Wayne State Works with Wanjiru Kamuyu

By: Megan Drabant

Students of the Maggie Allesee Department of Theatre and Dance were very privileged to work with the amazingly talented Wanjiru Kamuyu through the opportunity of a Maggie Allesee Choreographic Residency

Wanjiru Kamuyu


Kamuyu is a native of Kenya and a M.F. A. (dance choreography and performance) graduate of Temple University in Philadelphia, PA. As a performer, Kamuyu has toured both nationally and internationally with the world-renowned choreographer Jawole Willa Jo Zollar (Urban Bush Women). As an original cast member, Kamuyu has performed in Julie Taymor’s Broadway musical, The Lion King in Paris, and following this she became an original cast member, serving as Resident Choreographer, Dance Captain and Swing of Bill T. Jones’ Tony Award winning Broadway musical FELA! at the Royal National Theatre, London.  Kamuyu just came off the road with FELA! (Dance Captain and Swing) in the show’s first European and US National Tours.

Along with being a talented dancer, teacher, and choreographer, Kamuyu is a beautiful person with a passion of sharing her love and wisdom of dance. During her residency at Wayne State, Kamuyu auditioned and re-staged an original piece on a cast of 12 dancers with 6 swings. This piece is titled when paradise shatters at it’s seams, then what? and is based around personal experiences of when one’s world falls apart and how one overcomes and stands on the other side victoriously. Though the piece was created from a personal experience of Kamuyu’s, each dancer involved in the piece brings their own personal story to the table in order to truly bring the dance to life.

The reason this residency was so different from any other experience at Wayne State was because to go to that life shattering place one must embrace a visual, verbal, and physical rehearsal process. Vulnerability was key through out the rehearsal process as to fully find the raw emotions that are necessary for the soul of the piece. Kamuyu always made the environment safe and guided the dancers through the process with a genuine caring nature. “I came into the process without any expectations. I trusted my instincts and went where they led me. I was very concerned with making sure the dancers were always safe emotionally and would not walk out of the room at any point in a fragile state that could be difficult to navigate through,” said Kamuyu.

As for the dancers, many felt that the entire experience of the residency helped them work towards the resolution of their life shattering experiences. Senior Katie Chartrand explained, “This experience forced me to tap into my vulnerability and allow myself to feel. Though it was a terrifying process, I found comfort in the trust of Wanjiru and my fellow dancers while taking the plunge into the unknown. I am very thankful to have met and worked with such an amazingly genuine human being and know that wherever she goes she will bring light to many lives.” The rehearsal process provided the opportunity for the dancers to find a safe place to explore their emotions. “Wanjiru’s piece forced me to become openly vulnerable and she allowed the space, in which we worked in, to be a sacred place with my peers. This was an unforgettable experience and I cherished every moment with her and the other dancers,” said junior James Vessell.

Photo (c) Scott Lipiec

when paradise shatters at it’s seams, then what? is an amazing piece that takes both the performers and the audience on an emotional journey that becomes personalized to each individual involved. In retrospection of the residency Kamuyu stated, “This was a very special residency because it afforded me the opportunity to bring back to life a work that is very close to my heart.  The dancers brought such great justice and integrity to the work.  I have full confidence in each and every one of the dancers to perform the work with grace and honesty.”

Come see when paradise shatters at it’s seams, then what? performed along with many other great works this weekend and next weekend at The Maggie Allesee Department of Theatre and Dance December Departmental Concert. There will be four evening performances at 7:30pm (Friday, Nov. 30 and Thursday through Saturday, Dec. 6-8) and one matinee at 3pm (Sunday, Dec. 2). All performances are held in the Maggie Allesee Studio Theatre, Room 3317 on the third floor of the Old Main building, 4841 Cass Avenue in Detroit. Ticket prices are: $12 for adults; $6 for students (with ID) and seniors; and $15 at the door. Advance tickets may be purchased through the Theatre Box Office – 4743 Cass Ave at Hancock, open 2:00pm to 6:00pm Tuesday – Saturday, online at http://wsushows.com, or by calling 313-577-2972.

