Kirov Academy of Ballet of Washington, DC: A Russian Heritage Alive and Growing
With star-studded faculty members and graduates, the Kirov Academy of Ballet (KAB) is back again after a hiatus as Universal Ballet Academy from 2003 to 2006. KAB's artistic director, Oleg Vinogradov, had served as Director of the Kirov Ballet in St. Petersburg for 24 years, so the choice of the Kirov name for the academy at its 1990 birth reflected this heritage. But the 1993 contract with the Mariinsky Theater (the umbrella organization for the Kirov Ballet and the Kirov Opera) to use the "Kirov" name had expired.
In 2006, Vinogradov met Valery Gergiev, artistic director of the Mariinsky Theatre, at the John F. Kennedy Center for the Performing Arts where Gergiev was conducting. Vinogradov then took Gergiev on a tour of the academy. Highly impressed with its careful adherence to the Kirov tradition, faculty, student competition and professional placement success, and campus, Gergviev and Vinogradov renewed the Russian-American partnership with the new name Kirov Academy of Ballet of Washington, DC, and plans for further collaboration.
When the Union of Soviet Socialist Republics disintegrated, so did its state subsidy for the arts. The Kirov was cut adrift from virtually eight decades of complete government support.[See Dancer, April 2003.] In 2000, President Vladimir Putin selected Gergiev, an internationally renowned member of Mariinsky's conducting staff since 1978, inspired administrator, visionary and passionate spokesman for the arts, to lead and expand the Mariinsky Theater.
Vinogradov is also the Artistic Director of the Universal Ballet Company, in Korea. This creates special performance opportunities for KAB students.
Kudos for the Kirov
I first visited the KAB in 1997 to interview Rasta Thomas, whom I had met at age 14 when we were both in Tim Robert's jazz class. I knew Thomas was a good dancer, but was surprised to learn that he won a Gold Medal at the 1996 International Ballet Competition at Varna, Bulgaria, the "Olympics of Ballet." He was a senior in the KAB six-year program, as was Michele Wiles, also a Gold Medal winner at Varna. For the first time in the competition's 32-year history, Americans won Gold Medals in both the men's and women's junior divisions. Moreover, it had been 16 years since judges awarded a Gold Medal in the junior men's division.
"I respect the demands of these competitions and only the best take part," said Madame Yelena Vinogradova, Deputy Artistic Director, known as Madame V, a former Kirov dancer. Since it may cost 10 to 15 thousand dollars to send a student to a competition, KAB focuses on the prestigious competitions, its A-list.
The American Youth Grand Prix recognition of KAB in the 21st century as Outstanding School of the Year testifies to its excellence. Further substantiation is the unending flow of KAB students and graduates who have garnered international medals: 17 Gold, 1 Silver and 7 Bronze medals. And students have won Princess Grace, William Como Dance Magazine, American Grand Prix Ballet and Erik Bruhn scholarships and prizes in competitions.
In 2006, Mathias Dingman won the junior men's Gold Medal at Varna, and Sasha DeSola tied for the Bronze Medal in the junior women's category. The two received the Junior Best Couple Award at the Jackson International Ballet Competition. Dingman also took the Youth America Grand Prix First Place Senior Men's Division Award in New York City and the 1st prize, Junior Men's Division, at the 2nd Seoul International Dance Competition. Graduate Aeri Kim received 2nd prize, Junior Women's Division. Graduate Ian Lindemann won the Gold Medal at the Premio Roma International Ballet Competition in Rome, Italy. Philip Slocki won the Silver Medal in the Japan Grand Prix.
KAB has placed most of its graduates in professional dance companies worldwide, largely at American Ballet Theatre and others at ARKA Ballet, Ballet Des Moines, Ballet Iowa, Boston Ballet, Cincinnati Ballet, Colorado Ballet, Dance Theatre of Harlem, Eugene Ballet, Houston Ballet, Louisville Ballet, Metropolitan Ballet Theatre and Academy, New York Theater Ballet, North Carolina Dance Theatre, Orlando Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, Richmond Ballet, Rochester City Ballet, Sacramento Ballet, San Francisco Ballet, Sarasota Ballet of Florida, Tulsa Ballet, USA Ballet, Virginia Ballet Theatre, Washington Ballet, and abroad, Birmingham Royal Ballet, Dutch National Ballet, National Ballet of Canada, National Ballet of Panama, Seoul Ballet Theatre, Stuttgart Ballet, Universal Ballet, Vienna State Opera Ballet, and Zurich Ballet.
