November 1, 2023 • 50 mins
Join Sally as she talks with esteemed Ballet Mistress Linda Giancaspro about what it's like to be a judge at dance competitions. Linda shares her valuable insights from her extensive experience on the art of making critiques that are both entertaining and educational. Enjoy!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome to the second season of the Dance Studio
podcast.
This podcast is for dancers,teachers, dance moms and
especially dance studio owners.
In the first season, we coveredtopics like scoliosis, eating
disorders and point shoereadiness, along with several
episodes on different dancecareer paths and awesome dance
(00:21):
programs for you and your dancestudents.
In the second season, you cancount on hearing from Tony Award
winners, american BalletTheater teachers, competition
judges and so much more.
The Dance Studio podcast fansare loving the information this
podcast provides.
Take it from season one guest,jennifer Moleto.
Speaker 2 (00:41):
My name is Jen Moleto and I am a former student of
Sally's, now dancingprofessionally at Disney.
As well as teaching dance as acollege professor, sally has
been my mentor through my entiredance career.
What I love about her and herpodcast is that she is not only
willing to be completely openabout everything that she has
learned in her career, but sheis also so curious about what
(01:04):
others have learned in theirunique experience, and she wants
to share all of it with herlisteners.
There is a reason why I havestuck with Sally all of these
years she is committed toadvocating for the success of
the dance community.
If you are a studio owner,teacher, dancer or aspiring to
be any of those things, do notmiss this podcast.
Speaker 1 (01:28):
Welcome dancers, dance moms, dance teachers and,
especially, dance studio owners.
Today we have my good friendand ballet mistress, linda Jean
Casper, joining us on thepodcast.
Welcome, linda.
Hello, so happy to be here.
Thank you so much for beinghere.
Our topic today is judgingballet competitions, but I'd
(01:50):
like to start by you telling usa little bit about your dance
career and how you became aballet mistress.
Speaker 3 (01:57):
Ah, that's a long journey.
A ballet mistress is a toughposition, I think to acquire you
need a lot of background inchoreography and training and
coaching.
For my point of view, it's veryinteresting to see the
difference between those things.
And when you are balletmistress, that is
(02:19):
all-encompassing.
That is one of the mostimportant features your coaching
technique.
You're working with dancersthat are at a high level.
So now it comes to the nextstep bringing out the artistry,
and that's where coaching comesin.
So how?
Speaker 2 (02:34):
did I get there?
Speaker 3 (02:35):
I think that a lot of artistic people follow a path
that is quite winding andsometimes you go to places and
you're doing something that younever even thought about and it
just leads you on an amazingroad, and I think that I have
just been quite lucky on mywinding path.
(02:57):
I started my own small balletschool and it stayed a ballet
training school for almost itsentire life.
I did have to add jazz andother things to keep people
coming, but it was really aballet school, so I started my
own little program.
From there I was hired by StJohn's University and I worked
(03:18):
on the university level for 20years.
I was there, Never thought Iwould be working at a university
, but here I was, Very muchenjoyed it and learned how to be
a great teacher.
When I was at St John'sUniversity and from there I was
always going to Manhattan and Iwas very strict about my own
(03:38):
training and taking classes withamazing teachers all over
Manhattan.
From there I developed a greatfriendship with a Madame, Nina
Stroganova, from the BalletRousse, and I became sort of her
.
I would call myself almost asidekick to her.
She was a very elderly woman atthe time.
She took me under her wing andshe would always say to me Linda
(04:00):
, I want you to take over myclasses when I am no longer here
.
And she taught at City CenterStudios on 56th Street for many,
many years and when she passedI took over because she
introduced me to everyone thereand she said this is my person
that I want to take over.
And I think that step was veryimportant in my life because it
(04:22):
put me in a different realm.
I was working withManhattanites and dancers of all
levels at that point, you know,and not levels.
It was a professional levelclass, but it was people who
were maybe retired from danceand they're still training.
It was young dancers cominginto the city.
So I met a lot of differentpeople.
(04:43):
And then I did make a move and Imoved up to Connecticut and
those two things put me with NewEngland Ballet and that was
where I became Ballet Mistressafter I was there about a year.
It was interesting because Iwas sort of the assistant Ballet
Mistress to the Ballet Master,Steve the great Stephen Hyde,
(05:05):
and when he was leaving Ithought, oh no, this is going to
be big.
And I was offered the positionand I knew what that was going
to entail.
It was going to be a 24 sevenjob and it was, and I did it for
17 years and I did it while Iran my own dance studio.
So it was a lot.
(05:26):
I was working seven days a weekand it was 17 years of that.
Okay, you know our hours arenot always, you know we don't
work eight hours a day all thetime, although I did quite a bit
for the company.
But I was able to do it.
I was able to swing it and Ithink that's how I became Ballet
Mistress.
That was my, my path.
Speaker 1 (05:47):
That's so interesting .
I'm always curious about thefear factor.
So this teacher at City CenterStudios takes you under her wing
and then when you have to teachfor her, how intimidated are
you.
Speaker 3 (06:00):
You know I'm very funny with that.
I don't have a thing with that.
Once I go into what I call MsLinda mode, it's such a strong
being in my personality that itjust takes over.
And this is something that'svery interesting, perhaps, to a
lot of people who run studiosand who teach every day.
(06:22):
I never plan a class, and itcould be on the highest level, I
don't care who I'm teaching, Idon't plan it.
And sometimes I could bewalking to my spot and this
happened to me at City Centermany times where, okay, I was a
little bit nervous maybe thattime and I'm walking to my space
and I'm like in the center ofthe room and I'm thinking I
(06:45):
don't know if I have acombination, and then I just hit
it and I something comes out ofme and I don't know.
It's just strange, it's justit's there.
Speaker 1 (06:55):
Yeah, it's all in there, but the interesting part
is that you're able to think onyour feet literally I do, and
it's the spontaneity Sally.
Speaker 3 (07:05):
Spontaneity for me is a major lifeline in my teaching
.
If I can't be spontaneous, Idon't know if I can't teach.
Speaker 1 (07:14):
Well, that allows you to teach the people that are
actually in the room.
Exactly, instead of creating aclass for people who are
invisible.
Speaker 3 (07:22):
And that's where my strength came at City Center,
because I was in the room everyday.
I never knew who was going toshow up.
It's a city class.
I could have had very greatpeople.
I could have had some, you know, people who were retired, who
wanted to enjoy themselves, butand somehow I would shake it up
and make it good for everyone.
Speaker 1 (07:41):
I've seen you teach Linda and you are simply
fabulous.
Thank you.
Yes, absolutely.
I've had you come and teachmaster classes for my students
several times and I love yourclass.
But let's talk about judgingdance competitions.
How did you get into that?
Speaker 3 (08:00):
That was again a little blip on my road of going
where I'm going and I literally,you know, back in the day you
sent your resume by mail, snailmail and I sent my resume to a
very amazing man in the field.
I didn't even know, I didn'tknow much about the competition
world ballet people.
(08:21):
We weren't into the competitionworld like that we would do,
you know, performances indifferent places, that was our
thing, you know, to gainstrength as a young dancer.
Now everybody's doingcompetition world because that's
where you get a lot of stagework in.
But back then I really didn'teven have a hook.
So I somehow it was a luckystroke I sent my resume to dance
(08:43):
Olympus, dance America, to thewonderful Richard DeSarno and I
think he just needed a balletperson and they were.
Dance Olympus was very, veryloyal, as I found out years
later, to their staff and theyrarely bought people in and of
course the old ballet peoplewere like on staff.
(09:04):
That was it.
They were there for years andsomehow somebody couldn't make
it and he my resume was sittingon his desk, I guess and he
called me and he was like youknow, can you go to like Dallas?
And I said, yeah, I can go.
And then I met on thatparticular city.
I met Sam Fiorello, who's afantastic jazz teacher, jazz man
(09:29):
, tap man, and he and I justconnected and hit it off and he
was very close to Richard and hecalled Richard and said you
have found an angel.
And I always tease, sam,because I'm like you know,
you're the one who put me inthis dance competition world,
sam and he laughs.
And then Richard just kepthiring me after that.
Speaker 1 (09:47):
So I don't, it was just snail mailing my resume,
sally literally back then therewas a stigma for serious ballet
people and the competition.
Speaker 2 (09:58):
Exactly.
Speaker 1 (09:58):
Not anymore, I don't think, but they probably did
need good ballet people.
What do you think a person witha solid ballet background
brings to the judging?
Speaker 3 (10:09):
Well, okay, everyone knows the big thing, we know the
technique and we're going tospeak about the technique and
that's technique, technique,technique.
It's like practice, practice,practice.
But there needs to be anotherelement, because if you just
watch those dancers with thateye, you are going to be what I
(10:29):
would consider too critical, toonitty gritty.
And, after all, these peopleare there giving you their heart
and soul, and they could bedancing a different, whole
different genre than what you'reused to.
What I look for are people thathave a line, and it doesn't
have to be my line.
It's someone that has beentrained.
(10:50):
I can see they're trained.
It's not my training, it'ssomeone else's world of training
, but it's there, it's strong, Ican put my eye on it and I can
relax and watch them and enjoythe show.
And that's exactly how I judgegenres that are not in my world.
Tap is one of them.
I'm not a tapper, so I you knowtap.
I totally look at with that eyeand I do believe that my
(11:13):
background is so vast at thispoint.
And I've watched.
I've been doing the competitioncircuit for over 20 years, so
I've watched a lot of differentdancers with a lot of different
styles and I've learned toappreciate their look, their
training.
But, with that said, I stillhave that evil eye of the
(11:33):
ballerina where I'm looking forand I'm going to say it, the
high releve.
Right now, that seems to be oneof the biggest things that I'm
on when I'm judging.
I feel, like the high releve,and it's particularly in the
contemporary genre where thecontemporary people seem to be
taking liberty in my mind, andthey're all spinning out on
(11:56):
their heel.
Now what I say is I can watchany kid in their living room
spin out on their heel.
A trained dancer spins on ahigh releve and you are on a
high releve because spinning forthe audience is a moment of
freedom.
They don't know what we'redoing, but they're feeling that
(12:16):
freedom of just spinning.
And when you spin on a highreleve your leg looks amazing.
Your foot becomes part of yourline.
There's just a million reasonswhy you should be in a high
releve and not spinning out on aheel.
