^AB Vaganova died in Leningrad, on Novem

^AB Vaganova died in Leningrad, on November 5, 1951. Vaganova was kind and encouraging, but she also demanded precision, attention to detail, concentration, and hard work, and she encouraged her students to learn constantly. Visit thenewyorkballetinstitute.wordpress.com for more information! http://ow.ly/i/bEyOF

Ardani Artists 25th Anniversary Galas – Interview with Natalia Osipova

Ardani 25 – Interview with Natalia Osipova – YouTube.

Are you in London July 17 and 18th? GET

Are you in London July 17 and 18th? GET TICKETS for these Gala Event dates presented by Sergei Danilian/Royal Ballet, presenting Natalia Osipova and Ivan Vasiliev (with Edward Watson, and Marcelo Gomes) premiering NEW WORK especially created for these artists of Ballet! http://ow.ly/Pd2x7

^AB Vaganova was head of the State Acade

^AB Vaganova was head of the State Academic Theatre of Opera and Ballet—formerly the Mariinsky—from 1931 to 1937. She continued to draw on classical tradition, but also introduced innovative choreography, including a completely new version of Swan Lake. At the time, traditional ballet was being attacked as too conservative and creatively stagnant, and choreographers strived to work with significant historical themes, dramatic and well-developed plots, and artistically depicted yet realistic characters. http://ow.ly/i/bEyMh

^AB Volkova noted that as a teacher, Vag

^AB Volkova noted that as a teacher, Vaganova rarely praised a student in words or said that a move was well executed. Instead, she would calmly say, “You are now ready to do that step in public.” She was dignified, calm, and quiet at all times, and her manner elicited a natural respect from her students. http://ow.ly/i/bEyKC

^AB Rather than relying on intuition and

^AB Rather than relying on intuition and improvising during lessons, Vaganova rigorously planned each session beforehand. Thus, her lessons moved rapidly, taking dancers through difficult and interesting routines. In addition, she made sure to explain the reasons behind each exercise, so that students could not only do the necessary steps, but could also describe the correct form and explain the exercise’s purpose. In addition, she often asked students to describe in writing why a step was not correctly performed, which helped them to understand what they were doing wrong and how to correct their faults. Vaganova also fostered creativity among her students by asking them to create new combinations of steps that they had learned in their lessons. http://ow.ly/i/bEyIP

^AB In addition to examining the placeme

^AB In addition to examining the placement of the dancer’s feet, Vaganova paid detailed attention to the placement of arms during movement. She believed a dancer’s arms should not simply decorate a movement, but should assist the dancer in high jumps and turns. This method is visible in the technique of Mikhail Baryshnikov, a 20th century dancer who is known for his seemingly impossible leaps high in the air, often with no apparent preparation. Baryshnikov used his arms to create lift in his body without flexing his legs to push off the ground, a trait common to all dancers trained in the Vaganova method. http://ow.ly/i/bEyyt