Graduate Thomas became an internationally renowned guest artist, danced with the Kirov Ballet in St. Petersburg, Dance Theatre of Harlem as a principal, Twyla Tharp's "Moving Out" as lead character and American Ballet Theatre as Othello. Adrienne Canterna garnered numerous awards, danced with various companies and founded her own, American Dance Artists.
Secrets of KAB Success
Pedagogy
The Vinogradovs continue the structure and curriculum of ballet training of their alma mater, Vaganova Ballet Academy in St. Petersburg. By the end of the 19th century, Russia had achieved an unprecedented level of technical excellence by melding the French, Danish and Italian styles with its own style of upper body expressiveness. The French ballet dancing master Jean-Baptiste Landé founded the school in 1738, then called The Imperial Ballet School, for the children of palace servants. In 1921 key influential ballet masters Marius Petipa, Nicolai Legat and Agrippina Vaganova began teaching there. During her 29 years as a teacher, Vaganova standardized the curriculum based on her discovery of the mechanics of each step of the classical vocabulary and its muscular and emotional processes.
Impeccable precision, emotion-evoking grace, individual creativity and vigor characterize the Vaganova Method and the Kirov Ballet performance tradition. Dancers are delicately pliant, with a fluid sculpted arching flow and line of arms that the eyes follow. Épaulement includes a spiraling action of the upper body to coordinate limbs and ensure equilibrium. Chins lift on the up-breath at the beginning of a phrase and again at the end. The head angle and back position are specially placed. Legs and their deployment are more of an individual matter. Dancers don't usually count but feel the music.
The Vaganova Academy can celebrate 250 years of existence and the creation of miraculous performers whose artistry have marked ballet history, e.g., Vaslav Nijinsky, Anna Pavlova, George Balanchine, Rudolf Nureyev, Mikhail Baryshnikov and Natalia Makarova. The Bolshoi Ballet, Eifman Ballet of St. Petersburg and Moiseyev Dance Company dancers also reflect Vaganova training.
KAB Faculty
Vinogradov assembled stellar artistic faculty members who have won gold and silver medals, danced and taught with the world's leading companies and schools. "Our instructors tell stories of famous dancers they've worked with or helped to succeed. You start thinking. 'They made it. Why can't I?'" said Haley Schwanz, KAB student. Wiles, now a principal at American Ballet Theatre, tells students: "Work with instructors who help legend happen, and you'll gain confidence to fulfill your dream. That's what KAB did for me."
The faculty's Angelina Armeiskaya graduated from the Vaganova Academy of Ballet with honors and was a principal dancer with Tbilisi Theatre of Opera and Ballet and the Russian State Ballet in Moscow. Jacqueline Akhmedova, a dancer with the Bolshoi, Munich State Opera Ballet and Vienna State Opera Ballet, has an advanced degree as a Vaganova Ballet Master, Coach and Choreographer and is currently studying for her doctorate. Vladimir Djouloukhadze has been a principal dancer with various companies, including the Bolshoi Ballet. Lyubov Fominich became Prima Ballerina at the Perm Opera and Ballet Theatre as well as the Sofia National Opera. She won the Gold Medal at the Moscow Ballet Competition in 1976 and toured the world as the youngest participant of the Stars of Ballet Company. Anatoli Kucheruk was a guest principal soloist with the Stars of the Bolshoi Ballet. He received the "Best Teacher Award" at the 2006 Youth American Grand Prix. Ludmila Morkovina and Nikolai Morozov both danced with the Maly Theater of Opera and Ballet.