So I will take great pains inmy critiques and constantly go
over that detail.
Speaker 1 (12:38):
I find every place I teach if I just go up to their
foot and push it higher in ahigh releve, they're always so
surprised at how high they cango.
There you go.
I haven't seen that a lot ofpeople are forcing them to get
as high as they can actually bein their releve.
Speaker 3 (12:56):
People think about turn your hip out.
I mean that's like an obsessionwith dancers.
But the next obsession shouldbe raise that releve.
And another quick detail that Ido give how do you get them to
get into a high releve?
Children have tightnesseverywhere and ballet teachers,
jazz teachers were all great atstretching their legs and their
(13:18):
backs and things like that.
We need to stretch their feet,stretching underneath the toe
area.
That poor kid.
They can't just she or he, theycannot just, you know, crunch I
call it high crunching that bigtoe, without stretching it a
little bit.
they've got to give a littlespread those toes, toes, so I
point that out to my in mycritiques to that teacher should
(13:41):
be giving some flexibility tothe toe area and with that
flexibility then they can gainthe strength in the foot to pull
up in the high releve.
Speaker 1 (13:51):
You know, in the old days you were writing down your
comments, but now you'reactually talking them.
So if you're feeling all thispassion about releve and it
needs to be higher andeverything, how do you do that
for so many hours in a row andstill sound kind?
You know, you don't know if theteacher is going to allow that
student to hear that recordingof you.
Speaker 3 (14:13):
Oh, I believe they are.
I tell myself those childrenare listening.
Speaker 1 (14:17):
I'm almost you have to yes.
Speaker 3 (14:19):
I tell myself I'm teaching to the teacher and the
child and possibly the mom anddad.
So I speak to everyone and,sally, you don't laugh, but it's
going to be.
Miss Linda is in the house.
If I'm sitting in that chair inthat theater and I could be
there, I mean I have been therefrom 730 in the morning till one
(14:39):
in the morning.
I've done it many times and ifI'm sitting there for that long,
miss Linda is in the house.
My professionalism will remainwith me.
My voice will remain constant.
I will not act like I said thatbefore.
I will say it and I will keepsaying it.
I try to shake it up, I try tolook down a little bit and know
(15:01):
if I'm.
Oh boy, I just said that toStudio G 15 times and I know
it's Studio G and, by the way,we don't know who the studios
are, which is great.
They just give us a letter codenormally and I will make sure
that Studio G is entertained butlearning and feeling good about
themselves throughout mycritique.
And how do I stay so fresh forso many hours?
(15:24):
They do give us some breaks.
And another big thing that Iuse to my advantage is when
someone comes out or group comesout.
That's really good.
I regroup myself, I get excited, I try to make myself feel
happier and sometimes it can betedious.
But again, if somebody comesout who's really good, they will
shake my world and I'll getright back into it again.
Speaker 1 (15:45):
It definitely sounds grueling.
That many hours and you'reputting on a show in the
microphone.
Speaker 3 (15:51):
Yes, that's how I look at it.
It's another side ofperformance for me.
Speaker 1 (15:55):
It has to be.
What would you say is the mostchallenging or most difficult
part about judging a dancecompetition?
Speaker 3 (16:03):
You know I love what I do so much that I don't focus
that often on what aggravates meabout things.
I like to work for people whotreat me nicely, who act like
I'm in their hands, because I amexhausted and I don't want to
have to drive and get lost.
You know, like when they cartme around and treat me well, I'm
(16:25):
happy.
So I think that would be thedifficult thing, like when I'm
lost on the road and I can't getback from the theater and it's
late and I'm tired and I happento be driving.
I usually value it when I justfeel like I'm being taken care
of.
There are some great ones outthere that do that.
There are many competitions atthis point and there are some
really good directors out therewho care about the students
(16:46):
first, then they care about theteachers because they have to
those are their clients and thenthey really do care about us,
the judges.
Speaker 1 (16:54):
What is your favorite part about judging?
Speaker 3 (16:57):
The dancers.
It's intoxicating for me atthis point to be able to go out
there and be with the world ofyoung dancers.
So that has always been myigniting point when I'm in with
dancers.
They could be 3 or 33.
It doesn't matter, they're allthe same to me.
I just I wash them into thisone little dance person.
(17:19):
I'm just so excited to be therewith them, to watch them, to
speak to them later.
I am that weird, crazy judge whoI don't even know if I'm
allowed to do this.
Can you believe this After allthese years?
I'm not even sure if I'mallowed, but I will sneak
backstage, I will talk to thekids.
I try to make it around sonobody thinks I'm not talking to
them because I know them.
(17:40):
I'm the ballet person so theydon't bring me into their
studios that often.
Often they have great balletteachers there.
I do get invited, but I thinkfor the jazz and tap people and
contemporary they bring in a lotof choreographers and they know
the studios that's anotherwhole discussion of.
Are you sitting in front of ajudge that knows you?
(18:01):
That's not fair, but mostly.
Speaker 2 (18:03):
I don't know them.
Speaker 3 (18:04):
So I will sneak back there and I will give them a
little comment and I will saysomething motivating.
And as I said, I am verycareful about making it around
to each studio so it doesn'tlook like I know somebody and
I'm being partial, but I lovethat.
I love getting there andsmiling at the kids and talking
to them a little bit.
Love it, love it.
Speaker 1 (18:26):
I'm sure they love it yeah.
Speaker 3 (18:28):
And that's why, when I was younger, I would only work
for competitions that hired meto teach also, so it had to be a
competition and master classes.
But now I'm kind of like, whydon't I just go and sit the
whole time I have to go and sit.
So now I do work for people whohire me just to judge.
Oh that's funny it was fun tobe able to judge and then see
(18:51):
them the next day in class.
I mean, come on.
Speaker 1 (18:53):
Oh yeah.
Speaker 3 (18:55):
For me that's like ice cream.
It's wonderful.
Speaker 1 (18:58):
So that leads me to the question of age.
Do you think that there's anage that a student shouldn't
compete?
Speaker 3 (19:05):
You know, the old ballet mind would say eight and
ten.
It used to be even ten, likethe big houses would only take
you at ten, believe it or not.
But I think the dance studioindustry has turned that around
because we're in business and weneeded to have bodies.
We couldn't be so strict andsay, okay, we only take you at
(19:26):
eight and ten.
We'd lose half our business forthe next five to eight years.
So as dance studio owners weturned that world upside down a
little bit and took in littleones.
You know, everyone knows, Ithink that my little ballet
school survived because of whatI called the Beanie Baby Ballet,
because everybody wants theirlittle one to be in a two-two on
(19:49):
that stage.
They're not seeing them as jazzand tap and contemporary dancers
yet.
So my school stayed alive and,trust me, I was taking them much
older.
I think seven was my year whenI first started, because I was
coming from that.
I was trained very strictlyVaganova with Madame Paraslavic
from the American Ballet Theaterand Ishvan Robofsky from the
(20:12):
Bolshoi.
So my background was you know,you will do it this way.
So I started off in that toneand I started finding out I need
students.
So I started going younger andyounger and then I came up with
Beanie Baby Ballet and I turnedmy Beanie Baby into more of like
a love you're going to loveballet program, more than
(20:35):
training them to be in a highreleve and doing all of this
wonderful stuff.
But I feel like studios are nowhaving these little tiny ones,
you know, really going fortechnique and strength.
In my studio I probably wouldlet them start around seven or
eight and that would be as asoloist.
Even today I don't think I'dallow a soloist to start before
(20:58):
eight, like if you wanted to doa solo at a competition you
would need to be about eightyears old.
For me, I would allow thelittler ones to be in group
numbers and they should be funand enjoyable and theatrical.
There are some great studioowners out there who are
fabulously theatrical and I loveit.
Speaker 1 (21:18):
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(21:45):
your free trial today.
What advice would you give adance teacher to best prepare
their students for a competition?
Speaker 3 (21:54):
My advice is, of course, practice, practice,
practice.
You know rehearsal.
I can tell who's put greatrehearsal time in.
But I also say and I'm thinking, I'm laughing to myself,
thinking this is how I used tohave my children perform,
because, really Truthfully, mystudio never went to a
competition.
We were in a competition studioeven when I was so immersed in
(22:14):
it.
We just didn't do that.
What we did was we went theold-fashioned route and we did
performances in nursing homesand libraries and schools and
Parks, you know, wherever youcan come up with a nice venue
for your students.
That's where I had my studentsperform.
So, to be on the competitionstage, I would go back to that
(22:37):
idea of bringing my students toall different places to perform
and Then you know months later,okay, now we have our
competition and this is afteryou've Donated your time to a
nursing home and made thosepeople smile, and donated your
time to the library and whathave you.
So I feel like you're alsoteaching the student community
(22:59):
awareness and You're gettingstage time in.
So kids need to haveperformance time to be a great
competition dancer.
Speaker 1 (23:08):
That's really good advice.
What advice do you have for theperformer?
What would you like everydancer in front of you to know?
Speaker 3 (23:17):
Take class and keep taking class and take class.
You know, I'm gonna say at aminimum of five days a week.
Well, especially if you want tobe a high-level performer.
If you don't, then you can takethree days a week or two.
If you want to just do it as ahobby, do it one.
I Say take class at least fivedays a week, study with
(23:39):
different people, but you needto have consistent training.
I like the consistency, so youneed that consistent teacher
that you're with, but then goout and do extra where you're on
the road, you know, seeking outother training.
And then when people are withme and I'm, like you know, the
guest teacher, I will tell themthat you may see or hear me say
(23:59):
different things and Especiallyif they're a little bit older,
I'll say and if you see that itworks for you, take that advice
and put it in your pocket andtake it out when you think you
need it in different situations.
Let me add to your training.
I don't want to come here.
I'm not changing your training,I'm adding to your training and
this is what young dancersshould be doing.
(24:20):
They should be going to thesecompetitions and trying to take
the master class teachers andand going home with this stuff,
not just laughing and having ablast in those big rooms because
it is fun in those rooms, buttake home stuff with you and
you're like, oh my god, I thinkthat really helped me with
whatever it is.
Speaker 1 (24:37):
There is something with age, you know, going to
those conferences too early.
I think it when you're gettingreally good training, because
sometimes the child is tooimmature and thinks that if the
teacher said something a littledifferently, that it contradicts
what their teacher says.
