Deb Young is a subscriber and regularly offers her thoughts and shares her knowledge and experiences in the comments here at Dance Advantage. After sharing with subscribers a bit about my experience at the Dance Teacher Summit in NYC this summer, Deb described her own productive and exhilarating summer adventures as a participant in American Ballet Theater’s National Training Curriculum program. I asked if she would recount this for you, and she happily did so with wonderful detail. Her article follows. Thanks, Deb!
What I Did Last Summer
(and This Summer, Too…)
During a break between classes at my fledgling ballet school a couple of years ago I picked up a dance trade magazine whose pages fell open to an interview with Franco De Vita, Principal of American Ballet Theatre’s Jacqueline Kennedy Onassis School. He was discussing the launching of ABT’s new National Training Curriculum, which he co-authored along with his colleague Raymond Lukens, also a teacher at the JKO school, as well as artistic associate for the ABT/NYU Masters Program in ballet pedagogy.
I remember thinking, Wow—ABT Artistic Director Kevin McKenzie really is taking the bull by the horns: first he muscles his way into Congress and has ABT declared “America’s National Ballet Company,” and now he has hired two ballet icons to create a new national curriculum, with the JKO School and NYU serving as its petri dishes.
What impressed me most was the saturation of excellence both in the content as described by Franco himself, and in the striking panel of experts across many disciplines (including dance medicine, physical therapy, and child development) whose wisdom had been polled to develop the curriculum. And now ABT was opening its doors to a planet full of teachers who work every day in the ballet classroom trenches, to share its experts’ collective knowledge. Was it possible that the NTC truly represented a methodology with the health, well-being, and safety of the child as its cornerstones? Now they had my undivided attention.
I began to see this as an excellent opportunity for my young ballet school to serve as a local ambassador for the ABT/NTC; it was something unique I could offer my community. A few short months after reading Franco’s interview, and after a pep talk from my former ballet school roommate who had completed certification with the inaugural group of trainees, I decided to be brave and submit my resumé to ABT. Insofar as the resumé itself, I discovered in short order that ABT is less concerned with stage credits than they are with an assurance that you’ve had decent training, and have obtained a high intermediate-to-advanced level of proficiency. My classmates were a mixed bag of old and young, retired and current professionals, obscure teachers like myself and famous former dancers-turned-teachers. But we were united in our desire to learn from the best.
The Training is organized as week-long intensives; candidates are asked to obtain certification in Primary Level through Level 3 of the curriculum before being allowed to continue certification in Levels 4 and 5, and then 6, 7, and Partnering (taught as two separate intensives).
Certification is achieved by passing written and oral examinations on the final day of the intensives. But because ABT really wants its new certified teachers to have the benefit of working with the curriculum in their own classroms for an academic year before moving ahead, the Primary through 3 training is scheduled at the very end of summer, with 4 and 5, and 6, 7, and Partnering preceding it. So it is impossible to take all three intensives in one summer.
ABT’s Young Dancer Summer Workshop (ages eight to twelve) runs concurrently with the Primary through Level 3 training so that trainees can observe much of what they are learning firsthand in the JKO School’s classrooms. Likewise, the more advanced summer intensives run concurrently with the higher level teachers intensives.
If You Go
Be advised that when ABT says intensives, they mean it. Prepare yourself for hours sitting in an uncomfortable metal folding chair, taking in bounteous material while taking down lots of notes. LOTS. At the end of eight or so hours of this, you will be dog-tired, unless you are an alien. But then you will need to summon your second wind to review all those notes at the end of each day in preparation for the upcoming exams.
During the course of one day at the training, you might have…
- a two-hour lecture on the material itself, which is rolled out a level at a time over several days;
- a “progressions” lecture—these are very important, as they clarify the evolution of basic movements from one level to the next; an hour lunch break;
- a JKO School class observation; and perhaps a review session with opportunities for questions to finish the day.
Instructors at the Primary through Level 3 session I attended last year included Raymond Lukens, assisted by Kate Lydon and Harriet Clark, and ABT physical therapist Julie Daugherty. Trainees also have the opportunity to take a class in each level of the curriculum being taught, but this is not a requirement. About half of my group participated in the classes, and the rest observed and took notes.
I participated in some classes and observed others, but ultimately I found the notes I made from observing far more helpful once I returned home and began working with the curriculum in my own classroom; I frankly could not remember much from the classes where I participated.