I asked if and how the KAB had changed over the past decade. Akhmedova said, "Ballet has changed, how we dance now and how we danced before. It's important to keep the basics. In the last 20 years technique has improved a lot. But we've lost expression and we need it. Bodies have changed, not only thinner but more flexible, taller, more extension, higher and bigger jumps. There are not so many classics seen onstage. Every company has modern movements in contemporary ballets. There's the same approach, but it's how you execute it now. When you go on pointe, it's less heavy going down and appears more effortless. You need to work but not show it." What she likes best about KAB is that "they have Vaganova teaching the right way with great studios and boarding opportunities for the youngsters. But I would like to see students have modern training, too, Killian, Van Manen, Forsythe."|
Kucheruk observed, "I have changed a lot. I had an opportunity to watch competitions in Europe, like Vienna, Helsinki and Belgium. The Vagonava tempo is too slow for contemporary times. I often give longer combinations, speedier. Today ballet is more technical; students now do what only the superstars did in the past. But what dancers are dancing has no feeling. They don't understand what they are doing, just jumping. I would like to see ballet like a movie or fairy tale; people must understand what it is about, each dialog. Ballet is different than acrobatics and the circus. All companies have about 50% modern and jazz. It is more difficult for dancers today. They need to be versed in other forms."
Boys have their own classes at KAB. Kucheruk commented, "I try to push them, but more like a friend than a teacher. I need to understand each student's psychology to individualize instruction. Each student is a special person to me. What I like about KAB is that each teacher, we have our own class and when you teach by yourself, you have to take responsibility for the students. It's different in schools where students have five teachers. I'd like us to have more performances, and jazz, modern and tap classes at least two times in a week. We're strong in ballet, an important foundation for any dance. But other forms are different. They can also help ballet, modify stiffness, for example."
KAB Program
It's the first in the U.S. to integrate the classic Vaganova curriculum with academics and a rich resident life. Both studies are accredited by the Middle States Association of Colleges and Schools. And there are trips to the nearby John F. Kennedy Center for the Performing Arts and many free Smithsonian museums and festivals. Students can audition for the Kennedy Center's master class program in which members of visiting companies teach.
Grade 6-12 students at KAB learn classical ballet technique, pointe, classical repertory, adagio, virtuoso technique for men, partnering, character dance, historical court dance, ballet etiquette, professionalism, nutrition and health. Classes are six days a week. Students preparing for competitions get modern dance training as they learn two specially choreographed pieces that international competitions require.
The academic program, directed by Dr. George H. Thoms, prepares students for higher education. About 20 percent of KAB graduates have gone on to colleges and universities. Seven academic faculty members provide a low student-to-teacher ratio with the opportunity for students to receive individual assistance, Russian language is offered, as is English as a Second Language for students from abroad. Commuters with alternative academic programs, including home-schooling, may choose to participate in the artistic program only.
A Pre-Professional Program allows high school graduates from 19-21 years of age to continue their dance study. It enables them to refine all their previous work in anticipation of entering the ballet world.
KAB has 51 resident students (12 male) and 15 commuters (2 males). Students come from the U.S. as well as Brazil, Georgia, Japan, Korea, Panama, Rumania, Russia and Taiwan.
The KAB program is enhanced by a spacious facility with beautifully landscaped grounds; state-of-the-art classic dance studios with high ceilings, sprung floors and live piano accompaniment; a research library with a broad dance video/publication collection; recreational areas equipped with satellite TV and video; dressing rooms with Jacuzzis and a conditioning room. There is 24-hour resident staff supervision, medical care by an on-site Registered Nurse, in-house banking and meticulous attention to safety and security.
While the yearly cost is high (about $30,000 for resident students and $21,000 for commuter students in artistic and academic programs; $13,000 for commuter students only in the artistic program), more than half the students receive scholarships. Thomas and Wiles had full scholarships during their six years at KAB.
KAB does not offer training in choreography as modern dance programs often do. Madame V. said, "Choreographers have an inborn talent that involves vision and imagination, a god-given gift. Putting combinations together is not the same." She continued, "If a student were to appear who had the time and interest to choreograph, we'd support it."