They can't see the biggerpicture.
Speaker 3 (24:55):
Yes, I Agree with that.
Speaker 1 (24:58):
There's just a maturity to all of it.
I think the conferences and thecompetition that I like to have
with my students that too youngcan be too much.
A Little bit of overload andthey can't really grasp exactly
what they're being taught.
Speaker 3 (25:14):
I agree with that and that's why I make it a very
that's a point that I will make,that if you will hear or see me
Say something different, I'mgoing to guarantee it, but that
has nothing to do with what youhave been learning from your
wonderful teachers.
So I do I do try to point thatout and that's that's important
that dancers feel good aboutwhere they are, because you
(25:36):
don't feel good about where youare you can't improve and a lot
of times what you're sayingdoesn't contradict what the
teacher's saying at all.
Speaker 1 (25:45):
It's more of the way it's been heard.
Speaker 3 (25:48):
Yes, that's true.
So there is a maturity.
I and when, you know, when yousaid the word maturity, I wanted
to make a point there thatisn't it wonderful in our
profession that we are.
We spend our time with Peoplethat would most adults would say
, oh, those are a bunch ofimmature kids.
But we never say that, or we, I?
I rarely think that, becauseDancers are mature, I really are
(26:13):
.
Like we demand so muchDiscipline from them, and I know
that.
You know, people often ask mehow do I go in that room?
And and I have known for this Ican walk in and I will change
the sentiment in that room, likethat, when I do it, because I
have a bun on, you know, myballet bun, the way I enter, the
(26:35):
, what I'm dressed like, and Iwill change that room and they
will be in the palm of my handand there they will step up.
They know I'm going to startdemanding discipline from them
and they get maybe a little bitlike, oh no, here she comes, the
ballet person.
I'm gonna hate this.
But then I shake it up, I loveit, I show another side of
myself.
But when I first enter I'm veryclear hey, you're gonna be
(26:59):
riding this out in my hand and Ithink that's a good teacher
does that and then you can makeit fun.
It doesn't have to be all youknow, like drudgery and this is
too hard and it's too serious.
It doesn't have to be that atall.
But I try to do that,especially in the junior room,
where you know you're walking inafter you know a fun I'm gonna
say a hip-hop class or you knowsomething, where it's really
(27:20):
highly energized and they take alook at me and I've seen like
everybody just you know, theirshoulders go down.
They're like At once, and Iwill not allow that.
I always say to myself theywill not leave here remembering
that other guy.
They're gonna remember me.
Speaker 1 (27:38):
That's right, and they do yeah.
I let you.
I met you at a dancecompetition in Manhattan in New
York, yeah, and I loved yourclass and you do do that.
I mean it's very important totake charge of the room, let
everybody know you're in chargeand then guide them through a
great time and Teach them a lot.
And you do it.
You do it every time, thank you.
(28:00):
What is your feeling aboutcompetition for every student?
Do you think that everyone thatsigns up for dance lessons
should compete?
Speaker 3 (28:08):
I do not, I think, the schools that they have
something called the competitionteam or the competition company
.
I like the referencecompetition company only because
it sounds a little more danceworld and I think that they
should audition for it because,again, it's part of our world,
it's what we do and you know,letting them have a taste of
that is good and then puttingthem in the level you want them
(28:31):
in as the professional you know,in that competition company is
a good thing, but I don't thinkit's for every every student and
it's it's a lot of that wouldbe.
It's a lot of pressure, it's alot more.
I think it should require a lotmore rehearsal.
A lot more training should beinvolved.
So it's definitely not forevery student in every studio.
Speaker 1 (28:51):
I agree we had all kinds of gates before you could
compete.
You had to pass certainshaketti levels and you had to
be taking certain amount ofclasses a week, and I think it
naturally keeps out the peoplewho aren't serious, even though
if they're 10, they might thinkthey want to compete.
But sometimes the teacher canbe doing a disservice to a child
by putting them in acompetition when they're really
(29:14):
not ready, just because momwants them to compete or they
want to compete, and then theyget out there and they'll feel
worse about themselves.
They really need some seriouslysolid training and guidance
Exactly.
And guidance before you put themin that world.
Speaker 3 (29:29):
Yes, that's my opinion, yes, I agree with you,
Linda.
Speaker 1 (29:32):
what are you working on now?
Speaker 3 (29:34):
Yay, I was hoping you were going to ask me that, so I
am you're going to laugh when Ianswer.
I am working on myself at themoment.
Yourself, yes, and I don't saythat lightly and it's become a
passion of mine and you know howpeople are like it's all about
me.
Well, a little bit right now itis all about me.
(29:54):
I've given myself so much toothers for so many years that
right now I am in a mode ofrecreating a woman who can find
strength in herself.
And I'm going to use physicallybecause you know, we dancers,
we are physical, that's what wedo.
(30:14):
We were physical day and nightand I'm working on myself
physically again to find acomfort place for me to be able
to work out and maintain mystrength.
Because I was starting to findout that I was like kind of
avoiding getting on the floor,like if something, like if I had
a kneel down and crawl out topick something up, I kind of was
like avoiding it and I thoughtto myself, well, that's not good
(30:37):
, I'm avoiding it because itfeels hard to get up.
So I'm like that is nothappening here.
And then I also, I would notice.
As you may remember, I've livedaboard a boat for months at a
time with my wonderful husbandAndy.
Oh, I do know, and I would watchAndy like stepping up on high
things and I would think I can'tstep up on that.
I need to help with my arms.
(30:59):
I've got to pull myself.
So I'm like I don't know.
I'm losing strength herequickly and I know why I was.
I'm insanely still flexible.
I have a huge flexibility rangeand this is taking away from my
strength, because dancers needboth.
We need strength andflexibility.
So I have made it a passion ofmine now to get back into
training myself to be able tohave all of this strength back.
(31:23):
And while I'm working out, Istill adore stretching because
that comes easily to me, but Idon't allow it.
I stretch a bit because it'sgood for your muscles, but I am
working on getting strength backin my thighs and I was also
getting like a knee thing.
Teachers might find this veryinteresting.
I have come up with a quite alot of exercises specifically
(31:46):
for my knee and my knee is doingfantastic.
I was having a lot yeah, I washaving quite a bit of.
I never had anything, never andI was doing single leg legged
squats in my pool and all of asudden I just something was
wrong.
I hurt my knee and I thought,well, I'll heal.
You know, I was doing a singlelegged squat in the pool.
(32:06):
There was no pressure on it,but I did something out of whack
and for like a year it wasbothering me and I'm like, oh no
, I did something that day.
I don't know what it was.
And then while I was sitting onthe floor and I noticed that
that was my good knee, but thatwas my knee that was super hyper
, extended and super flexible.
And now suddenly it was liketight and I wouldn't have known
(32:28):
that.
I just was going around in painand I wasn't really working on
it until I got on the ground andsaid this knee has tightened up
like mad.
So I really it was hard, it waspainful, but I went back into
hyper, extending it in the backand I have found places in that
knee on the sides, here andthere where I can get at it in
(32:49):
my workout and it feels almost.
I mean, it's pretty much nopain.
And then the other thing we haveis the hip flexors are
sometimes painful for people, or, right, mine are not painful,
but they are loosey, goosey,they're very loose.
And this is one of my problemsof getting up on a high, like if
you want to step up high onsomething that's I've been
(33:11):
working on my hip flexors to tryto gain strength and stop being
able to do splits and thingslike that.
So that's my.
That's really what I'm doingright now.
I happen to be working onmyself.
Speaker 1 (33:23):
Is that part of ballet busters?
Speaker 3 (33:25):
It is part of ballet busters, but my ballet busters
started out as my coachingmechanism with with the New
England Ballet Company, where Ijust felt like my dancers needed
.
They were such bunheads andthey were training five, six
days a week seriously in justclassical ballet and they needed
to do something else.
They needed core strength froma different source.
(33:47):
So I came up with this balletbuster where you're working out
really with like yoga andPilates, and I put it on them
and then after that, I started,you know, thinking I could teach
this to other people, and I did, and I brought it to the
competition circuit as well, andnow my ballet buster is
evolving a little bit into, Iguess, injury prevention,
(34:10):
maintaining strength andstability as you age also, which
is very important.
And, sally, right here I wouldlike to bring up something that,
since I'm one of those peoplethat can get inspired very, very
quickly and it inspired me thismorning because I thought I'm
going to be doing this podcastwith the beautiful Sally Tierney
I feel this little quote I'mgoing to give you represents a
(34:31):
lot about my road that wediscussed earlier, and it's
coming from Kim Kardashian.
I happened to be on Instagramthis morning and I was just, you
know, strolling around as we do, and Kim's post jumped out at
me today and it said somethinglike you sacrifice for what you
want and then what you wantbecomes the sacrifice, and that
(34:57):
I don't know.
That just like jumped out at meand I thought, wow, that
happens to be like that kind ofspeaks about my entire road of
my career, because there wasgoing to be no stopping me.
When I was young, you know,there was no sacrifice too great
taking class every day,rehearsing, and you know, like
there was no sacrifice too greatfor me when I was a young
(35:18):
dancer, I would have doneanything to create this career.
And now it is a bit of asacrifice to keep my physicality
going where I want it.
And I'm going to try to go backto my early mindset of there is
no sacrifice too great.
You will do this.
So here's my program that I'vegiven myself.
(35:39):
I do this workout, this balletbuster for stability, every
other day and it bothers me if Imiss one.
I mean, you know, I'm still inthat old ballet mode, mind,
where you don't miss class, younever miss a plie when you're
supposed to have it, so I don'tmiss.
I do it every other day.
Speaker 1 (35:57):
Do you enjoy it?
It sounds fun.
Speaker 3 (35:59):
I do.
It's like after I do it I'mlike why do I not want to do
this?
It's like I just feel so goodafterwards.
But you know, almost every dayyou're like oh great, I got to
get on the floor.
Speaker 1 (36:10):
You're asking the question out loud that I think
every single person thinks tothemselves why don't I want to
do the things that make me feelso fantastic?
Exactly Right.
We're old enough to know thatwe're going to feel fantastic,
we know exactly the resultswe're going to get, and we're
still kind of drag ourselves todo the things that we know are
(36:31):
going to make us feel fantastic.
