CONTACT
3
OUR MISSION
4
WELCOME
5
ARTS AND PERFORMANCES
12
INTO EQUAL RIGHTS NIGHT
20
A DANCER'S HOLIDAY WISH LIST
24
GIVING THANKS
28
ABA TRADITIONS
32
PRIORITIZE, ORGANIZE AND NUTRITIONIZE
38
THE COMPETITION OUTCOME
42
THROUGH A MOTHER'S EYES
50
ASK THE ARTISTIC DIRECTOR
54
BALLET COMPOSERS
56
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table of contents
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Contact
8505 Fenton Street, Suite 206 Silver Spring, MD 20910 Tel:301-593-6262 Email: contact@akhmedovaballet.org Web page: http://akhmedovaballet.org
Editor in Chief: Jacqueline Akhmedova Managing Editor: Jessica Novakovich
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 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 NOW IN OUR NEW CLASSES FOR SEPTEMBER
INTRODUCTION TO BALLET
The Akhmedova Ballet Academy's Adult Program teaches the basic foundation and technique of the Russian Vaganova Method. Adult students will increase their flexibility and learn to explore artistic expression through movement and music. This class is a wonderful opportunity for adults to learn and appreciate the beautiful art form of ballet while exercising and toning the body.Throughout the hear the students will transition from a beginner ballet class to an intermediate level as their knowledge and ability grows.
PTP Level 3/4
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.
TRAINING PROGRAM CLASSES
ENROLL IN OUR PROFESSIONAL
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
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.
Pre-PTP Level
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.
PTP Level 5/6
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PERFORMANCES
with JESSICA
AND
ARTS
When the world skidded to a halt in March due to the spread of Covid-19 we all assumed that after a quick quarantine we would be back in the studios preparing for a fall season. That fall season arrived and passed with no shows, and theaters remained dark. Plans were made for the Nutcracker to be the opening of the season but as the beginning of Nutcracker time loomed closer, the pandemic continued. Slowly company after company announced that they would have to remain closed and would no longer be able to produce a Nutcracker show. This was devastating to companies, the dancers, and their audiences.
As our society is ever evolving, the ballet world has learned to adapt as well. Companies have turned digital as a way of continuing their seasons and performances. Some companies have continued training but with limited capacity, masks, Covid tests and extreme precautions. These select companies have been able to record and stream their productions of the Nutcracker. Other companies have broadcasted previous Nutcrackers in replacement of a new production this year.
As we face a year without the Nutcracker we take a moment to reflect on the traditions and history the Nutcracker holds in our culture. The Nutcracker is a two-act ballet choreographed by Marius Petipas in 1892, and was adapted from T. A. Hoffman’s story “The Nutcracker and the Mouse King”. With music famously composed by Peter Ilyich Tchaikovsky, the ballet has become a symbol of the holiday season. Ballet companies around the world generate the majority of their annual ticket revenue from their Nutcracker performances. As the holiday season begins, families flock to the theaters to watch the Nutcracker, as it is a icon of Christmas time, cheer and the holiday spirit. The music can be heard on every radio station and in every store as shoppers buy their Christmas gifts. So what will a year without this historic ballet be like? How will companies and the tradition of the Nutcracker survive through this pandemic?
Dutch National Ballet will be streaming an online Christmas Gala. Tickets available here DUTCH NATIONAL BALLET NUTCRACKER Bolshoi Ballet is streaming the Nutcracker in Theaters through December. Tickets available here BOLSHOI BALLET NUTCRACKER The Boston Ballet is partnering with NBC10 Boston for a one-hour broadcast of the Nutcracker. It is a previously captured show and is available on the Boston Ballet’s Website BOSTON BALLET NUTCRACKER San Francisco Ballet is offering an interactive, virtual ticketed Nutcracker experience. This is a high definition streaming of a 2007 show in the War Memorial Opera House. BOSTON BALLET NUTCRACKER
INTO
RIGHTS
21
EQUAL
WITH THE ABA STUDENTS
NIGHT
Equal-Rights Night – Nutcracker with a Twist Synopsis Prologue- As Christmas Eve draws near, influential and barrier-breaking women and girls from the world over gather at the home of Elizabeth Cady Stanton – herself a driving force behind the women's rights and suffrage movements of the 1880’s -- to confer on weighty and life-changing matters. The purpose of the gathering is to draft a book that will containadvice, life experience, visionand wisdom garnered by each of the esteemed guests. The book will be presented by U.S. Supreme Court Justice Ruth Bader Ginsburg -- a feminist icon, the first Jewish woman on the Supreme Court and a tireless advocate for gender-equity -- as her Christmas gift to Stanton’s daughter Harriot. Each notable guest will put a piece of herself and her struggle for equality into this book of knowledge, which in turn will serve as a guide for young Harriot as she grows and finds her own way in the world, and eventually follows in her mother’s footsteps as an author and suffragist.