Additionally, in the Primary through Level 3 training we were split into smaller groups and asked to prepare sample enchaînements in each of the levels we were learning to demonstrate for our colleagues and instructors. Sounds intimidating, and it was, to be sure. When someone complained about being too nervous Raymond quipped, “You have no choice but to get over it.”
Remember: you are there to learn, and one of the best ways to do that is trial and error. Nobody cares about your arches or extension—the thing that matters is whether you can teach the material you are learning. Best to throw caution to the wind and demonstrate as if your own students are watching you, instead of other teachers and JKO faculty.
You will also have the benefit of learning some excellent exercises your colleagues give in their classes at home. (Think cookie swap, but with ballet combinations.) And best of all, you have ABT’s instructors at your disposal to offer constructive criticism—what an incredible opportunity. I found their remarks to be helpful, and always delivered with professional aplomb.
The Curriculum itself is presented as guidelines, as opposed to a planned syllabus of study; it comes packaged along with ABT’s Healthy Dancer text in a gigantic three-ring binder that is included in the cost of the training. The authors borrowed from the French, Russian, and Italian schools in designing it, with a heavy emphasis on classic Cecchetti, and a healthy dose of Vaganova thrown in for good measure.
It is a very clean, simple, developmentally appropriate set of guidelines focused on correct placement and slow, careful technique building, with an emphasis on developing core strength and stability beginning in the very earliest levels.
In the Primary Levels (which may be divided into three years of study), there is no barre work given; all exercises are executed in centre floor or moving across the floor or in patterns. The more traditional barre/centre floor format is introduced in Level 1, for children at least eight years of age.
The NTC is also an allegro-intense curriculum, with no fewer than twenty minutes of each class devoted to jumping.
Finally, the curriculum seeks to develop musicality beginning with very young children, and ultimately to keep the artist alive in young dancers. This is accomplished in the Primary Levels through counting and clapping exercises, imaginative games that lay the foundation for correct technique, and improvisation exercises.
So You Think You Can Be An Affiliate
![[Photo] Knoxville Ballet School Primary Level A candidates pose for pictures in the school lobby just before their ABT/NTC Affiliate examination class begins [Photo]](https://danceadvantage.net/wp-content/uploads/2010/08/KBS-Affiliate-Exams-2010-533x400.jpg "KBS Affiliate Exams 2010")
I engaged my parents early last fall to be brave pioneers with me and allow their children to participate. After ABT chose a date for us and sent the exam guidelines, I planned spring term with plenty of lead time for preparation, as I strongly believed it was very important that all my students enjoy success. About six weeks ahead of the big day I gave them their exam materials, which they practiced diligently week to week.
All levels above Primary are required to memorize the class; there is no teaching during the exams—you simply announce each exercise, and the children dance them. But an exception is made for the Primaries, who are quite young; the teacher can lead them through their classes so long as there is very little talking, and no correcting. I presented two levels of Primaries who all performed very well, in addition to Level 1 and Level 2 classes.
The biggest excitement of all during this process was the news that Franco De Vita himself would be coming to our little ballet school. But because my school population is still very young, most of the participants were undaunted by his presence. The entire experience was a tremendous success, and felt far more celebratory than nerve-wracking; all twenty-four children I presented achieved passing scores, with seven citations for Merit and two for Honors. Each child was given a beautiful certificate from ABT, and the overwhelming majority expressed immediate interest in repeating the exams in the coming year.
As I have explained to parents who ask me why their child should participate, the examination process is an excellent barometer for the quality of instruction at the school. In short, it tells us all whether I am doing my job well, and that should matter a great deal to parents who entrust their children to me for classical ballet instruction.
I found that this affirmation also translated directly into my improved confidence as a teacher. We all question ourselves from time to time, but it is very nice indeed for American Ballet Theatre to give you its official thumbs-up.
![[Photo] A young JKO School Level 5 student during an hour-long pointe demonstration at the ABT/NTC Levels 4 and 5 training in July, 2010 [Photo]](https://danceadvantage.net/wp-content/uploads/2010/08/Catherine-Hurlin-2010-266x200.jpg "Catherine Hurlin 2010")
Had anyone told me a few years ago that I would be teaching classical ballet (after a very long absence from the ballet world), at a school I founded, and traveling to New York to train at American Ballet Theatre, and that the principal of the JKO School would in turn be traveling to my school to evaluate my students, and by extension, my teaching, well…you can imagine.