Speaker 3 (36:33):
Yeah.
Speaker 1 (36:33):
It doesn't make any sense.
Speaker 3 (36:34):
Yeah, I'm glad, I'm not alone in that.
Speaker 1 (36:37):
It's the human condition, I think.
Speaker 3 (36:39):
Yes, I really do think it is.
Speaker 1 (36:41):
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(37:02):
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(37:25):
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stronger together.
Linda, this season this is thesecond season of the Dance
(37:50):
Studio podcast I'm going to askevery dance teacher that I
interview to share with me theirvery best teacher tip or trick.
You can share more than one ifyou want, but something that you
know.
That is all you, and you justcouldn't live without it.
Speaker 3 (38:08):
Okay, the first thing I'm going to go to is not
physical, it's my voice.
I've had people say to me oh mygod, I miss that voice, or like
I hear that voice and I know itimmediately and my voice is a
go-to for me and I learned thatvoice from some amazing,
wonderful individuals thattaught me to be who I am and one
(38:32):
of them is Ishvan Robofsky fromthe Bolshoi in Kirov Ballet.
He had a way about him wherehis voice was.
You know he wasn't as loud anddemanding as I am with his voice
but he was funny and he madefunny sounds and some of my
sounds like, like, if I do thatdancers know I'm extremely happy
(38:55):
with them and that's a Mr Rthing, that's my Ishvan Robofsky
thing and he'll be happy toknow that I use that.
He's gone now but he was like afather to me but I use those
kind of techniques with mystudents and I really motivate
them through my reactions to howthey're reacting to me.
Speaker 1 (39:17):
I've seen you do that .
I do that in a different way.
My students will come to me andsay I miss your sound effects.
I think that it's reallyimportant to keep it interesting
for the students with yourvoice.
Your voice is a huge part ofteaching your personality.
So and I've seen you do it,you're great at that.
(39:38):
Thank you, do you have anyothers?
Speaker 3 (39:39):
Yes.
Another tip would be and thisis going to go back to where I
began with that.
I wanted to speak aboutteaching and coaching and how
they're different things.
The tip here is that a greatteacher knows a lot of details
of technique and they can justpull it out of their mind when
they need it and they will helpthe student technically become a
(40:00):
technician.
But a coach is someone who nowtakes all of that technique and
helps this person, who's atrained dancer, learn how to
become an artist and how tonuance every single thing they
do, help them nuance and make ittheir individuality.
(40:22):
When we teach little ones, weteach them to be almost like
soldiers.
We're like really greatgenerals and we are really good
at that.
We're strong and they toe theline and they dance.
You know, with the core deballet they have to look exactly
alike.
Now, when you're no longer partof the core de ballet and we
need soloists, you need thecoach to come in and finesse,
(40:48):
and nuance is all of my studentsknow the word nuance from very
little you know, I would givethem an example.
I would say I came in here todaywith red lipstick on and that's
a nuance, because you were likewho is that woman with those
lips?
And you know that's a nuancethat would capture your
(41:08):
attention and it's very me.
So I use that as an expressionfor them.
And then I come in and then Isay tomorrow I'm going to come
in with no lipstick on.
You're going to think, oh, thisis going to be boring.
So I really get that in theirhead and I talk about nuances to
everyone.
It's a very important featurefor me because this is I really
(41:29):
love that about ballet that weare.
We want them to be littlesoldiers and then we want them
to be these amazing artisticstars.
Now you have to be able to doboth of that for them.
You have to explain it, youhave to detail it, they have to
be taught.
Okay, every once in a while weall have that student.
That is that, and we love them.
(41:50):
They walk in the room and theyjust they're all about charisma
and it comes naturally to them.
And I know as teachers we couldall name three or four or five
or ten through our years ofexperience, but sometimes in a
room, in one studio, you know,in one class there's maybe none
or maybe just one.
So we as teachers, we need tohave every tip, every idea in
(42:14):
our head of how we are going tobe teaching technique and
teaching those nuances, how tobe the individual, how to be the
star, and I love that.
My time at New England BalletCompany for that that was a gift
given to me.
I think another great teachingtip is adding acting to your
(42:37):
classes.
I would do with the little onessomething quite fun.
I would have them leave theroom and come back in in
character.
I would also allow them to dothis, maybe in pairs, because
sometimes doing it solo is alittle bit scary.
So they would leave the roomand come back in as their
favorite character and of courseit's almost like you know
(42:57):
you're doing pantomime, you'reusing everything but your voice.
I would always go first I'd haveall the kids sit in the studio
and then I would leave the roomand come back in in character
and my character would be, let'ssay, cinderella.
So I would have my shoe readyto fall off and I'd come in,
dance around, look at the clockand have my shoe fall off and
(43:17):
they would all scream outCinderella and it was great fun
and laughter.
It really would add lots to theclass.
It's very enjoyable.
I would try to keep it kind ofserious that there's no talking
while the acting is happeningand I would, you know, always
interject that dancers don't usetheir voice on stage.
(43:37):
So we have to be great actorsand actresses.
We have to learn to use ourbody to tell the story, linda
are you hireable as a coach, asa master teacher, at this point?
Oh, yes, I say I'm working onmyself, but I am still doing
lots of different jobs where I'mout on the road, traveling, you
(43:57):
know teaching for competitions,teaching master classes at
conventions.
I do a lot of guest teaching.
Speaker 1 (44:04):
How do people follow you?
Where can they connect with you?
Speaker 3 (44:07):
Yes, look for my name Linda Gian Casperow.
Linda L-I-N-D-A, and then, gianCasperow, you might need a pen
for this one G-I-A-N-C-A-S-P-R-O.
Speaker 1 (44:22):
Would you ever coach anybody through Zoom?
Speaker 3 (44:25):
Oh yes, absolutely, and I actually.
I'm sorry I forgot to say thatI also do Zoom and it was even
after COVID, so people were backin the studio.
But I have actually taughtclasses for a studio on Zoom and
I have taught privates on Zoom.
Speaker 1 (44:40):
It's easier than we thought it was going to be,
isn't it?
Speaker 3 (44:43):
I know, and it is a great tool.
Now I love it.
I think it's great.
I don't have a problem with it.
I guess Ms Linda is a bit of anactress and I don't mind being
on camera.
Speaker 1 (44:54):
Linda, can you please tell us all of the places that
you've taught before we let yougo?
Yes, that would be my pleasure.
Speaker 3 (45:02):
I have taught at Broadway Dance Center, city
Center Studios, the new dancegroup those were all in
Manhattan also.
Oh, and also Perry Dance inManhattan.
I have taught for the SarasotaBallet Conservatory.
I have taught for the RobofskyBallet Summer Camp for quite a
(45:22):
few seasons.
I was the founder and directorof my own Children's Ballet
School and most notably I wasballet mistress and teacher for
the New England Ballet Companywhere I was responsible for over
40 dancers that were in thecompany and it was my job to
train them, get them on stageand just ready for for
high-level performance.
(45:43):
I also taught for the New YorkPublic School System in the
Bronx, and one of the mostwonderful things that I've done
was I was a ballet repertoire tothe Madame Nina Striganova with
the Joffrey Ballet Company.
I was, I call myself, I was herlegs.
This was when I was muchyounger.
(46:05):
Obviously I was the person whohelped her set the ballet lay
presage on the Joffrey BalletCompany.
So she was invited to recreatethis ballet lay presage on the
Joffrey because they were doinga tribute to the ballet Rousse
de Monte Carlo and she dancedwith them in the 1940s and she
(46:27):
invited me to go as her legs, tobe the one to be the
demonstrator while she wastrying to set this choreography.
She was in her 80s at the time,so I'm proud of that, and that
was.
That was just a one-day job,but it was something that was
incredibly interesting, and itwas great to be with the Joffrey
Ballet for the day and also tolisten to her explain the
(46:50):
details of what it was like andwhat the nuances were for the
ballet Rousse de Monte Carlo,and this ballet called Lay
Presage, and it was a balletthat was done by Leonoy Messine.
Speaker 1 (47:03):
Do you have someone, a protégé of your own, that you
would like to follow?
Take over for you someday?
Speaker 3 (47:11):
I think my answer to that is that I have in the past
hired many of my own studentsand who I also brought with me
to Manhattan to my teachersbecause I wanted people that
were trained by me.
But I thought, well, I'm notthe be all end all, they should
also go to the city to myteachers and train also with
(47:34):
them.
And I did that.
So anyone who taught for me inmy studio also did that along
with me and it was fun.
We went together to takeclasses and I had young girls
who did that.
Sadly, my studio has closed andit closed during COVID and at
that point I wasn't there allthe time teaching.
I had my teachers there and Ijust said I cannot run this
(47:55):
without me physically in thebuilding doing this whole COVID,
cleaning and COVID everything.
So I made the decision to closeit.
So my mentoring of creatingsomeone to take over my teaching
probably is not there and I amnot working with someone right
now to do this road thing,although I will.
(48:17):
I mean, I do give advice topeople if they call or ask me,
and that's another thing I loveabout social media.
A lot of my former students docontact me with questions and
I'm always happy to answer, soI'm there as a mentor.
I think you know, if peopleneed help in finding a job or
thinking about how they couldget a lead, I'm there, I'll help
(48:38):
you.
Speaker 1 (48:39):
I strongly suggest that people call you and have
you come into their studio,because I think that they'll be
amazed what joy you bring to aballet class.
So many competition studiosmake their kids take ballet.
It's like they have to takeballet but then they get to do
all the other quote-unquote funkinds of dancing.
But you and I know ballet canbe the most fun when taught and
(49:03):
danced in the right way and youhave that joy.
You bring that with you.
So if anybody doesn't thinkballet is fun, call Ms Linda and
have her come and teach at yourstudio and she's going to
change your mind forever.
Speaker 3 (49:17):
Yay, I love the idea.
Bravo, ms Sally Very excitedand thankful for that.
Thank you.
Speaker 1 (49:23):
Thank you so much for answering all of our questions
about being a competition judge,and thank you so much for your
time, linda.
I always love talking to youand I really appreciate you
being on the podcast and sharingwith all of our dance teachers
all of your valuable information.
Speaker 3 (49:39):
Thank you, sally, it was fantastic.
Speaker 1 (49:42):
Thanks for listening and don't forget.
Please rate and review thisshow and share it with a friend.
