Fall registration for the 2011/12 Academy school year is in full swing, and the Academy has something to offer every student, beginning as young as even 3 years old.
Creative Movement classes, designed for children ages 3-5, take the approach of “creative play” and are designed to hone motor skills, while educating children on movement. Classes meet once a week and offer “movement stories and ballet-based activities” appropriate for both boys and girls.
When children turn 5, they and their parents are given the option of moving onto our Pre-Ballet program, which is open to children ages 5-7. Pre-Ballet is more structured than creative movement, and serves as a transition between Creative Movement and when formal training begins at age 8, in Level 1.
In both our Creative Movement and Pre-Ballet programs, faculty in the Ballet Austin Academy place high emphasis on curriculum and age-appropriate teaching. Through these classes, we provide a place for children to not only have fun, but also take the opportunity to prepare themselves for a quality dance education. We believe that upholding excellence and professionalism starts with providing quality dance instruction at the youngest age possible.
At age 8, students may join Level 1 in the Lower School, marking their first step to professional ballet training. This age and level also mean another very special landmark: the age where Academy students have the opportunity to be cast in The Nutcracker! Each year, over 200 Academy students are cast our annual production exclusively.
If you are interested in enrolling your child, please check the Ballet Austin Academy‘s website for more detailed information, including new student registration forms.
Please note: students new to Ballet Austin but with prior experience, who are 8 and older, are required to attend a placement class. Dates, times and other important details are below.
August 20, 2011 Ages 8-12 | 2-3:30pm Ages 13 and older | 3:30-5pm Note: Please arrive 30 minutes early for check-in
Ever since Alexander Graham Bell transmitted his voice into the back room of his science lab, the telephone has been a necessity of life. Back in the day, I remember my grandma sharing a phone line with many of the folk from her small town in eastern Washington; the telephone party line. Party lines were not always a party; people could listen in on calls (what we call eavesdropping), and they had to compete for phone time with the entire town. Telephone party lines as they once were known may be a thing of the past, but every spring I experience a different sort of telephone party line.
Beginning the first weekend in January Ballet Austin artistic staff travel all of the United States to audition students for Ballet Austin’s Summer Intensive. They see hundreds of students from coast to coast. My favorite part of this process is when they come home. I am handed a white binder containing the names of everyone who auditioned. I am the bearer of good news, “you have been accepted…” That’s when the party begins! Who doesn’t love to give good news? I am no exception. This year I talked to about 500 students to let them know that they are invited to attend Ballet Austin’s Summer Intensive. When I share the news with them in a personal conversation over the phone, a simple call becomes a celebration; a party.
From Dunwoody, Georgia to Kenosha, Wisconsin; from Port Moody, British Columbia to Miami, Florida; from Portland, Oregon to Portland, Maine; the telephone party line is almost always the same. Screams, tears, and cheers from excited students rejoicing over the news. Some respond in disbelief, some in relief, but all with appreciation and anticipation as they look towards summer. Countless hours of class, miles traveled to audition, passion, dedication, and commitment bring opportunity for summer. For the student it’s all about dance. For me, these telephone parties are just the beginning of new relationships; an opportunity for Ballet Austin to reach across 50 states. Who says the telephone party line is a thing of the past?
When discussions began at Ballet Austin about relocating from our longtime home in an historic firehouse near the University of Texas campus, there were countless motivations at play. One of the paramount goals was to house all of the things we do – our Academy, our open Butler Community School classes, the professional Company, and the artistic and administrative staffs – under one roof. And when the leadership and Board of Ballet Austin located a former printing warehouse in the heart of a burgeoning entertainment district in downtown Austin, they knew that this building could not only meet that goal, but that it also had the potential bring dance to a much wider audience in Austin.