Even if you are not in a position to use the curriculum—if you teach in a large school with its own plans or syllabus, for example—there is so much wisdom to be gained from attending the intensives that can be used in any ballet classroom environment, the training is easily worth the time, money, and effort it demands of you. I can’t wait for the chance to step off that 4th floor elevator once more.
Deb Young received early classical ballet training in Memphis from Balanchine disciples, Yuri Chatal and Victoria Fedine; she continued Cecchetti-based training with her own mother, Pat Holden, studying concurrently with many distinguished instructors at the National Academy of Arts in Champaign, Illinois during summer intensives for several consecutive years. After a short stint dancing with a small ensemble in Colorado in the early 1980s, she hung up her pointe shoes to go to college. In 2006 Deb discovered herself serendipitously at the front of the ballet classroom as the founding director of Knoxville Ballet School, where she is happily the wearer of many hats. She is certified in American Ballet Theatre’s National Training Curriculum in Primary Level through Level 3. In May of 2010 American Ballet Theatre named her an Affiliate Instructor. She is also a certified fitter for Gaynor Minden pointe shoes. Deb lives in Knoxville, Tennessee with her husband and son.
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Deb,
I really enjoyed reading your post! What an inspiration and clearly such an accomplishment for you and your dancers as well. I can see that you’re really doing a great job communicating with the parents at your studio about the wonderful reasons why this program contributes to young dancers future. So many studio owners struggle with conveying this message to parents and I think your post sums up so beautifully your dedication to the love of teaching and the art of dance.
Thanks!
Suzanne
Thanks, Suzanne. It did require a little leap of faith for some of my parents to come on board (and I paid the nominal examination fee for a couple of families who could not work it into their budgets, because I really wanted their participation), but now that they have seen the process and the beautiful results, I think everyone will step up to the plate next spring. I am in the process of curriculum planning for fall term, and after having used the NTC for an academic year and having participated in the Affliliate exams, I am building classes with more clarity of thought than ever; everything just seems to make sense. I think it is good to be pushed from time to time, and ABT definitely pushed me! My kids will return to class after summer break this coming week, and I can’t wait to see them all, and also watch them move into new levels. Your comments are very kind.
Deb
Deb, your students are so lucky to have you – a dedicated professional who is willing to expect more of herself and her students. Thanks so much for your contribution to Dance Advantage!
Update: I am pleased to announce that my exam results are just in, and I am now officially certified through Level 5 of the ABT/NTC.–Deb Young
Congrats Deb! So excited for you 🙂
Deb,
What a wonderful article! Thanks to ABT for sharing with the Ballet and Dance World the very curriculum they use at the JKO school! I am personally grateful of this. I attended the 2008 kick off NTC Intensives and I am certified in primary through level 3. No doubt it was the best experience I have ever had to endure. To learn from such highly regarded Ballet and Dance professionals and master teachers was an unbelievable and memorable experience. Even though I work for a Dance school where ballet is not it’s focus, I was fortunate enough to attend with full support of Owner and staff. To see the results on the students in just a year’s time proved it’s punch!
With the quality training that is available to students now through a training curriculum like this one, I think there will be a shift in the dance world and bringing ballet back to the foreground.
Thank you!
Tasha
Thank you, Tasha! I have also seen pretty impressive results in my own students after just one academic year….–Deb
Hi… Thank you so very much for sharing this! It is totally help me to know about the program even more!! =>
I do however have a question for teacher from overseas who took this training.
I myself considering to take the course next year, but as I am from overseas I wonder is the curriculum will be as effective as it is in US… (Back here most school used RAD Syllabus with just twice a week class).
I wonder if there’s someone I can discuss this to?
Let me know and thank’s so much again!
-Wenny-
Hi Wenny–
I would suggest that you contact Jenna Bitterman at American Ballet Theatre directly. She is the coordinator for the training and can answer your questions. Jenna is smart, pleasant, and very informed; she is also certified in all levels of the curriculum. I will say there were plenty of people from overseas who obtained certification in the curriculum–and many of my overseas colleagues from the Primary through 3 training in summer of 2009 returned to finish through Level 7 this past summer. Jenna’s email: jbitterman @ abt .org
Hope that helps!