Scene 1 The Party – It is Christmas Eve at the home of Elizabeth Cady Stanton; the house is decorated for the holiday season and an upcoming party. Stanton, along with her dear friend Susan B. Anthony, who is a fellow social reformer and women’s rights activist, and Stanton’s children are eagerly awaiting the arrival of the party guests. Stanton has invited many remarkable, strong and courageous individuals to join in the celebration: Rosa Parks, Amelia Earhart, Jane Austen, Emmeline Pankhurst, Harriet Tubman, Anne Frank, Ella Fitzgerald, Nina Simone and Simone de Beauvoir are on the guestlist. Last to arrive for the celebration is Justice Ginsburg, godmother to Elizabeth’s youngest daughter, Harriot. Ginsburg comes bearing a gift for Stanton’s older daughter, Margaret; for Harriot, however, Ginsburg seemingly has brought nothing. As the children open their holiday gifts, Harriot approaches Ginsburg to ask after her own gift from the distinguished Supreme Court justice, who was the second woman in U.S. history ever to hold that position. Ginsburg then presents Harriot with a beautiful book containing all thenoteworthy guests’ gifts of knowledge of the world and of the many mysteries each has encountered in both her personal and public journeys. Harriot proudly shows her gift to her mother and the other children, but Margaret, seeing the treasured book, grows jealous and tries to wrest it away. Later, during the party, Margaret flings the book into a fire on the hearth. Heartbroken, Harriot runs into her mother’s arms for comfort. But the power of the wisdom imbued in the book magically protects it from the flames, and Ginsburg retrieves the undamaged treasure. Overjoyed, Harriot cradles the book and dances with the other children in attendance at the party. As the festivities draw to a close, the guests take their leave and the Stanton family prepare for bed. Harriot, enthralled by her gift, tries to remain awake. As the clock strikes midnight, however, sleep overtakes her while she reads an entry from the splendid book.Inspired, Harriot drifts into sleep pondering the words inscribed on the page: “Be independent, travel the world and experience all of its joys and culture. And most of all, its dance.” With that, Harriot dreams of traveling the world to take in its wonders, and to dance amidst its glory.
Epilogue As Harriot awakens, she lovingly presses the book against her heart, as she remembers all she learned whilst dreaming.With the words of the book resounding in her mind, and her heart full with the memory of her dream, Harriot looks to a time when she can dance throughout the world and experience life to its fullest -- a gift made real by the strong and independent women and girls who preceded her; it is their unparalleled grit, daring and fortitude that would forge in Harriot the boldness of spirit and perseverance needed to fight for the equal rights of all those whom she would meet in her life’s travels.
Scene 2 The Dream-Harriot dreams of all the magnificent, daring and lionhearted individuals who attended the party at her home -- their lives, the places they came from and traveled to, the dreams they realized, the examples they set and the roads they paved for others like Harriot to follow. She meets women and children from all over the world, from places and cultures she had never known. They share stories of their backgrounds, ideals and lives with one another and dance together in joyful celebration of their unity. As night slips into dawn, Harriot bids farewell to her new friends as they fade away and she begins to waken.
WITH JOJO AND TESS
Skirts and Practice Tutus Wearing skirts in dance class is a great way to accessorize! Here are some fun brands to find dance skirts and practice tutus at: Bloch, Freed, Bullet Point, Suffolk, Elevé, Zia, Mariia, Capezio and Wear Moi. A dancer can never have too many skirts as there are so many different, styles, lengths and materials! Miscellaneous Some other items dancers will love include Perfect Fit toe pads, masks, a marley square from Harlequin Floors, a dance bag, a subscription to Pointe Magazine and dance books such as Misty Copeland’s “Life in Motion”. Leotards Some great brands to find fun and colorful leotards include Yumiko, Lucky Leo, Ballet Rosa, Elevé, Wear moi, Capezio, Gaynor Minden, Chameleon Activewear, Mariia, Bloch and Nikolay. Keep in mind when picking out leotards what you are going to wear them for. For auditions, black leotards are necessary and for class or photoshoots, more patterned and colorful leotards can be worn.
