Phillip B

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  • April 22, 2015 at 5:43 pm in reply to: Classes on careers #7287

    Phillip B
    Participant

    What you propose is a definitely worthwhile idea, but I think its reception might depend a great deal on the age of your students. Retirement careers are probably the last thing on a young student’s mind. However, depending on how you run your school, the Vaganova Choreographic Institute and the American Ballet Theater School both seem to have the understood tenet in their program that once a student has passed the age of being able to be a good performer, they return to the school to teach. This may work in large organizations, but in smaller enterprises, the outlook should probably be wider range for post-dance careers. Writing for dance-related publications might be a possibility, and getting involved in the production of music and teaching materials or costuming might be another. Bear in mind I’m speaking from the perspective of a retired musician—never a dancer, but much interested in the production of class music for dance.

    April 22, 2015 at 4:45 am in reply to: Class music #7285

    Phillip B
    Participant

    It appears there are two schools of thought about this, one arguing to stick to your guns on the music that works for you, the other to go currently popular as needed. What seems possible to me is a mix of some kind. I’ve come across some CD’s that offer the popular themes, but these are produced here in the U.S. There are others made in Europe with unfamiliar but agreeable musical themes. These latter I found at Dancemelody.com in Hungary. The administrator is Boris Yakshov. It takes about a month for products to make it through the mail, but they always arrive and are well made. This includes their printed music as well. I wish I could be more specific but am a retired musician, not a ballet teacher. I would like perhaps to produce a music CD for class use. .Maybe you can tell me: if in a given barre exercise; e.g., for plie, rond de jambe, pas de chat, or such, what is the critical element? Is it the meter; e.g.3/4, 2/4, 6/8, or such, or is it mainly the tempo and phrasing of a tune that makes it useful? This is a topic on which I would appreciate more information. Where could this be found? I also wonder whether there is much difference on this between methods as Vaganavova School vs Cechetti Method. Many thanks for your thoughts.

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