Welcome to the second season of the Dance Studio
podcast.
This podcast is for dancers,teachers, dance moms and
especially dance studio owners.
In the first season, we coveredtopics like scoliosis, eating
disorders and point shoereadiness, along with several
episodes on different dancecareer paths and awesome dance
(00:21):
programs for you and your dancestudents.
In the second season, you cancount on hearing from Tony Award
winners, american BalletTheater teachers, competition
judges and so much more.
The Dance Studio podcast fansare loving the information this
podcast provides.
Take it from season one guest,jennifer Moleto.
Speaker 2 (00:41):
My name is Jen Moleto and I am a former student of
Sally's, now dancingprofessionally at Disney.
As well as teaching dance as acollege professor, sally has
been my mentor through my entiredance career.
What I love about her and herpodcast is that she is not only
willing to be completely openabout everything that she has
learned in her career, but sheis also so curious about what
(01:04):
others have learned in theirunique experience, and she wants
to share all of it with herlisteners.
There is a reason why I havestuck with Sally all of these
years she is committed toadvocating for the success of
the dance community.
If you are a studio owner,teacher, dancer or aspiring to
be any of those things, do notmiss this podcast.
Speaker 1 (01:28):
Welcome dancers, dance moms, dance teachers and,
especially, dance studio owners.
Today we have my good friendand ballet mistress, linda Jean
Casper, joining us on thepodcast.
Welcome, linda.
Hello, so happy to be here.
Thank you so much for beinghere.
Our topic today is judgingballet competitions, but I'd
(01:50):
like to start by you telling usa little bit about your dance
career and how you became aballet mistress.
Speaker 3 (01:57):
Ah, that's a long journey.
A ballet mistress is a toughposition, I think to acquire you
need a lot of background inchoreography and training and
coaching.
For my point of view, it's veryinteresting to see the
difference between those things.
And when you are balletmistress, that is
(02:19):
all-encompassing.
That is one of the mostimportant features your coaching
technique.
You're working with dancersthat are at a high level.
So now it comes to the nextstep bringing out the artistry,
and that's where coaching comesin.
So how?
Speaker 2 (02:34):
did I get there?
Speaker 3 (02:35):
I think that a lot of artistic people follow a path
that is quite winding andsometimes you go to places and
you're doing something that younever even thought about and it
just leads you on an amazingroad, and I think that I have
just been quite lucky on mywinding path.
(02:57):
I started my own small balletschool and it stayed a ballet
training school for almost itsentire life.
I did have to add jazz andother things to keep people
coming, but it was really aballet school, so I started my
own little program.
From there I was hired by StJohn's University and I worked
(03:18):
on the university level for 20years.
I was there, Never thought Iwould be working at a university
, but here I was, Very muchenjoyed it and learned how to be
a great teacher.
When I was at St John'sUniversity and from there I was
always going to Manhattan and Iwas very strict about my own
(03:38):
training and taking classes withamazing teachers all over
Manhattan.
From there I developed a greatfriendship with a Madame, Nina
Stroganova, from the BalletRousse, and I became sort of her
.
I would call myself almost asidekick to her.
She was a very elderly woman atthe time.
She took me under her wing andshe would always say to me Linda
(04:00):
, I want you to take over myclasses when I am no longer here
.
And she taught at City CenterStudios on 56th Street for many,
many years and when she passedI took over because she
introduced me to everyone thereand she said this is my person
that I want to take over.
And I think that step was veryimportant in my life because it
(04:22):
put me in a different realm.
I was working withManhattanites and dancers of all
levels at that point, you know,and not levels.
It was a professional levelclass, but it was people who
were maybe retired from danceand they're still training.
It was young dancers cominginto the city.
So I met a lot of differentpeople.
(04:43):
And then I did make a move and Imoved up to Connecticut and
those two things put me with NewEngland Ballet and that was
where I became Ballet Mistressafter I was there about a year.
It was interesting because Iwas sort of the assistant Ballet
Mistress to the Ballet Master,Steve the great Stephen Hyde,
(05:05):
and when he was leaving Ithought, oh no, this is going to
be big.
And I was offered the positionand I knew what that was going
to entail.
It was going to be a 24 sevenjob and it was, and I did it for
17 years and I did it while Iran my own dance studio.
So it was a lot.
(05:26):
I was working seven days a weekand it was 17 years of that.
Okay, you know our hours arenot always, you know we don't
work eight hours a day all thetime, although I did quite a bit
for the company.
But I was able to do it.
I was able to swing it and Ithink that's how I became Ballet
Mistress.
That was my, my path.
Speaker 1 (05:47):
That's so interesting .
I'm always curious about thefear factor.
So this teacher at City CenterStudios takes you under her wing
and then when you have to teachfor her, how intimidated are
you.
Speaker 3 (06:00):
You know I'm very funny with that.
I don't have a thing with that.
Once I go into what I call MsLinda mode, it's such a strong
being in my personality that itjust takes over.
And this is something that'svery interesting, perhaps, to a
lot of people who run studiosand who teach every day.
(06:22):
I never plan a class, and itcould be on the highest level, I
don't care who I'm teaching, Idon't plan it.
And sometimes I could bewalking to my spot and this
happened to me at City Centermany times where, okay, I was a
little bit nervous maybe thattime and I'm walking to my space
and I'm like in the center ofthe room and I'm thinking I
(06:45):
don't know if I have acombination, and then I just hit
it and I something comes out ofme and I don't know.
It's just strange, it's justit's there.
Speaker 1 (06:55):
Yeah, it's all in there, but the interesting part
is that you're able to think onyour feet literally I do, and
it's the spontaneity Sally.
Speaker 3 (07:05):
Spontaneity for me is a major lifeline in my teaching
.
If I can't be spontaneous, Idon't know if I can't teach.
Speaker 1 (07:14):
Well, that allows you to teach the people that are
actually in the room.
Exactly, instead of creating aclass for people who are
invisible.
Speaker 3 (07:22):
And that's where my strength came at City Center,
because I was in the room everyday.
I never knew who was going toshow up.
It's a city class.
I could have had very greatpeople.
I could have had some, you know, people who were retired, who
wanted to enjoy themselves, butand somehow I would shake it up
and make it good for everyone.
Speaker 1 (07:41):
I've seen you teach Linda and you are simply
fabulous.
Thank you.
Yes, absolutely.
I've had you come and teachmaster classes for my students
several times and I love yourclass.
But let's talk about judgingdance competitions.
How did you get into that?
Speaker 3 (08:00):
That was again a little blip on my road of going
where I'm going and I literally,you know, back in the day you
sent your resume by mail, snailmail and I sent my resume to a
very amazing man in the field.
I didn't even know, I didn'tknow much about the competition
world ballet people.
(08:21):
We weren't into the competitionworld like that we would do,
you know, performances indifferent places, that was our
thing, you know, to gainstrength as a young dancer.
Now everybody's doingcompetition world because that's
where you get a lot of stagework in.
But back then I really didn'teven have a hook.
So I somehow it was a luckystroke I sent my resume to dance
(08:43):
Olympus, dance America, to thewonderful Richard DeSarno and I
think he just needed a balletperson and they were.
Dance Olympus was very, veryloyal, as I found out years
later, to their staff and theyrarely bought people in and of
course the old ballet peoplewere like on staff.
(09:04):
That was it.
They were there for years andsomehow somebody couldn't make
it and he my resume was sittingon his desk, I guess and he
called me and he was like youknow, can you go to like Dallas?
And I said, yeah, I can go.
And then I met on thatparticular city.
I met Sam Fiorello, who's afantastic jazz teacher, jazz man
(09:29):
, tap man, and he and I justconnected and hit it off and he
was very close to Richard and hecalled Richard and said you
have found an angel.
And I always tease, sam,because I'm like you know,
you're the one who put me inthis dance competition world,
sam and he laughs.
And then Richard just kepthiring me after that.
Speaker 1 (09:47):
So I don't, it was just snail mailing my resume,
sally literally back then therewas a stigma for serious ballet
people and the competition.
Speaker 2 (09:58):
Exactly.
Speaker 1 (09:58):
Not anymore, I don't think, but they probably did
need good ballet people.
What do you think a person witha solid ballet background
brings to the judging?
Speaker 3 (10:09):
Well, okay, everyone knows the big thing, we know the
technique and we're going tospeak about the technique and
that's technique, technique,technique.
It's like practice, practice,practice.
But there needs to be anotherelement, because if you just
watch those dancers with thateye, you are going to be what I
(10:29):
would consider too critical, toonitty gritty.
And, after all, these peopleare there giving you their heart
and soul, and they could bedancing a different, whole
different genre than what you'reused to.
What I look for are people thathave a line, and it doesn't
have to be my line.
It's someone that has beentrained.
(10:50):
I can see they're trained.
It's not my training, it'ssomeone else's world of training
, but it's there, it's strong, Ican put my eye on it and I can
relax and watch them and enjoythe show.
And that's exactly how I judgegenres that are not in my world.
Tap is one of them.
I'm not a tapper, so I you knowtap.
I totally look at with that eyeand I do believe that my
(11:13):
background is so vast at thispoint.
And I've watched.
I've been doing the competitioncircuit for over 20 years, so
I've watched a lot of differentdancers with a lot of different
styles and I've learned toappreciate their look, their
training.
But, with that said, I stillhave that evil eye of the
(11:33):
ballerina where I'm looking forand I'm going to say it, the
high releve.
Right now, that seems to be oneof the biggest things that I'm
on when I'm judging.
I feel, like the high releve,and it's particularly in the
contemporary genre where thecontemporary people seem to be
taking liberty in my mind, andthey're all spinning out on
(11:56):
their heel.
Now what I say is I can watchany kid in their living room
spin out on their heel.
A trained dancer spins on ahigh releve and you are on a
high releve because spinning forthe audience is a moment of
freedom.
They don't know what we'redoing, but they're feeling that
(12:16):
freedom of just spinning.
And when you spin on a highreleve your leg looks amazing.
Your foot becomes part of yourline.
There's just a million reasonswhy you should be in a high
releve and not spinning out on aheel.
So I will take great pains inmy critiques and constantly go
over that detail.
Speaker 1 (12:38):
I find every place I teach if I just go up to their
foot and push it higher in ahigh releve, they're always so
surprised at how high they cango.
There you go.
