Summer Intensives

Summer on Campus: Collegiate Summer Intensives Offer a Glimpse of Life as a Dance Major

Students at the University of Utah's Department of Ballet summer intensive. Photo by August Miller, Courtesy U of U.

Maura Bell was determined to have a ballet career. But as a high school senior, she didn't feel ready to audition for companies yet. “I knew I had more maturing to do, both technically and as a young woman," she remembers. Bell started researching collegiate options and discovered that Indiana University's ballet department hosted a two-week summer intensive for pre-college students. “The reputation of IU spoke for itself, so I decided to do the summer intensive to get a feel for what it would be like to go there."

The deciding moment came at the end of her second week, when department chair Michael Vernon led her and fellow students on a tour of IU's Musical Arts Center. “I remember standing on that stage—it's the size of the Met— and it just clicked: This was where I wanted to be, my dream school," she recalls. Bell auditioned for the ballet department that fall. Four years later, she credits the training and connections she made at IU with her ultimate post-graduation success: a contract with Saint Louis Ballet.

College summer programs offer students a chance to experience what life would be like as a dance major, and introduce them to a wide range of possibilities for their training and future career. Even those on the fence about going to school could benefit from spending a few weeks on campus—along with the strong focus on individual development, collegiate summer intensives allow students to meet year-round faculty and current dance majors, scope out the dorms and dance facilities, and do some major networking.



Students at University of North Carolina School of the Arts. Photo by Dance Shitagi, Courtesy UNCSA.


A Taste of Campus Life

Many college summer programs aim to mimic the experience of being a year-round student. “What's ideal about it is that they get a real taste of the university," says Vernon. “They're on IU's campus and in our dorms, taking class from our regular faculty, learning the rep our students performed the previous school year." Dancers also have lectures from professors in music for dance and take theater dance classes. At the dorms, says Vernon, “the RAs are all ballet majors who can talk to them about the department and show them what our standards are."

At the University of North Carolina School of the Arts, summer intensive students are exposed to the eclectic atmosphere of its conservatory life. UNCSA offers three simultaneous intensives in classical, comprehensive and commercial dance. Classical and comprehensive track students take many of their classes together. Visiting guest artists supplement the year-round faculty, including recent UNCSA alums like New York City Ballet's Claire Kretzschmar, American Ballet Theatre's Kelley Potter and former Royal New Zealand Ballet dancer Sam Shapiro.

In fact, guest faculty makes up a large component of these intensives, allowing students to make professional connections. At the University of Utah's summer intensive, program director Michael Bearden brings in three or four artistic directors each year. “It's a great opportunity for our students to get exposure to people who may be scouting for their own companies," says Bearden. Recent examples included Cincinnati Ballet's Victoria Morgan, Pacific Northwest Ballet's Peter Boal, Kansas City Ballet II manager Anthony Krutzkamp and UNCSA dance department dean Susan Jaffe.

Kara Roseborough, a junior at U of U, was initially drawn to its summer intensive partially because of its guest teachers. But she found herself excited by the university's own faculty, as well as the atmosphere on campus. “U of U wasn't on my radar until I went that summer, but I was so impressed by the teachers, felt so nurtured and pushed, that it was an environment I became very interested in," she recalls. She's now double majoring in English and ballet and hopes to add dance journalism to her experience someday.


Maura Bell in Balanchine's "Western Symphony." Photo by Pratt+Kreidich Photography, Courtesy St. Louis Ballet.


Getting Your Foot in the Door

Attending a college intensive may also give you an advantage if you decide to audition for the year-round academic program later. Department directors and faculty are often actively recruiting—and assessing—potential applicants during the summer. “Talent is only one aspect of becoming a great artist," says UNCSA summer program director Sean Sullivan. “Characteristics that take time to assess in a person, like tenacity, work ethic, curiosity, imagination and respectfulness all play into who might be an ideal candidate for our program. So if we've had five weeks to get to know and appreciate a dancer, versus three hours at an audition, it's very beneficial."