Best,
Deb
Wenny–one more thing I forgot to mention: two of my classmates, Amanda Bennett and Julie Christie Wherlock, teach at a large school in Basel, Switzerland. They have each obtained certification in all levels of the NTC, and just last month presented many of their students as candidates in the Affiliate Exams to Raymond Lukens, who traveled to Basel to adjudicate. I mention this as an example of a European school where the curriculum is evidently working quite well!
I really enjoyed reading this, thank you! I have been considering applying for the program for some time now, but have been questioning how useful it will be to me. I teach college students- the intro level (sometimes) for non majors, and the intermediate and advanced for majors. I am sure the primary and lower grades will have a lot of good information I can use, but I wonder how much of it is geared towards children. Also, I feel that the upper levels would be more useful (since that is really what I primarily teach) but it seems the progression is very important, and I don’t know that I would truly have the opportunity to apply the lower level material with upper level dancers. Based on your experiences there, do you feel that the program would have enough that is not specifically geared toward children to make it applicable to beginning adults? I guess what I am trying to decide is given how much of the lower levels (and this seems to be multiple years) I would need to complete before getting to the upper levels, I would feel that I would really like to get enough out of it to make the investment (time/money) worthwhile. Thank you for any advice you are willing to provide!
Hi Movementaddict! Thank you for your kind words. While I can’t tell you specifically whether the NTC is right for your particular situation, what I can say is several of my classmates at the training teach in college programs (notably, SUNY Purchase and Barnard, and each of those people quite famous in the ballet world). Yes, you are right–the progressions are critically important and founded in the notion that correct technique is taught gradually (a mantra we all repeated each morning at the training on cue from Raymond himself). This is why the training begins with Primary through 3, and you’ve got to wait a bit before going on to allow those concepts to sink in and to use them in your classroom. But (and something I did not make clear in this piece) you CAN progress all the way through 6-7-Partnering back-to-back with 4-5, all at once; many of my colleagues did just that last summer. I stopped at Level 5, which the JKO-folk deem to be the first truly pre-professional level (as Raymond said, it is the level that “separates the boys from the men.”); the reason I did not elect to go on is that A) my school population is quite young, and B) if I should be lucky enough to train a child through Level 5, that child should really go on to a residential performing arts school thereafter, as opposed to continuing at a small local ballet school.
I would take issue a bit with your questioning that you “would truly have the opportunity to apply the lower level material with upper level dancers.” Of course you would address an older student differently than you would a child, but every student struggles with something, good training is good training, and those very fundamental concepts can be applied to ANY ballet class–even a professional company class. And while that is MY very strongly held opinion, I believe some staffers at ABT/JKO would corroborate that. The NTC instructors made it very clear to us that when a student is struggling, the way to deal with that is to take a step backwards–go back to basics, and make sure all your ducks are in a row before moving ahead. You would not address a college freshman as you would a 5-year-old just entering the curriculum, but if you needed to use Primary Level concepts for that student, I would imagine you might adopt a “nothing is beneath our dignity” approach; if the back is not engaged, let’s work with the hands on the shoulders until the concept sinks in, for example. And a college freshman will assimilate those concepts much more quickly than a five-year-old, so you can move on more quickly.
We were also introduced to a number of what Raymond referred to as “medicinal” exercises–these are designed to address specific technique issues and are drawn from ballet school traditions across the globe. For example, there was a foundational pirouette exercise given in the wrapped sur le cou-de-pied position to encourage the knee to open during the turn; I believe that one came from the Royal Danish school tradition. So if you can be a “diagnostician” in your classes, then you have a bag of “prescriptions” for particular problems. I also found that many classmates had some great ideas for dealing with specific technique problems–I stole those ideas liberally and shamelessly!
I am returning to ABT this summer to repeat the Primary through 3 training as an audit. Of course, this makes sense for me because my enrollees are right there, but also I want to soak up as much knowledge from the iconic JKO staff as I can, and I’m sure I will walk away with even more ideas this time. (Also–I love observing the Young Dancer Summer Workshop classes–there is so much to be gotten from watching others actively teaching the NTC.)
I don’t mean to sound like an ad for the NTC, but I am nearing the end of my second academic year teaching it and the results are excellent–even for average kids, and this is most of them after all. I suggest that you contact ABT directly for more information (http://abt.org/education/nationaltrainingcurr.asp) and direct your questions to the NTC coordinator, Jenna Bitterman. You might also want to look into the NYU Masters Degree in ABT Ballet Pedagogy; I would do that in a SECOND if I could take three semesters off!