I haven't seen that a lot ofpeople are forcing them to get
as high as they can actually bein their releve.
Speaker 3 (12:56):
People think about turn your hip out.
I mean that's like an obsessionwith dancers.
But the next obsession shouldbe raise that releve.
And another quick detail that Ido give how do you get them to
get into a high releve?
Children have tightnesseverywhere and ballet teachers,
jazz teachers were all great atstretching their legs and their
(13:18):
backs and things like that.
We need to stretch their feet,stretching underneath the toe
area.
That poor kid.
They can't just she or he, theycannot just, you know, crunch I
call it high crunching that bigtoe, without stretching it a
little bit.
they've got to give a littlespread those toes, toes, so I
point that out to my in mycritiques to that teacher should
(13:41):
be giving some flexibility tothe toe area and with that
flexibility then they can gainthe strength in the foot to pull
up in the high releve.
Speaker 1 (13:51):
You know, in the old days you were writing down your
comments, but now you'reactually talking them.
So if you're feeling all thispassion about releve and it
needs to be higher andeverything, how do you do that
for so many hours in a row andstill sound kind?
You know, you don't know if theteacher is going to allow that
student to hear that recordingof you.
Speaker 3 (14:13):
Oh, I believe they are.
I tell myself those childrenare listening.
Speaker 1 (14:17):
I'm almost you have to yes.
Speaker 3 (14:19):
I tell myself I'm teaching to the teacher and the
child and possibly the mom anddad.
So I speak to everyone and,sally, you don't laugh, but it's
going to be.
Miss Linda is in the house.
If I'm sitting in that chair inthat theater and I could be
there, I mean I have been therefrom 730 in the morning till one
(14:39):
in the morning.
I've done it many times and ifI'm sitting there for that long,
miss Linda is in the house.
My professionalism will remainwith me.
My voice will remain constant.
I will not act like I said thatbefore.
I will say it and I will keepsaying it.
I try to shake it up, I try tolook down a little bit and know
(15:01):
if I'm.
Oh boy, I just said that toStudio G 15 times and I know
it's Studio G and, by the way,we don't know who the studios
are, which is great.
They just give us a letter codenormally and I will make sure
that Studio G is entertained butlearning and feeling good about
themselves throughout mycritique.
And how do I stay so fresh forso many hours?
(15:24):
They do give us some breaks.
And another big thing that Iuse to my advantage is when
someone comes out or group comesout.
That's really good.
I regroup myself, I get excited, I try to make myself feel
happier and sometimes it can betedious.
But again, if somebody comesout who's really good, they will
shake my world and I'll getright back into it again.
Speaker 1 (15:45):
It definitely sounds grueling.
That many hours and you'reputting on a show in the
microphone.
Speaker 3 (15:51):
Yes, that's how I look at it.
It's another side ofperformance for me.
Speaker 1 (15:55):
It has to be.
What would you say is the mostchallenging or most difficult
part about judging a dancecompetition?
Speaker 3 (16:03):
You know I love what I do so much that I don't focus
that often on what aggravates meabout things.
I like to work for people whotreat me nicely, who act like
I'm in their hands, because I amexhausted and I don't want to
have to drive and get lost.
You know, like when they cartme around and treat me well, I'm
(16:25):
happy.
So I think that would be thedifficult thing, like when I'm
lost on the road and I can't getback from the theater and it's
late and I'm tired and I happento be driving.
I usually value it when I justfeel like I'm being taken care
of.
There are some great ones outthere that do that.
There are many competitions atthis point and there are some
really good directors out therewho care about the students
(16:46):
first, then they care about theteachers because they have to
those are their clients and thenthey really do care about us,
the judges.
Speaker 1 (16:54):
What is your favorite part about judging?
Speaker 3 (16:57):
The dancers.
It's intoxicating for me atthis point to be able to go out
there and be with the world ofyoung dancers.
So that has always been myigniting point when I'm in with
dancers.
They could be 3 or 33.
It doesn't matter, they're allthe same to me.
I just I wash them into thisone little dance person.
(17:19):
I'm just so excited to be therewith them, to watch them, to
speak to them later.
I am that weird, crazy judge whoI don't even know if I'm
allowed to do this.
Can you believe this After allthese years?
I'm not even sure if I'mallowed, but I will sneak
backstage, I will talk to thekids.
I try to make it around sonobody thinks I'm not talking to
them because I know them.
(17:40):
I'm the ballet person so theydon't bring me into their
studios that often.
Often they have great balletteachers there.
I do get invited, but I thinkfor the jazz and tap people and
contemporary they bring in a lotof choreographers and they know
the studios that's anotherwhole discussion of.
Are you sitting in front of ajudge that knows you?
(18:01):
That's not fair, but mostly.
Speaker 2 (18:03):
I don't know them.
Speaker 3 (18:04):
So I will sneak back there and I will give them a
little comment and I will saysomething motivating.
And as I said, I am verycareful about making it around
to each studio so it doesn'tlook like I know somebody and
I'm being partial, but I lovethat.
I love getting there andsmiling at the kids and talking
to them a little bit.
Love it, love it.
Speaker 1 (18:26):
I'm sure they love it yeah.
Speaker 3 (18:28):
And that's why, when I was younger, I would only work
for competitions that hired meto teach also, so it had to be a
competition and master classes.
But now I'm kind of like, whydon't I just go and sit the
whole time I have to go and sit.
So now I do work for people whohire me just to judge.
Oh that's funny it was fun tobe able to judge and then see
(18:51):
them the next day in class.
I mean, come on.
Speaker 1 (18:53):
Oh yeah.
Speaker 3 (18:55):
For me that's like ice cream.
It's wonderful.
Speaker 1 (18:58):
So that leads me to the question of age.
Do you think that there's anage that a student shouldn't
compete?
Speaker 3 (19:05):
You know, the old ballet mind would say eight and
ten.
It used to be even ten, likethe big houses would only take
you at ten, believe it or not.
But I think the dance studioindustry has turned that around
because we're in business and weneeded to have bodies.
We couldn't be so strict andsay, okay, we only take you at
(19:26):
eight and ten.
We'd lose half our business forthe next five to eight years.
So as dance studio owners weturned that world upside down a
little bit and took in littleones.
You know, everyone knows, Ithink that my little ballet
school survived because of whatI called the Beanie Baby Ballet,
because everybody wants theirlittle one to be in a two-two on
(19:49):
that stage.
They're not seeing them as jazzand tap and contemporary dancers
yet.
So my school stayed alive and,trust me, I was taking them much
older.
I think seven was my year whenI first started, because I was
coming from that.
I was trained very strictlyVaganova with Madame Paraslavic
from the American Ballet Theaterand Ishvan Robofsky from the
(20:12):
Bolshoi.
So my background was you know,you will do it this way.
So I started off in that toneand I started finding out I need
students.
So I started going younger andyounger and then I came up with
Beanie Baby Ballet and I turnedmy Beanie Baby into more of like
a love you're going to loveballet program, more than
(20:35):
training them to be in a highreleve and doing all of this
wonderful stuff.
But I feel like studios are nowhaving these little tiny ones,
you know, really going fortechnique and strength.
In my studio I probably wouldlet them start around seven or
eight and that would be as asoloist.
Even today I don't think I'dallow a soloist to start before
(20:58):
eight, like if you wanted to doa solo at a competition you
would need to be about eightyears old.
For me, I would allow thelittler ones to be in group
numbers and they should be funand enjoyable and theatrical.
There are some great studioowners out there who are
fabulously theatrical and I loveit.
Speaker 1 (21:18):
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parents, costume ordering toregistration, try Aketa today.
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Go to aketasoftwarecom, akadaSoftwarecom, to inquire about
(21:45):
your free trial today.
What advice would you give adance teacher to best prepare
their students for a competition?
Speaker 3 (21:54):
My advice is, of course, practice, practice,
practice.
You know rehearsal.
I can tell who's put greatrehearsal time in.
But I also say and I'm thinking, I'm laughing to myself,
thinking this is how I used tohave my children perform,
because, really Truthfully, mystudio never went to a
competition.
We were in a competition studioeven when I was so immersed in
(22:14):
it.
We just didn't do that.
What we did was we went theold-fashioned route and we did
performances in nursing homesand libraries and schools and
Parks, you know, wherever youcan come up with a nice venue
for your students.
That's where I had my studentsperform.
So, to be on the competitionstage, I would go back to that
(22:37):
idea of bringing my students toall different places to perform
and Then you know months later,okay, now we have our
competition and this is afteryou've Donated your time to a
nursing home and made thosepeople smile, and donated your
time to the library and whathave you.
So I feel like you're alsoteaching the student community
(22:59):
awareness and You're gettingstage time in.
So kids need to haveperformance time to be a great
competition dancer.
Speaker 1 (23:08):
That's really good advice.
What advice do you have for theperformer?
What would you like everydancer in front of you to know?
Speaker 3 (23:17):
Take class and keep taking class and take class.
You know, I'm gonna say at aminimum of five days a week.
Well, especially if you want tobe a high-level performer.
If you don't, then you can takethree days a week or two.
If you want to just do it as ahobby, do it one.
I Say take class at least fivedays a week, study with
(23:39):
different people, but you needto have consistent training.
I like the consistency, so youneed that consistent teacher
that you're with, but then goout and do extra where you're on
the road, you know, seeking outother training.
And then when people are withme and I'm, like you know, the
guest teacher, I will tell themthat you may see or hear me say
(23:59):
different things and Especiallyif they're a little bit older,
I'll say and if you see that itworks for you, take that advice
and put it in your pocket andtake it out when you think you
need it in different situations.
Let me add to your training.
I don't want to come here.
I'm not changing your training,I'm adding to your training and
this is what young dancersshould be doing.
(24:20):
They should be going to thesecompetitions and trying to take
the master class teachers andand going home with this stuff,
not just laughing and having ablast in those big rooms because
it is fun in those rooms, buttake home stuff with you and
you're like, oh my god, I thinkthat really helped me with
whatever it is.
Speaker 1 (24:37):
There is something with age, you know, going to
those conferences too early.
I think it when you're gettingreally good training, because
sometimes the child is tooimmature and thinks that if the
teacher said something a littledifferently, that it contradicts
what their teacher says.
They can't see the biggerpicture.
Speaker 3 (24:55):
Yes, I Agree with that.