As the holidays approach and the time for gift giving is upon us again, we have compiled a list of items that dancers need and desire. Here are many ideas for gifts and where one can easily find them. Warm- ups With the colder weather, warm- ups are a must have. Our favorites are Bloch warm up booties, Bullet Point trash bag pants, Wear Moi thigh- high leg warmers, Capezio socks or any fuzzy socks which can be found at many places including Target. Tools for Stretching or Warming Up Warming up is an essential part of preparing yourself to dance each day. Tools such as the Flexistretcher, foam rollers, Therabands, massage balls, stick rollers, heatable/ freezable roller by Gaiam and rotator discs can help prevent injury, reduce soreness and release muscle tightness.
This year, we have each faced difficulties and challenges through the pandemic. Nonetheless, as we approach Thanksgiving, I realize the many things I am grateful for. I am very grateful for my privilege and the opportunities I have been given this year. For example, my ability to be present in the dance studio with my teachers and classmates. I recognize that during these unprecedented times of COVID-19, dancing in a live studio is not possible for many. Furthermore, I am grateful for the opportunity I have been given to participate in upcoming competitions and performances. Although circumstances are far from normal, I have still been granted opportunity to learn and perform choreography in a setting I have never experienced before. Finally, I am most grateful for my parents who have allowed me to enter the studio, despite the risk of COVID-19. Not to mention, the expenses they have paid for my training, uniform, equipment, and costumes. Overall, this year, I am extremely grateful for the opportunities I have been given, the people I am surrounded by, and the privilege I have. -Nandi Chase
GIVING THANKS WHAT WE ARE GRATEFUL FOR
WITH NANDI AND REESE
As a young dancer, I am thankful for a lot of things. Especially considering no one else in my family was able to afford extracurricular activities such as ballet growing up. I am extremely thankful for my mother’s hard work and my father’s dedication because without those two characteristics, it is nearly impossible to follow your dreams. They have supported me through everything and given me so much love. If it weren’t for them, I would not have the opportunity to take ballet with so many amazing people. Although I cannot participate in the full time program, I am beyond grateful that I can still share the same experiences as everyone else while in the part time program. I am thankful for my healthy able body and I am thankful for my friends in dance cheering me on when I needed it most. I am thankful for all of my improvements and how well I can learn new things. And above all, I am thankful for all of my dance instructors. As much as I’d like to take credit for my dance accomplishments, I know that it would not be fair to all the people who took the time to guide me along the way. For all these things, I am grateful and thankful for. -Reese Richburg
At the Akhmedova Ballet Academy (ABA), we have many traditions, some in the studio, while others are before or after performances. Some of the many traditions that we have at ABA are Secret Santa, holiday leotards, the height wall, pique pique ABA, dressing up for Halloween, holiday parties and many more.
WITH LUCY AND ABBY
INSIDE OUR ABA TRADITIONS!
Height Wall (wall of heights):From the old studio, we had a wall with everyone’s height on it. Each year we would measure everyone to see how much we’ve grown. Now that we are in the new studio, with many new students too, it is exciting to see the new wall of heights that will last for many years. We also joked about cutting off the wall of heights from the old studio so that we can have it in the new studio. Holiday Parties at Mme’s House: after the Nutcracker or the end of year performance we have a party at Mme. Akhmedova’s house. Everyone attends and dresses up nicely, bringing food and snacks for the party. At the end of the party, we each get a goody bag from Madame. We will also take a group picture at the end of every party.
Secret Santa: Each year, ABA has a tradition of doing Secret Santa. Our Secret Santa is usually done three times, each time giving the receiver a new hint for them to guess who their secret Santa is. This is one of our favorites because we get to give to others while having fun and getting to know them! Pique Pique ABA: At every performance we have we do Pique Pique ABA. What usually happens when we do Pique Pique ABA is that at least one person’s foot gets hit. No matter how big or small the circle is, someone has to get hit with the other person’s foot or pointe shoe… yikes. Holiday colored leotards: for Valentine’s day, everyone has to wear either a white, pink, or red leotard for class. We are not allowed to wear any other color leotard or skirt even if it complements the red, white, or pink. This is what makes ours extra unique. Dressing up for Halloween: on Halloween, everyone needs a costume for class and it is addressed as an emergency if you don’t have a costume. If you don’t have a costume one will be supplied by the costume room.
