Comprehensive Ballet Education
One of the unique Aspects of our school is the systematic approach to artistic and physical aspects of Classical Ballet education. Our Artistic Director Egle Spokaite has designed the syllabus that allows every student to grow as a well rounded ballet dancer and achieve the full individual potential. To expand the horizons we bring in Master classes and workshops by true masters of their art from from U.S., St. Petersburgh, Canada, Paris and other European places, teachers that introduce progressive approaches of teaching Ballet and related disciplines, the best of which become part of the school syllabus
There’s no way to nail these terms down. They’re constantly morphing through usage, though the Martha Graham School of Contemporary Dance has always been called ‘contemporary,’ and not modern dance. When I was dancing, modern dance was modern dance; it was what we did.
(Janet Eilber, – artistic director of Martha Graham Dance Company, New York City)
Contemporary dance is an expressive dance form that allows for creative freedom while pushing boundaries of tradition. It is not codified or fixed, but rather calls on dancers to make use modern and classical techniques to search for new forms and dynamics, invent new movements. It allows for more creativity, self-expression, emotion, in contrast and compliment to ballet.
Stretching and Body Conditioning
Ballet students’ body strength and flexibility are important to develop in a safe and trauma-free way, we exercise and develop fine muscles of our bodies not usually challenged by the regular routines but yet essential for the body control of ballet dancers.
We believe that it is essential for us to know who we are, to understand what we dance, and use this knowledge and understanding to created the roles and characters of Ballet. The Ballet Institute is a unique school in this aspect as very very few schools have Ballet History in their curriculum. Our Artistic Director Egle Spokaite is a History Buff and teaches this fun and informative class that connects Ballet with the world we live in today.
Character Dance as a discipline was Born in 19 ct. Marius Petipa used character dances to give his ballets a sense of place and personality.
“All the steps have historical meaning,” says Leonid Shagalov, the teacher of San Francisco Ballet School’s character dance program. “If dancers know this meaning, they can bring an emotional side to the dance.”
If you want to know how to dance the Mazurka or Polonaise appropriately to the classical ballet dance,- you need to know it!
Character dance is considered an essential part of academical ballet training. Across Europe, national ballet schools’ students study it for five years, and must pass two character exams before they enter the company. However, it is rarely taught in depth in the U.S. outside of major-company schools.
In addition to all above, during the summer Intensives students try new things, enhance their education in Pa de Deux, Hip Hop, Flamenco, Improvisation, choreograph their own dances. Extraordinary teachers, masters of their own craft, from other schools, states, and coutries are invited to teach each summer.