Madame V. doesn't want her students to be isolated. "We're not stuck here on Russian classics. We're not a museum. We expose students to various forms of dance. We have a large collection of dance videos. Students attend Kennedy Center performances and Kennedy Center master classes given by visiting dance companies. KAB students often audition for outside performances." Students have been in Kennedy Center productions, including those directed by the two-time Emmy Award-winner Debbie Allen. The classically-trained students picked up quickly, said Allen, whose daughter Vivian Nixon was a KAB student and is now on Broadway.
KAB receives support from the Universal Ballet Foundation, in turn funded by Reverend Sun Myung Moon, founder of the Unification Church, and other private sponsors. However, KAB is completely secular. The Foundation also supports a performing arts school in Seoul, the Universal Ballet Company of Seoul, which received rave reviews for its performances in the U.S., and Folk Dance ensembles.
I asked Madame V. what advice she had for teachers in other dance programs that seek success for their students. "Many schools claim to have the Vaganova training," she noted, "but many do not have the real ability to teach, to read what she has written. What is important is that a person has intensive training and experience performing. A teacher has to get marinated in the system. There is personal transmission, from teacher's body to student's body, to one set of feet to another. KAB is open for teachers who want to visit and observe how we teach."
Student Selection
Admission to the Professional and Apprentice Divisions is by audition only. KAB schedules a yearly nationwide audition tour in 8 or 10 cities seeking students who demonstrate artistic promise and technical ability. In addition, students may arrange individual auditions at any time during the year at KAB. After being provisionally selected, students then have an extended audition during an intensive, month-long resident and commuter summer dance training program, gateway to the year-round program.
Six or seven hundred students may audition. About 140 will qualify to attend the summer program from which perhaps 2 or 3, sometimes more, students will be chosen for the professional training.
Madame V. explained, "We look for children who by the age of 8 or 10 can be identified by their natural physical gifts for ballet as a profession, not a hobby. We have to see the future in an 11-year-old whose body will change at 14. We select body potential and then develop it.
"We look for artistic temperament. It is the responsibility of teachers to discern this," she continued. "A phlegmatic temperament is unacceptable. Dance and discipline go together. Misbehavior is not tolerated. One of the secrets of our profession, we know why someone looks so good."
Students must present a supple, long-limb, long neck, small face, small waist, well-proportioned body; arched instep; natural turnout; loose ligaments; and a light, strong jump. The back must be flexible. Students should be able to coordinate various movements. In a musicality test, students have to be able to repeat a rhythm played and move to it.
Since the age of 10, Stephanie Eagle had attended a number of summer sessions in different schools. She learned about KAB from another student. "I fit in here," she said. "The environment is like my home. The staff and teachers are like our parents. They give us the wisdom and attention we need. Our teachers are so knowledgeable; they're just amazing. I have my great friends here. If you want the best technique that will last a lifetime, this is the place to be."
Stefan Drach recalled, "I saw a guy do some insane trick in the 'Nutcracker.' I said I wanted to do that. So my mom said we'll try you out in ballet class. I stuck with it ever since. My army dad and my mom supported my dance studies. I was born in Romania and lived in the Netherlands, Germany, Portugal, Italy, Germany and America. I came to KAB because of its reputation. I love it. The training is absolutely perfect. And they support you in every way. Some people have said they force you too much. It's not true. They push you to your limits."
I asked Madame V., "How do students at The Kirov Academy of Ballet differ from students in Russia?" "There is no difference," she replied. "Students are here because they want to be here and have a willingness to work hard. They have talent. The same principles are used as in Russia. But Americans live better. Russians don't think about higher education. Russians are such fanatics about ballet, they forget about opportunities they might have otherwise. They think of teaching. But not all dancers can teach. Teachers must have a love for dance and a desire to share that love. Ballet is culture, and we try to develop a sense of professionalism in the students; we try to promote cultured education and instill kindness and consideration of others so that graduates are useful to society as a whole."
For more information visit KAB Ballet Academy of Washington, DC, 4301 Harewood Road, NE, Washington, D.C. 20017 (202) 832-1087, at www.kirovacademydc.org for a virtual tour of KAB studios and facilities..