Lawrence Rhodes, artistic director of The Juilliard School's dance department, agrees, and notes that the process goes both ways for students attending the school's summer intensive: “You get three weeks of experience in the Juilliard way of training, working and living. You can decide whether you like it or not, and we can decide whether we think you're the right material for us."

Current senior Angela Falk says attending Juilliard's summer intensive not only solidified her hunch that she wanted to enroll there, it made her less intimidated to apply. “I absolutely felt more confident going into the audition for the college program," she says. “Knowing who was teaching the audition class, as well as several of the other dancers, made me feel comfortable."


Lawrence Rhodes leading class at Juilliard. Photo by Todd Rosenberg, Courtesy Juilliard.

Visit Again During the School Year

While summer is a great chance to preview college life, directors agree that those interested in the degree program should revisit campus during the school year. Sullivan says that while the intensity and professionalism is the same, “during the year, the depth of exploration is greater. We do four major dance productions, and the students are also taking their academic classes. It's well worth it to come again."

Even so, Falk is glad she was able to spend a summer on campus. “I felt like a Juilliard student for three weeks," she says. “On the last day, I told my parents, 'If I ever got into this school, I don't know how I'd pass it up.' "


Show Comments ()
Garrett Anderson. Photo Courtesy Ballet Idaho.

Big news in Boise: Ballet Idaho has announced that Garrett Anderson will succeed Peter Anastos as the company's next artistic director, starting in July. Anderson, who had an extensive dance career as a soloist with San Francisco Ballet and Royal Ballet of Flanders, and later danced with Hubbard Street Dance Chicago, has a special connection with Ballet Idaho's home city. He performed with the Trey McIntyre Project in 2011 and later as a guest artist with Boise-based LED, a music, film and dance collaborative. Anderson has also served as the chair of the Dance Department at New Mexico School for the Arts in Santa Fe.


Members of Ballet Idaho in "A Midsummer Night's Dream." Photo by Mike Reid, Courtesy ballet Idaho.

Anastos, who has enjoyed a prolific choreographic career, is retiring as Ballet Idaho's artistic director after 10 years at the helm. He leaves behind a company of 18 dancers and 6 apprentices, an academy, and a repertoire ranging from full-length classics to Balanchine to new and contemporary works. In a statement Anderson says: "I am eager to work with these artists and administrators to connect with the larger conversation Boise is having about its future. [...] Together we can continue to extend Ballet Idaho's work throughout the region and expand its artistic voice. Looking forward, my goal is to continue a legacy that is inclusive of all audiences, while pushing the boundaries of dance and helping to define its relevance in our community."

popular

Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

Keep reading... Show less
Kyle Froman

"I'm all about comfort and easy clothing because I'm always on the go," Jasmine Perry says. But that doesn't keep the Los Angeles Ballet company dancer from looking stylish. Favoring dresses and athleisure wear, Perry also prefers classic lines and neutral colors like white, black, navy and gray, which are easy to mix and match. The finishing touch: a pair of sneakers from her extensive collection. "I had ankle surgery four or five years ago, so I need a good walking shoe," she explains. "I have a ton of Nikes and running sneakers from Brooks for when I've had a long day at work and need something that feels like clouds on my feet."

But in the studio, you won't find any of the yoga pants or loose-fitting T-shirts she loves so much. "I don't actually have that much attire for layering," Perry says of her strictly leotards-and-tights class style. "It doesn't get that cold here," she explains. "I have a few legwarmers and things for when I'm rehabbing an injury, but they're not part of my daily attire."

Keep reading... Show less
Ballet Stars
Aviva Gelfer-Mundl competing at the 2018 Prix de Lausanne. Photo by Gregory Bartadon, Courtesy Prix de Lausanne.