For more information please visit http://www.dance.wayne.edu/


Spotlight On: Katherine Alexander

By: Debra Schreiber/Pittsburgh

From prima ballerina to founder of Exhalations Dance Theatre, Katherine Alexander has come a long way.

Katherine Alexander during Exhalations' "Expressions"/Photo Credit Debra Schreiber.

When the 21-year-old pharmacy student began ballet she stuck to it. “I was a very strict ballerina in high school,” Alexander said. She would practice between 24 to 26 hours per week.

When she began to look at colleges, Point Park University was definitely in mind; but Alexander chose Duquesne University for pharmacy. There was a dance team at Duquesne, but no dance theatre, so Alexander began Exhalations Dance Theatre.

Exhalations broke the ballerina from her mold. “I never thought as a strict ballerina I would be performing some of the things I’m performing,” Alexander said. She has now added contemporary, modern, Fosse jazz, tap, ballroom and hip-hop to her repertoire. She described the experience as, “Oh my gosh, I’m wearing foot thongs.” She has also studied Martha Graham contemporary, as well as Greek, Ukrainian and Bulgarian folk dancing.

Alexander, front, with Brandi Salter, during an Exhalations' modern number/Photo Credit Debra Schreiber.

Alexander also dances with the Junior Tamburitzans, focusing on Croatian dance and music, and plays an instrument called the brač, which belongs to the tambura family. The instrument is, “like a little guitar that sounds like a mandolin,” Alexander described. She enjoys performing with the Tamburitzans for, “celebration, carrying on traditions,” she said.

Alexander performing "Expressions"/Photo Credit Debra Schreiber

“Anytime I am on stage…that is happiness for me,” she said of her dancing, choreography and teaching.

Alexander taught and choreographed Exhalations' beginngers class for "Expressions"/Photo Credit Debra Schreiber.

Alexander has been fortunate, with no serious injuries holding her back from what she loves. However, she does have to be careful to avoid dislocations, as her extreme flexibility can sometimes cause them.

When asked if she had any regrets about not attending Point Park, her answer was no. Alexander is, “excited about being a pharmacist, and would not have been able to start Exhalations,” had things gone differently. She is grateful to her family, who has given her great support with her Exhalations venture. Her mother supplies costumes and food for the shows, and her aunt and brother help out as well.

Alexander also performs with Spotlight Musical Theatre Company and Encore Show Choir, and belongs to KE and ASP.

Dance Panorama Reviews “Expressions”

On April 28, 2012, at 8 p.m., Exhalations Dance Theatre wrapped up its spring showcase, titled “Expressions.” This was the third spring showcase for the dance theatre, and the last for its founder Katherine Alexander, who will be moving on to her fifth year of pharmacy school next semester.

Wrote 2012 Exhalations president Lea Fosbenner of the theme “Expressions,” “this was chosen to highlight how the dancers can interpret their emotions through the art of dance.” And express they did.

Exhalations' company opens "Expressions" to "Let Go" by Frou Frou. Choreography Lea Fosbenner/Photo Credit Debra Schreiber.

Opening the show was Exhalations’ company, dancing to “Let Go” by Frou Frou with choreography by Lea Fosbenner. Company members include Alexander, Fosbenner, Brittany Cerimele, Victoria Climo, Sandi Comunale, Felicia Freger, Kali Fronczekk, Carly Fuller, Shaylyn Livingston, Ariel McKeown, Rachel O’Rorke, Brandi Salter and Emily Stokowski. This opening number suited the theme perfectly. During this first piece, and throughout the show, the dancers literally let go; every turn, every jump, every facial expression showed them letting go and using dance to express themselves.

The intermediate class dances to "Express Yourself." Choreography by Brandi Salter/Photo Credit Debra Schreiber.

