal standing position through a mid-position, "demi-pointe", to the full-pointe position. Once en pointe she maintains a contraction of the muscles of the feet, ankles, legs and torso to pull herself up out of the shoe. Without proper technique an attempt at toe-dancing can cause injury. Children with growing feet should not dance en pointe, nor should anyone lacking adequate strength and training. The introduction to pointe work must be gradual. Dancers should train for several years in soft slippers before they wear pointe shoes. Then only a few minutes of each class are devoted to special pointe exercises. Eventually dancers progress to wearing pointe shoes for half, or all of class.

The pain of pointe work discourages beginners and plagues even professionals. Until Gaynor Minden introduced cushioned linings, the pointe shoe was very hard and rough on the inside. Dancers in uncushioned shoes use lambs' wool or toe pads under their toes to make pointe dancing bearable. However, crude, bulky pads and excessive lambs' wool prevent proper fit and deprive the dancer of her essential ability to "feel the floor".

Referenced Reading:
http://en.wikipedia.org/wiki/Anna_Pavlova
http://www.dancer.com/howworks.php
http://www.dancer.com/anatomy.php
http://en.wikipedia.org/wiki/Pointe_shoes
http://dreammakersdancewear.com/.../BalletHistoryofthePointeShoeandTechnique/...
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