Best to you in your quest!
Deb
P.S. One more thing: I teach adults, too. They come to me from all over the place technique-wise–I have some true beginners, a couple of retired professionals, and a bunch of dots along the continuum between those two extremes (VERY difficult to teach!). What I give them in class usually emerges as high Level 2 to low Level 3, with work borrowed from Levels 1 and 4, depending on who shows up for class any given week. And I make them do pirouette in center with hands placed on shoulders…. They moan and groan, but those who have been in class consistently have shown undeniable improvement in their turns and in other areas–even they admit that.
Wow! Thank you so much for your detailed and quick response. I am glad to hear that you and others have been applying the work with an adult population and have found that the primary and lower level materials has application to this demographic.
I certainly didn’t mean to imply that there wouldn’t be information included in the lower level programs that my upper level students couldn’t use- just that I wouldn’t necessarily have the opportunity to ‘start from scratch’ with a group in the year after completing the lower level training. I think THAT experience would be incredibly valuable! Actually, what I find is true is that all of the problems the more advanced students seem to have come from issues/principles that were never addressed or taught properly in their earlier training. We do tend to have revisit certain ideas!
Thank you so much for your suggestions. I think the program is not an option for me this summer, but I was looking in advance for the next. I am happy to hear that your experience there has been so positive that you are a champion of the program! That, your results with your students, and your insightful commentary have really given me much to consider. Best to you!!
No–you are correct–you wouldn’t be able to start from scratch with your demographic. And I do feel your pain–it is so tricky to take on a student who has trained elsewhere and has technical problems that were never addressed. I deal with this issue even with young ones who come to me from other schools–ten and eleven-year-olds entering the NTC as newbies, who feel like they’re ready to dance Giselle, but who are now being asked to work with two hands on the barre. As Raymond would say, Oy!
Best to you!
Thank you very much to give me many information about ABT/NTC.
I have interested in this program. I would like to attend this program.
But I am worry about my English ability for last exam.
Is it possible to just take a course?
I wouder only to attend the course is good experience for me.
How do you think about this?
Atsuko: take the course AND the exam! They will work with you and the language barrier. In the past they have allowed some people who are not completely fluent in English to even use illustrations to answer questions. that is my advice. If you are going to go to the trouble to do the training, then you will definitely want to walk away from it with the teacher certification.–Deb Young
I am a mother of a young pre-professional dancer who’s school is adopting the ABT curriculum next fall. I see a lot of postive things about it, but I’m concerned about the structure of the program and have a couple of questions I hope you might be able to shed some light on.
First, since it is required that the board examiners evaluate your students each year, do you have any say about the students’ progress and/or leveling? I’m also interested in what happens when a student has a bad day or is ill on the day of the exam?
Second, because the school’s affiliate status is dependent on seventy-five percent of the students passing, I’m concerned that the stakes will be high for teachers and staff to see that the students perform well on the exam day. As a result, I can see that the exam has potential for becoming the overriding goal instead of the actual dance training as well as putting undue pressure on the students. I’m interested in knowing your experience with this. For examples, is there any type of checks and balances in the program to avoid this?
Last, I’m concerned about the increase in tuition. You wrote that there is an exam fee. Are there other fees? I don’t want to ask exact numbers or anything, but would be interested in knowing the approximate percentage increase your parents incurred as a result.
Thanks for posting this. Your article was very informative. And thank you for taking my questions.
Hi Dana–
I will address your questions in turn.
First, there is actually no requirement that the students are examined, ever. That is left to the discretion of individual ABT/NTC certified instructors. If an instructor wishes to become an Affiliate, however, he or she must present students for examination by a certified examiner every other year (although the exams can be done annually if an instructor desires). If seventy-five percent of those candidates receive a passing score on the exam, then the instructor presenting them is named an Affiliate by ABT. As we were told during the training, obtaining the certification–passing oral and written exams–tells ABT only that the instructor seeking certification understood the material being presented. But the only way ABT can discern whether a certified instructor can teach the material is to look at the end result, by way of examining that instructor’s students. To date I believe that ABT has certified around 600 teachers in the NTC globally, but has named only 36 Affiliates–so you can see that only a small percentage of ABT/NTC-certified instructors have elected to pursue the Affiliation by way of examinations. Insofar as leveling up, that is left entirely to the discretion of the teacher–the child’s performance on the exam has no bearing on his or her class placement. Having said that, ABT does have strict age requirements for each level, and will not examine a candidate in a particular level if she does not meet the minimum age requirement for that level. If a child has a bad day, then she has a bad day–I’m sure that would be reflected in the exam score. But that is life, and there is not much to be done about that, right? In the end, it’s just a ballet exam. If a child is ill, then she would miss the exam. I believe the instructor can take a student to ABT and present her for an exam there, however. So that might be an option for an exam missed because of illness.