As you can see, ABA has many traditions and we love each of them. For many of the girls at the studio ABA is a home away from home. We are a family, and these traditions help us get to know each other, and grow closer to each other.
Toi toi toi gifts from Mme: Before each show or performance, Mme. always gives us a toi-toi-toi gift, whether it's a picture of all of us or a chocolate for good luck. End of summer intensive gifts: at the end of every summer intensive Mme. gives us a gift. This past year she gave us a towel, and skincare mask, along with a notebook and pen, a lanyard, and a bag. After performance pictures: after every performance we take a normal group picture, then after that we take a silly picture where we are all in a silly, goofy, or weird position. Having these “silly” pictures helps us to remember all the good times we have had at the studio. Parades: During the year, we usually go to some parades. The parades that we have gone to include the Kensington Labor Day Parade and also the Thanksgiving Parade in Silver Spring. From what we remember, the Labor Day Parade was extremely hot and the Thanksgiving Parade on the other hand was extremely cold, but we l had a lot of fun performing together! Singing Happy Birthday: This is a common tradition, but at ABA, we sing happy birthday all together. For us, our special edition is our pianist, Natasha, who always makes it so much better. Each time is a different experience, but they are always so much fun because of everyone’s reactions.
PRIORITIZE, ORGANIZE AND NUTRITIONIZE WITH JESSICA
How to Stay in Shape During the Holidays The holidays are a time of great fun and cheer but they can also be a stressful time for dancers who work so hard to maintain a certain ballet aesthetic. Here are some tips and ways that you can enjoy the holiday season while not getting out of shape. It is important to maintain a higher level of physical activity as you are not having the same high level of classes and rehearsals as your body is used to. If you cannot get into a studio for a private or a class then find a space that has something a little over waist height that you can use as a barre. If you find this you can give yourself a class. Yes it’s not the same as a class but it will allow your muscles to keep working to a certain extent. Due to COVID we have become used to this situation so it will not be too different for many.
Add extra time for cardio and toning exercises than normal to make up for the lack of normal training. Elliptical, treadmills, running etc will help keep your stamina up and if you are afraid of weight gain then cardio is a perfect alternative. Try to do your cardio for over forty minutes, this is when the body goes into the fat burning mode. Adding toning exercises is also important to keep you from losing your muscle. Eating healthy is also important. Yea there are lots of fun holiday treats but just be careful with what you choose. Coming back from the holidays will be discouraging and hard if you don’t think about your intake of food. Choose the treats you really want and try and spread them out and not have excessive amounts. Keep them as treats rather than everyday occurrences. Since your activity level will be reduced it is far easier to gain weight in this time period.
AT THE YOUTH AMERICAN GRAND PRIX PHILADELPHIA REGIONAL
WITH THE COMPETITORS: LUCY JENNIFER ARIEL
Last weekend, I went to my first competition of the year in Philadelphia. We went there to attend Youth America Grand Prix (YAGP). Overall, I did pretty well, placing 2nd in both classical and contemporary! The day of the competition was very calm, not very stressful at all, though there were definitely still some nerves. It felt really good to be performing on a stage again, after many months of quarantine! Although it was different than what usually happens in the competition, it was still a great experience and opportunity. How it worked was that each dancer could only go into the theater 30 minutes before their open stage. Each category had two groups, and those groups had up to 15 dancers each. The number of people in the audience was also different because of the virus restrictions. For this competition in Philadelphia, there could only be 30 audience members, not including the judges. In the dressing rooms, either before or after the performances, dancers and teachers had to wear masks at all times. Then, while the dancers were backstage, we had to bring a plastic bag for our masks and other belongings we bring. When going on stage, most dancers took off their masks to give a better execution. Though these rules help ensure the safety of everyone there, of course there was some small issues, such as messing up the makeup under the mask and not having the most amount of time to get ready and prepared at the venue. But overall it was great to be on stage again and represent my school.
LUCY QIAN
JENNIFER
My first competition at YAGP was a great experience. At first I was nervous and afraid. But everyone at the competition was very nice and organized. We wore masks the entire time and still had a lot of fun. As I performed my variation, I felt really artistic and pretended I was a major ballet dancer performing at a theater. There are many things I would like to improve for my next competition. One thing I learned is that you only have one shot to perform. Whatever happens on stage is permanent. You can’t go and fix it. It’s only one shot and you need to make it perfect. Since it was my first time, I think I need to work harder for improvement. Overall, I thought my experience at YAGP was fun and exciting. I hope I can participate more in the future. I am grateful that I have my teachers and my friends at ABA who support me along the way.