Speaker 1 (24:58):
There's just a maturity to all of it.
I think the conferences and thecompetition that I like to have
with my students that too youngcan be too much.
A Little bit of overload andthey can't really grasp exactly
what they're being taught.
Speaker 3 (25:14):
I agree with that and that's why I make it a very
that's a point that I will make,that if you will hear or see me
Say something different, I'mgoing to guarantee it, but that
has nothing to do with what youhave been learning from your
wonderful teachers.
So I do I do try to point thatout and that's that's important
that dancers feel good aboutwhere they are, because you
(25:36):
don't feel good about where youare you can't improve and a lot
of times what you're sayingdoesn't contradict what the
teacher's saying at all.
Speaker 1 (25:45):
It's more of the way it's been heard.
Speaker 3 (25:48):
Yes, that's true.
So there is a maturity.
I and when, you know, when yousaid the word maturity, I wanted
to make a point there thatisn't it wonderful in our
profession that we are.
We spend our time with Peoplethat would most adults would say
, oh, those are a bunch ofimmature kids.
But we never say that, or we, I?
I rarely think that, becauseDancers are mature, I really are
(26:13):
.
Like we demand so muchDiscipline from them, and I know
that.
You know, people often ask mehow do I go in that room?
And and I have known for this Ican walk in and I will change
the sentiment in that room, likethat, when I do it, because I
have a bun on, you know, myballet bun, the way I enter, the
(26:35):
, what I'm dressed like, and Iwill change that room and they
will be in the palm of my handand there they will step up.
They know I'm going to startdemanding discipline from them
and they get maybe a little bitlike, oh no, here she comes, the
ballet person.
I'm gonna hate this.
But then I shake it up, I loveit, I show another side of
myself.
But when I first enter I'm veryclear hey, you're gonna be
(26:59):
riding this out in my hand and Ithink that's a good teacher
does that and then you can makeit fun.
It doesn't have to be all youknow, like drudgery and this is
too hard and it's too serious.
It doesn't have to be that atall.
But I try to do that,especially in the junior room,
where you know you're walking inafter you know a fun I'm gonna
say a hip-hop class or you knowsomething, where it's really
(27:20):
highly energized and they take alook at me and I've seen like
everybody just you know, theirshoulders go down.
They're like At once, and Iwill not allow that.
I always say to myself theywill not leave here remembering
that other guy.
They're gonna remember me.
Speaker 1 (27:38):
That's right, and they do yeah.
I let you.
I met you at a dancecompetition in Manhattan in New
York, yeah, and I loved yourclass and you do do that.
I mean it's very important totake charge of the room, let
everybody know you're in chargeand then guide them through a
great time and Teach them a lot.
And you do it.
You do it every time, thank you.
(28:00):
What is your feeling aboutcompetition for every student?
Do you think that everyone thatsigns up for dance lessons
should compete?
Speaker 3 (28:08):
I do not, I think, the schools that they have
something called the competitionteam or the competition company
.
I like the referencecompetition company only because
it sounds a little more danceworld and I think that they
should audition for it because,again, it's part of our world,
it's what we do and you know,letting them have a taste of
that is good and then puttingthem in the level you want them
(28:31):
in as the professional you know,in that competition company is
a good thing, but I don't thinkit's for every every student and
it's it's a lot of that wouldbe.
It's a lot of pressure, it's alot more.
I think it should require a lotmore rehearsal.
A lot more training should beinvolved.
So it's definitely not forevery student in every studio.
Speaker 1 (28:51):
I agree we had all kinds of gates before you could
compete.
You had to pass certainshaketti levels and you had to
be taking certain amount ofclasses a week, and I think it
naturally keeps out the peoplewho aren't serious, even though
if they're 10, they might thinkthey want to compete.
But sometimes the teacher canbe doing a disservice to a child
by putting them in acompetition when they're really
(29:14):
not ready, just because momwants them to compete or they
want to compete, and then theyget out there and they'll feel
worse about themselves.
They really need some seriouslysolid training and guidance
Exactly.
And guidance before you put themin that world.
Speaker 3 (29:29):
Yes, that's my opinion, yes, I agree with you,
Linda.
Speaker 1 (29:32):
what are you working on now?
Speaker 3 (29:34):
Yay, I was hoping you were going to ask me that, so I
am you're going to laugh when Ianswer.
I am working on myself at themoment.
Yourself, yes, and I don't saythat lightly and it's become a
passion of mine and you know howpeople are like it's all about
me.
Well, a little bit right now itis all about me.
(29:54):
I've given myself so much toothers for so many years that
right now I am in a mode ofrecreating a woman who can find
strength in herself.
And I'm going to use physicallybecause you know, we dancers,
we are physical, that's what wedo.
(30:14):
We were physical day and nightand I'm working on myself
physically again to find acomfort place for me to be able
to work out and maintain mystrength.
Because I was starting to findout that I was like kind of
avoiding getting on the floor,like if something, like if I had
a kneel down and crawl out topick something up, I kind of was
like avoiding it and I thoughtto myself, well, that's not good
(30:37):
, I'm avoiding it because itfeels hard to get up.
So I'm like that is nothappening here.
And then I also, I would notice.
As you may remember, I've livedaboard a boat for months at a
time with my wonderful husbandAndy.
Oh, I do know, and I would watchAndy like stepping up on high
things and I would think I can'tstep up on that.
I need to help with my arms.
(30:59):
I've got to pull myself.
So I'm like I don't know.
I'm losing strength herequickly and I know why I was.
I'm insanely still flexible.
I have a huge flexibility rangeand this is taking away from my
strength, because dancers needboth.
We need strength andflexibility.
So I have made it a passion ofmine now to get back into
training myself to be able tohave all of this strength back.
(31:23):
And while I'm working out, Istill adore stretching because
that comes easily to me, but Idon't allow it.
I stretch a bit because it'sgood for your muscles, but I am
working on getting strength backin my thighs and I was also
getting like a knee thing.
Teachers might find this veryinteresting.
I have come up with a quite alot of exercises specifically
(31:46):
for my knee and my knee is doingfantastic.
I was having a lot yeah, I washaving quite a bit of.
I never had anything, never andI was doing single leg legged
squats in my pool and all of asudden I just something was
wrong.
I hurt my knee and I thought,well, I'll heal.
You know, I was doing a singlelegged squat in the pool.
(32:06):
There was no pressure on it,but I did something out of whack
and for like a year it wasbothering me and I'm like, oh no
, I did something that day.
I don't know what it was.
And then while I was sitting onthe floor and I noticed that
that was my good knee, but thatwas my knee that was super hyper
, extended and super flexible.
And now suddenly it was liketight and I wouldn't have known
(32:28):
that.
I just was going around in painand I wasn't really working on
it until I got on the ground andsaid this knee has tightened up
like mad.
So I really it was hard, it waspainful, but I went back into
hyper, extending it in the backand I have found places in that
knee on the sides, here andthere where I can get at it in
(32:49):
my workout and it feels almost.
I mean, it's pretty much nopain.
And then the other thing we haveis the hip flexors are
sometimes painful for people, or, right, mine are not painful,
but they are loosey, goosey,they're very loose.
And this is one of my problemsof getting up on a high, like if
you want to step up high onsomething that's I've been
(33:11):
working on my hip flexors to tryto gain strength and stop being
able to do splits and thingslike that.
So that's my.
That's really what I'm doingright now.
I happen to be working onmyself.
Speaker 1 (33:23):
Is that part of ballet busters?
Speaker 3 (33:25):
It is part of ballet busters, but my ballet busters
started out as my coachingmechanism with with the New
England Ballet Company, where Ijust felt like my dancers needed
.
They were such bunheads andthey were training five, six
days a week seriously in justclassical ballet and they needed
to do something else.
They needed core strength froma different source.
(33:47):
So I came up with this balletbuster where you're working out
really with like yoga andPilates, and I put it on them
and then after that, I started,you know, thinking I could teach
this to other people, and I did, and I brought it to the
competition circuit as well, andnow my ballet buster is
evolving a little bit into, Iguess, injury prevention,
(34:10):
maintaining strength andstability as you age also, which
is very important.
And, sally, right here I wouldlike to bring up something that,
since I'm one of those peoplethat can get inspired very, very
quickly and it inspired me thismorning because I thought I'm
going to be doing this podcastwith the beautiful Sally Tierney
I feel this little quote I'mgoing to give you represents a
(34:31):
lot about my road that wediscussed earlier, and it's
coming from Kim Kardashian.
I happened to be on Instagramthis morning and I was just, you
know, strolling around as we do, and Kim's post jumped out at
me today and it said somethinglike you sacrifice for what you
want and then what you wantbecomes the sacrifice, and that
(34:57):
I don't know.
That just like jumped out at meand I thought, wow, that
happens to be like that kind ofspeaks about my entire road of
my career, because there wasgoing to be no stopping me.
When I was young, you know,there was no sacrifice too great
taking class every day,rehearsing, and you know, like
there was no sacrifice too greatfor me when I was a young
(35:18):
dancer, I would have doneanything to create this career.
And now it is a bit of asacrifice to keep my physicality
going where I want it.
And I'm going to try to go backto my early mindset of there is
no sacrifice too great.
You will do this.
So here's my program that I'vegiven myself.
(35:39):
I do this workout, this balletbuster for stability, every
other day and it bothers me if Imiss one.
I mean, you know, I'm still inthat old ballet mode, mind,
where you don't miss class, younever miss a plie when you're
supposed to have it, so I don'tmiss.
I do it every other day.
Speaker 1 (35:57):
Do you enjoy it?
It sounds fun.
Speaker 3 (35:59):
I do.
It's like after I do it I'mlike why do I not want to do
this?
It's like I just feel so goodafterwards.
But you know, almost every dayyou're like oh great, I got to
get on the floor.
Speaker 1 (36:10):
You're asking the question out loud that I think
every single person thinks tothemselves why don't I want to
do the things that make me feelso fantastic?
Exactly Right.
We're old enough to know thatwe're going to feel fantastic,
we know exactly the resultswe're going to get, and we're
still kind of drag ourselves todo the things that we know are
(36:31):
going to make us feel fantastic.
Speaker 3 (36:33):
Yeah.
Speaker 1 (36:33):
It doesn't make any sense.
Speaker 3 (36:34):
Yeah, I'm glad, I'm not alone in that.