At that point, though, it was still just a warehouse with the lingering scent of printing ink. So we enlisted the help of the architect Marla Bommarito and the Bommarito Group to help transform an industrial space into one that could accommodate the many facets of Ballet Austin. Marla and her team laid out a plan that included cutting many windows into the exterior walls, as well as building studios with windows to the corridors in the building. This makes for an environment in which, no matter where you are in the building, you can see dance happening at all times of the day. On top of that, the plan included a 287-seat theater, offices, and wonderful public spaces. Out of this plan, and the generous donations of hundreds of Ballet Austin supporters, the Butler Dance Education Center was born.
As proud as we are of our building, we did not have a way to show the life of the building to those who haven’t had a chance to visit. And as much as we love the beautiful pictures we have, we wanted movement. So we enlisted the help of longtime friends and collaborators, photographer and director of photography Andrew Yates of Andrew Yates Photography and Beef and Pie productions along with editor Ariel Quintans of Beast Editorial, to produce a video that shows the life of the spaces that we are fortunate enough to inhabit every day. Although I am of course biased, I think the result is incredible. Check out the video above for a virtual tour of our downtown Austin home, the Butler Dance Education Center.
What’s it really like to dance the role of Clara? We sat down recently and asked this year’s two performers that and a lot more. Check out the video of Macrina Butler and Rachel Fresques to get an insider’s view of all that goes on behind the scenes of The Nutcracker.
Click here for more info on Ballet Austin’s 47th Annual Production of The Nutcracker.
So you’re in The Nutcracker this year – congratulations! Now that the initial excitement is over, it’s time to worry about costumes, choreography, and of course always pointing those feet. But where do you fit into the story of The Nutcracker? Well, it depends on your part. If you’ve been cast as a Bon-Bon, I am here to help!
In Ballet Austin’s The Nutcracker, the second act opens with Clara’s journey into a magical land. A beautiful Sugar Plum Fairy greets her and introduces her to a cast of mystical characters who dance and entertain her. The Bon-Bons enter second to last, right before the Waltz of the Flowers and the dance the Sugar Plum Fairy performs with her cavalier, or king. After a series of ethnic dances from Spain, China, and France, the Bon-Bons serve to put a little fun back into the show!
As you may have discovered, Ballet Austin is not the only company to put on a show of The Nutcracker and there are countless versions found across the country. For instance, Pacific Northwest Ballet (PNB) in Seattle, Washington puts on a world-renowned show that is famous for its elaborate costumes and more modern twists on the story. If you are cast as a Bon-Bon at PNB, your part is called the Commedia and the Toy Theatre. In their story, Clara’s old uncle accompanies Clara to the magical land of the Sugar Plum fairy. During this scene, he opens his long cloak to expose a toy theatre where little dolls are dancing around. Now, when you perform this part, you don’t actually have to dance inside a cloak, but the old uncle will flourish his coat and all of you will seem to magically appear!
Another company whose version of The Nutcracker is world-famous is the New York City Ballet (NYCB). You may have heard of a choreographer and director named George Balanchine. This is his arrangement of the beloved Christmas story. To begin with, if you have been cast in NYCB’s The Nutcracker, congratulations; only about twenty kids from their school are chosen each year to perform with the company! Here, the Bon-Bons are called Pollichinelles, which is a fancy name for clowns. Like The Nutcracker at Ballet Austin, this part is supposed to be funny! The little Pollichinelles, or “Pollys,” as the company calls them, surprise their mother (Mother Ginger) by running out of her big skirt and beginning to dance. Four girls and four boys dance in pairs until Mother Ginger calls them back under her skirt. In Mr. Balanchine’s choreography, however, Mother Ginger has already started to move off-stage while her children are doing emboités to catch up to her. In all, the kids have to do a total of 32 emboités to get back under the skirt, and that’s at the end of the dance!
To learn more about different productions of The Nutcracker, explore these resources:
Get a glimpse of Ballet Austin behind the scenes and read more about our upcoming performances, as well as get an inside look into the lives of company dancers and Artistic Director and Choreographer Stephen Mills.