Madame and my teachers Ms. Marina and Ms. Jessica worked very hard with me to get me ready for the competition, and I felt prepared. Backstage at YAGP, I felt nervous but excited. There were some extremely good dancers there. I did my best and felt I performed well -- but there is always room for improvement! Madame said she was proud of me, which made me very happy. The judges gave each dancer scores and feedback, and I will use what they said and what Madame and my teachers tell me I need to do to improve. It was such an honor to go to the competition, and I am so excited for my next YAGP competition.
My very first YAGP competition was on Nov. 7, in Philadelphia. I was in the pre-competitive division, which is for kids ages 9 to 11. I went with two other students from ABA, Lucy and Jennifer, and I had a wonderful time! I also learned a lot. One thing is that all dancers have “open stage” time before their performances to get used to the stage and to practice their Contemporary and Classical Ballet pieces and bows. Madame Akhmedova helped me and my classmates so much, by telling us what to expect and what to do if our music stopped during our routines. She also did a short class for us before the competition, helped us with our makeup and put the finishing touches on our costumes.
ARIEL BARNETT
THROUGH A MOTHER'S EYES WIT
WITH PAMELA BARNETT
My daughter Ariel -- who is an 11-year-old student of dance at ABA -- was an infant when my sister-in-law shared with me the wisdom she had gleaned from raising three sons: “Every step your child takes is a step away from you.” Indeed, parenting is a complex and bittersweet brew of pride at our children’s progress, tinged with nostalgia; each milestone achieved is another sign of the diminished role we as parents will play in our children’s lives. This was very much on my mind as I watched Ariel on stage at her first Youth America Grand Prix, early November in Philadelphia, when I noticed just how self-realized my daughter has become as both a person and a dancer, thanks to the dance training and life-lessons imparted to Ariel under the expert tutelage of Madame Akhmedova and teachers Ms. Marina and Ms. Jessica, who worked with such care and graciousness to ensure Ariel would be ready for that very moment. Watching my child perform was delightful, but what brought tears to my eyes was observing Ariel during YAGP’s open stage, in which the performers share the boards as they run through their routines. Watching Ariel moving so confidently on stage, with so many children jockeying for position, was an absolute revelation for me. It is something that would have rattled me, but Ariel’s focus was so intensely inward, she scarcely seemed to notice the other dancers: She was careful not to encroach on the other dancers’ space, yet she was unafraid to assert her own boundaries amid all the moving bodies.
The ability to hold both humbleness and confidence in one hand is priceless, and this trait has been finely honed in Ariel under Madame, who by her own example and instruction instills this virtue in her dancers. Amid my daughter’s preparations for and participation in YAGP, I have watched her self-confidence, maturity and feelings of independence and capability deepen. Ariel takes great pride, but no vanity, in having tackled a new challenge, and she feels immense gratitude at having had this opportunity. ABA students’ attendance at YAGP is the byproduct of the dedication, hard work and expertise of Madame and her faculty, who give their all to help ready students for the mental and physical challenges of competition. The process sharpened Ariel’s focus and desire to improve as a dancer; she is, indeed, dancing away from me, as she puts her utmost trust and faith in others who are supremely equipped to help her in this discipline. Yet I feel no tinge of parental melancholy – just gratitude for the gift of ABA, delight in how studiously Ariel approached her preparations for YAGP and pride in the poise and confidence she displayed while on stage. My daughter is coming into her own, under the careful eyes, generous hearts and skilled hands of the expert teachers, mentors and role models she has found within ABA. With Madame Akhmedova at the helm, Ariel and her schoolmates are being lovingly guided in their journeys toward becoming both mature young women and the best possible dancers they can be. As a mother, it is both a blessing and a delight to have a seat in the audience from which I can watch my child blossom.
A teacher’s wish list: I am wishful for students who work hard, focused, and respect the process of the training. Students who give their all when the teachers give their all to them. Wishful for making a difference in every student’s life, helping them to find their potential and encouraging their love for this beautiful art form. Wishful for putting on live performances for an audience again. Wishful for a better future for all dancers. A list for which a teacher is thankful: Thankful for talented, competent, compassionate, passionate, smart and healthy students. Thankful for supportive and trusting parents. Thankful for an enthusiastic audience. Thankful for former students making their dream come true. Thankful for being able to teach and pass on my knowledge to the next generation of artists for 22 years. Wishful and thankful for 5th position!!!
ask the artistic director
with mme. akhmedova