Insofar as your second concern, I understand what you are saying, and yes, the stakes are high if you are a teacher seeking the Affiliate distinction. I really felt it in my first year doing the exams. But this will be our third year to do them, and I feel much more confident heading into spring term. While I can’t speak for others who do the exams, what I can say is that the exam guidelines have actually improved my ability to stay organized and goal-oriented as a ballet teacher, and I appreciate the help there. The guidelines are very clear about what the examiner wishes to see on exam day, but of course the class plans are left to the teacher to construct. So with those guidelines in hand, I sit down in August and make semester goals for the entire academic year for each level. Those guidelines in turn help me plan my classes week to week, and allow me to make sure my students are getting all the work they need in class to perform well on the exams. I would even posit that in the absence of the exam guidelines I would possibly be less thorough in my instruction. For us, the exams have only been a good thing–they keep us honest and transparent. Yes, there is pressure on the students, but I try to help them keep perspective on things. Some pressure is good–it helps us move forward and grow. On the other hand, in the days leading up to the exams I try to diffuse some of that pressure and ask the kids to treat the exams like a performance (which they are), and *enjoy* themselves. For us, the examination process has really been a celebratory experience much more than a pressure cooker experience. Franco De Vita himself has visited us twice–the kids adore him, and he is such a dear. If your child is dancing at a pre-professional level, though, she will of course be exposed to pressure–that is part of the professional ballet experience as a whole. You and her teachers can help keep it healthy.
Finally, the exam fee per child is nominal, and there are no other fees associated with the exam. I would not worry one bit about that. Having said that, there is a uniform requirement for the exams–there is an official outfitter for the ABT/NTC, and children being presented for the exams must be outfitted appropriately on exam day. But the uniforms are not any more expensive than other dance wear. Tuition of course is left to the discretion of individual schools–ABT does not impose tuition guidelines on NTC certified instructors or schools. I have gradually increased my tuition to make it commensurate with the quality of the product that is offered at my school. Having said that, I am still told on a regular basis by people who are “school shopping” that my fees are the lowest in this community. Again, that is left to the discretion of individual teachers and schools.
Hope this helps, and please don’t hesitate to ask other questions.
Deb
Wow Nichelle, thanks so much for such in depth information. I think we will just have to see how it is implemented in our school. I hope that we have as postive experience as you and your students have had.
Actually, I (Nichelle) am just popping in to say that credit most definitely goes to Deb Young – the author of this article and the rock star who answers all the questions and comments it generates!
I know when you get the e-mail notifications, it comes from my address but, make no mistake, it’s Deb that knows the ins and outs of ABT’s program. I can’t thank her enough for the value she’s added to the site with this one article. I’m not sure either of us anticipated the response but let me officially say that we appreciate your time and energy, Deb… you may never write for me again!! 🙂
Hi,
Thank you so much for this article, just happened to stumble across this site! So pleased that I did – I have looked at this programme for about two years now and as I am an overseas school and trained in the UK was unsure whether I would fit into this programme. Your article addressed all my concerns especially the issue of performing in front of ABT faculty! Hopefully I will be able to attend with my daughter next year as part of our CPD.
Thanks again.
Hey all!! I am just writing to thank you for the post! I am attending the NTC this week and was feeling very nervous. The post really helped me to know what to expect. I can’t wait to learn more and bring it back to my students. I did have a question (and I may have missed the answer somewhere) but with the exercises, are we to have them ready to go when we get there? Or wait and base it off of what we learn? Do we do one specific exercise (plie combo) or a series? And do we need to provide music. I know the information says there is an accompanist but I just wanted some clarity! Thank you again for the great info! I am now more excited than nervous! 🙂
Lori
Lori, we’d love to know how it went! Drop a line and tell us what you thought of this experience.