At the beginning of the month, 74 young dancers from around the world gathered in Lausanne, Switzerland to compete in the 46th Prix de Lausanne. At the end of a packed week, eight candidates were named prizewinners, including 16-year-old California-native Aviva Gelfer-Mundl. One of seven Americans to enter the competition, Gelfer-Mundl—who trains both at V&T; Classical Ballet Academy in Laguna Hills, CA and privately with Alla Khaniashvilli and Nazgul Ryskulova Shinn—was the only one to leave as a prizewinner. Pointe caught up with this nascent star to hear about her former career as a rhythmic gymnast, her time at the Prix and her plans to study at the Vaganova Ballet Academy in Russia next year.

Before ballet, you were a rhythmic gymnast. Why did you make the switch to ballet?

I started rhythmic gymnastics when I was around six or seven and I competed for several years. I was actually state champion and winner of the Junior Olympics in level 5. However at age 10 I got a really bad hamstring injury, and that caused me to reconsider if I really wanted to continue the sport. I wanted something easier on the body, so I started ballet and immediately fell in love with it.

Keep reading... Show less
popular
Angelina Vorontsova in the company's revival of "Cinderella." Photo by Stas Levshin, Courtesy Mikhailovsky Ballet.

Ella Persson remembers the rehearsals for her debut as Giselle. "I was in my first year with the company, and I started preparing with Mikhail Messerer during late evenings," the Mikhailovsky Ballet's Swedish-born coryphée says. "I was definitely not ready, but he gave me a chance to push myself and made me so much stronger, mentally and physically."

Under Messerer, the Mikhailovsky Ballet has carved a niche on the Russian and international stage by investing in coaching and dancers' growth. Unlike the older Mariinsky, St. Petersburg's second ballet company was only founded after World War I. But with a classically focused repertoire and productions that rotate onstage every month, it offers plenty of opportunities for talent to thrive.


Ballet master in chief Mikhail Messerer. Photo Courtesy Mikhailovsky Ballet.

Keep reading... Show less
popular
San Francisco Ballet in Balanchine's "Serenade." Photo via SFB on Instagram.

Following a week filled with Valentine's Day-inspired romantic ballets including Romeo and Juliet, Cinderella and Giselle, this week brings a varied mix of repertory from San Francisco Ballet, New York City Ballet and American Ballet Theatre (currently on tour in Chicago), as well as Pittsburgh Ballet Theatre's Swan Lake and Eugene Ballet's collaboration with local band Pink Martini.


San Francisco Ballet

San Francisco Ballet's program entitled Bright Fast Cool Blue is up at the War Memorial Opera House through February 24 and features works by George Balanchine and Benjamin Millepied, as well as the SFB premiere of Justin Peck's Rodeo: Four Dance Episodes. The photos that the company has been posting of Balanchine's Serenade are absolutely gorgeous. From February 17-25 the company is also presenting Distinctly SF Ballet. This trio of works by artistic director Helgi Tomasson, Val Caniparoli and Myles Thatcher were all created for SFB. You can check out the program's trailer below.

Keep reading... Show less
popular
Peter Martins. Photo by Adam Shankbone, Courtesy Wikimedia Commons.

The New York Times reports that a two-month long internal investigation into sexual harassment and physical abuse allegations against Peter Martins, New York City Ballet's former ballet master in chief, has found that the accusations could not be corroborated. In December, an anonymous letter sent to NYCB and its affiliated School of American Ballet accused Martins of sexual harassment, although the claims were non-specific. Afterwards, several former dancers and one current company member came forward to the press accusing him of physical assault and verbal abuse. Martins, who directed the company for 35 years and has denied the accusations, retired on New Year's Day after taking a leave of absence. An interim team led by ballet master Jonathan Stafford has been overseeing the company in the meantime.

Keep reading... Show less

Sponsored

Videos

Sponsored

mailbox

Get Pointe Magazine in your inbox

Sponsored

Win It!