Speaker 1 (36:37):
It's the human condition, I think.
Speaker 3 (36:39):
Yes, I really do think it is.
Speaker 1 (36:41):
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(37:02):
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That's BodyDynamicsInccom.
Or find them at Body DynamicsInc on Facebook and Instagram.
See how Body Dynamics can helpyou dance better, faster,
stronger together.
Linda, this season this is thesecond season of the Dance
(37:50):
Studio podcast I'm going to askevery dance teacher that I
interview to share with me theirvery best teacher tip or trick.
You can share more than one ifyou want, but something that you
know.
That is all you, and you justcouldn't live without it.
Speaker 3 (38:08):
Okay, the first thing I'm going to go to is not
physical, it's my voice.
I've had people say to me oh mygod, I miss that voice, or like
I hear that voice and I know itimmediately and my voice is a
go-to for me and I learned thatvoice from some amazing,
wonderful individuals thattaught me to be who I am and one
(38:32):
of them is Ishvan Robofsky fromthe Bolshoi in Kirov Ballet.
He had a way about him wherehis voice was.
You know he wasn't as loud anddemanding as I am with his voice
but he was funny and he madefunny sounds and some of my
sounds like, like, if I do thatdancers know I'm extremely happy
(38:55):
with them and that's a Mr Rthing, that's my Ishvan Robofsky
thing and he'll be happy toknow that I use that.
He's gone now but he was like afather to me but I use those
kind of techniques with mystudents and I really motivate
them through my reactions to howthey're reacting to me.
Speaker 1 (39:17):
I've seen you do that .
I do that in a different way.
My students will come to me andsay I miss your sound effects.
I think that it's reallyimportant to keep it interesting
for the students with yourvoice.
Your voice is a huge part ofteaching your personality.
So and I've seen you do it,you're great at that.
(39:38):
Thank you, do you have anyothers?
Speaker 3 (39:39):
Yes.
Another tip would be and thisis going to go back to where I
began with that.
I wanted to speak aboutteaching and coaching and how
they're different things.
The tip here is that a greatteacher knows a lot of details
of technique and they can justpull it out of their mind when
they need it and they will helpthe student technically become a
(40:00):
technician.
But a coach is someone who nowtakes all of that technique and
helps this person, who's atrained dancer, learn how to
become an artist and how tonuance every single thing they
do, help them nuance and make ittheir individuality.
(40:22):
When we teach little ones, weteach them to be almost like
soldiers.
We're like really greatgenerals and we are really good
at that.
We're strong and they toe theline and they dance.
You know, with the core deballet they have to look exactly
alike.
Now, when you're no longer partof the core de ballet and we
need soloists, you need thecoach to come in and finesse,
(40:48):
and nuance is all of my studentsknow the word nuance from very
little you know, I would givethem an example.
I would say I came in here todaywith red lipstick on and that's
a nuance, because you were likewho is that woman with those
lips?
And you know that's a nuancethat would capture your
(41:08):
attention and it's very me.
So I use that as an expressionfor them.
And then I come in and then Isay tomorrow I'm going to come
in with no lipstick on.
You're going to think, oh, thisis going to be boring.
So I really get that in theirhead and I talk about nuances to
everyone.
It's a very important featurefor me because this is I really
(41:29):
love that about ballet that weare.
We want them to be littlesoldiers and then we want them
to be these amazing artisticstars.
Now you have to be able to doboth of that for them.
You have to explain it, youhave to detail it, they have to
be taught.
Okay, every once in a while weall have that student.
That is that, and we love them.
(41:50):
They walk in the room and theyjust they're all about charisma
and it comes naturally to them.
And I know as teachers we couldall name three or four or five
or ten through our years ofexperience, but sometimes in a
room, in one studio, you know,in one class there's maybe none
or maybe just one.
So we as teachers, we need tohave every tip, every idea in
(42:14):
our head of how we are going tobe teaching technique and
teaching those nuances, how tobe the individual, how to be the
star, and I love that.
My time at New England BalletCompany for that that was a gift
given to me.
I think another great teachingtip is adding acting to your
(42:37):
classes.
I would do with the little onessomething quite fun.
I would have them leave theroom and come back in in
character.
I would also allow them to dothis, maybe in pairs, because
sometimes doing it solo is alittle bit scary.
So they would leave the roomand come back in as their
favorite character and of courseit's almost like you know
(42:57):
you're doing pantomime, you'reusing everything but your voice.
I would always go first I'd haveall the kids sit in the studio
and then I would leave the roomand come back in in character
and my character would be, let'ssay, cinderella.
So I would have my shoe readyto fall off and I'd come in,
dance around, look at the clockand have my shoe fall off and
(43:17):
they would all scream outCinderella and it was great fun
and laughter.
It really would add lots to theclass.
It's very enjoyable.
I would try to keep it kind ofserious that there's no talking
while the acting is happeningand I would, you know, always
interject that dancers don't usetheir voice on stage.
(43:37):
So we have to be great actorsand actresses.
We have to learn to use ourbody to tell the story, linda
are you hireable as a coach, asa master teacher, at this point?
Oh, yes, I say I'm working onmyself, but I am still doing
lots of different jobs where I'mout on the road, traveling, you
(43:57):
know teaching for competitions,teaching master classes at
conventions.
I do a lot of guest teaching.
Speaker 1 (44:04):
How do people follow you?
Where can they connect with you?
Speaker 3 (44:07):
Yes, look for my name Linda Gian Casperow.
Linda L-I-N-D-A, and then, gianCasperow, you might need a pen
for this one G-I-A-N-C-A-S-P-R-O.
Speaker 1 (44:22):
Would you ever coach anybody through Zoom?
Speaker 3 (44:25):
Oh yes, absolutely, and I actually.
I'm sorry I forgot to say thatI also do Zoom and it was even
after COVID, so people were backin the studio.
But I have actually taughtclasses for a studio on Zoom and
I have taught privates on Zoom.
Speaker 1 (44:40):
It's easier than we thought it was going to be,
isn't it?
Speaker 3 (44:43):
I know, and it is a great tool.
Now I love it.
I think it's great.
I don't have a problem with it.
I guess Ms Linda is a bit of anactress and I don't mind being
on camera.
Speaker 1 (44:54):
Linda, can you please tell us all of the places that
you've taught before we let yougo?
Yes, that would be my pleasure.
Speaker 3 (45:02):
I have taught at Broadway Dance Center, city
Center Studios, the new dancegroup those were all in
Manhattan also.
Oh, and also Perry Dance inManhattan.
I have taught for the SarasotaBallet Conservatory.
I have taught for the RobofskyBallet Summer Camp for quite a
(45:22):
few seasons.
I was the founder and directorof my own Children's Ballet
School and most notably I wasballet mistress and teacher for
the New England Ballet Companywhere I was responsible for over
40 dancers that were in thecompany and it was my job to
train them, get them on stageand just ready for for
high-level performance.
(45:43):
I also taught for the New YorkPublic School System in the
Bronx, and one of the mostwonderful things that I've done
was I was a ballet repertoire tothe Madame Nina Striganova with
the Joffrey Ballet Company.
I was, I call myself, I was herlegs.
This was when I was muchyounger.
(46:05):
Obviously I was the person whohelped her set the ballet lay
presage on the Joffrey BalletCompany.
So she was invited to recreatethis ballet lay presage on the
Joffrey because they were doinga tribute to the ballet Rousse
de Monte Carlo and she dancedwith them in the 1940s and she
(46:27):
invited me to go as her legs, tobe the one to be the
demonstrator while she wastrying to set this choreography.
She was in her 80s at the time,so I'm proud of that, and that
was.
That was just a one-day job,but it was something that was
incredibly interesting, and itwas great to be with the Joffrey
Ballet for the day and also tolisten to her explain the
(46:50):
details of what it was like andwhat the nuances were for the
ballet Rousse de Monte Carlo,and this ballet called Lay
Presage, and it was a balletthat was done by Leonoy Messine.
Speaker 1 (47:03):
Do you have someone, a protégé of your own, that you
would like to follow?
Take over for you someday?
Speaker 3 (47:11):
I think my answer to that is that I have in the past
hired many of my own studentsand who I also brought with me
to Manhattan to my teachersbecause I wanted people that
were trained by me.
But I thought, well, I'm notthe be all end all, they should
also go to the city to myteachers and train also with
(47:34):
them.
And I did that.
So anyone who taught for me inmy studio also did that along
with me and it was fun.
We went together to takeclasses and I had young girls
who did that.
Sadly, my studio has closed andit closed during COVID and at
that point I wasn't there allthe time teaching.
I had my teachers there and Ijust said I cannot run this
(47:55):
without me physically in thebuilding doing this whole COVID,
cleaning and COVID everything.
So I made the decision to closeit.
So my mentoring of creatingsomeone to take over my teaching
probably is not there and I amnot working with someone right
now to do this road thing,although I will.
(48:17):
I mean, I do give advice topeople if they call or ask me,
and that's another thing I loveabout social media.
A lot of my former students docontact me with questions and
I'm always happy to answer, soI'm there as a mentor.
I think you know, if peopleneed help in finding a job or
thinking about how they couldget a lead, I'm there, I'll help
(48:38):
you.
Speaker 1 (48:39):
I strongly suggest that people call you and have
you come into their studio,because I think that they'll be
amazed what joy you bring to aballet class.
So many competition studiosmake their kids take ballet.
It's like they have to takeballet but then they get to do
all the other quote-unquote funkinds of dancing.
But you and I know ballet canbe the most fun when taught and
(49:03):
danced in the right way and youhave that joy.
You bring that with you.
So if anybody doesn't thinkballet is fun, call Ms Linda and
have her come and teach at yourstudio and she's going to
change your mind forever.
Speaker 3 (49:17):
Yay, I love the idea.
Bravo, ms Sally Very excitedand thankful for that.
Thank you.
Speaker 1 (49:23):
Thank you so much for answering all of our questions
about being a competition judge,and thank you so much for your
time, linda.
I always love talking to youand I really appreciate you
being on the podcast and sharingwith all of our dance teachers
all of your valuable information.
Speaker 3 (49:39):
Thank you, sally, it was fantastic.
Speaker 1 (49:42):
Thanks for listening and don't forget.
Please rate and review thisshow and share it with a friend.
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