Class begins with a thorough set of exercises at the barre that last from 30 to 45 minutes. Centre practice follows, and may consist of a battement tendu exercise, a battement jeté exercise, a grand battement exercise, small and/or large adage, stationary turns, traveling turns, and petite and grand allegro enchaînement (small and big jumps). Classes are structured so that the dancer warms up their feet, legs, hips and upper body gradually. As class progresses there are more changes of weight and eventually, sudden changes of direction. There is live music provided by a pianist, that ranges from classical pieces to selections from ballet repertoire to improvisational contemporary music.

Please register in the studio with the teacher prior to the beginning of class.

$20 Single Class

$90 for 5-Class Package

Cash/Check

Venmo

Zelle

Ballet originated in the Italian Renaissance courts around 1500 as large balls or spectacles that were performed by members of the royal court. The French king, Louis XIV, created the first academy and the positions, steps, and movements of the ballet were collected and codified. The spectacles began to be performed by artists that were trained in the academy, originally as part of an opera, and later as ballets that told a story through music, mime, and dance. Over the centuries ballet has influenced folk dance styles of many (mainly European) nations and, more recently, has been influenced by folk, modern, and contemporary forms of dance from all countries.

I had a professional dance career that spanned twenty plus years and included company work in both ballet and contemporary companies followed by dancing, choreographing, and teaching as a freelance artist. I returned to school to complete a two-year dance teaching diploma program at Canada’s National Ballet School. I trained extensively in the Vaganova and Royal Academy of Dance ballet training methods and had exposure to the Cecchetti and Balanchine methods of training. The program also included studies in human anatomy, kinesiology, and conditioning for dancers. Since moving to Boston in 2001, I have become a certified Gyrotonic© and Gyrokinesis© instructor and those practices contribute to the way that I teach ballet.

…I find joy in seeing dancers caught up in the music and having a transformative experience, in which the movements of each combination stop being exercises and become artistic expression through movement and gesture.

Website: https://bostonconservatory.berklee.edu/faculty/dean-vollick

Contact Dean: [email protected]

Wen-Ting (Ting) Ong