The second dance of the night, aptly set to “Express Yourself” from the Glee Soundtrack, was performed by the intermediate class, made up of Rachel Bristow, Haley Draper, Stephanie Kuratnick, Kylie McGraw, Bridget McGinty, Stacy Miller, Stephanie Novakowski, Jessica Probst, Hayley Ricy, Jenna Trill and Jennifer Wood, with choreography by Salter.


"Nast Boys" performed by the advanced class. Choreography by Victoria Messino/Photo Credit Debra Schreiber.

“Nasty Boys,” music by Janet Jackson and choreography by Victoria Messino, was performed by the advanced class, including Kristen Best, Courtney Caligiuri, Erica Carbaugh, Lauren Curry, Rebecca Ipjian, Kate Iseman, Francine Kusher, Christine Lugaila, Lauren Maha, Christine Sajewski, Kayla Sparkman and Megan Tiernan.

"Fool of Me," choreography by Messino, dancers belong to the advanced class/Photo Credit Debra Schreiber.

The advanced class later took on another Messino piece, “Fool of Me,” music by Me’Shell Ndegeocellob.  Sam Potter executed a series of excellent lifts, and the dancers’ expressions through their movements communicated the sadness of the lyrics in the piece.

Acro to "Hit the Lights." Choreography by Sam Potter/Photo Credit Debra Schreiber

The modern/jazz routines were followed by a snappy acro routine, choreographed by Potter, to “Hit the Lights” by Selena Gomez. The level of acrobatics in this routine was high, and the costumes accentuated the dancers’ moves perfectly. The dancers incorporated in this routine were Messino, Fronczekk, O’Rorke, Rebecca Clayton, Maria Clements, Sandi Comunale and Emiley Duespohl.

Exhalations presents its graduating seniors/Photo Credit Debra Schreiber.

“Expressions” took a break as Alexander took to the stage to present Exhalations’ graduating seniors. 2012’s graduating class included Cerimele, Fosbenner, Messino, Novakowski, Clements, Seth Laidlaw, Cheryl Dusky, Brooke Mulkins, Marla Veschio, Rachel Bristow, and Rebbeca Clayton.


The beginners broke onto stage with their number "Grenade." Choreography by Alexander/Photo Credit Debra Schreiber.


The beginner's second number, also choreographed by Alexander/Photo Credit Debra Schreiber.


The beginners, including Dusky, Bianca Coleman, Miranda Cunningham, Karie Diethorne, Denise Herr, Brooke Jackson, Kristina Logan, Kaitlyn Mellor, Kelsey Vale and Christina Yohe, took to the stage with “Grenade” by Bruno Mars. Alexander choreographed the piece and was incredibly proud of the dedication her beginners showed. Their classes began at 7:30 a.m., but they stuck to it and their dedication certainly showed in this piece. It also showed in their second piece, also choreographed by Alexander and set to “Remind Me Who I Am” by Jason Gray. Besides being well-equipped dance-wise, the beginners also showed what some more experienced dancers tend to forget: passion in their faces. Their expressions could not be clearer.

The ballerina in the music box. Choreography by Potter/Photo Credit Debra Schreiber.

Tutus flew onto the stage for Potter’s acrobatics number to “Music Box” by Regina Spektor. They were gone just as quickly, but their fast-paced number was not one to be overlooked or soon forgotten. It contained very powerful choreography and very powerful dancers. I, for one, would have loved to have seen more.

Duquesne’s Encore Show Choir broke in twice. First, to sing “Love Song” and then again to sing “Beautiful Day.” Their voices were lovely, but I would have loved to have seen more movement from them. Maybe I’ve just been watching too much “Glee.”

Tapping away to Fuller's number/Photo Credit Debra Schreiber.

“Kaboom,” music by Ursula 1000 and choreography by Fuller, was a lively and colorful tap piece. The tappers were well in sync and formed a cohesive group, which included Fuller, Freger, Yohe, Caligiuri and Kelly Folk.

“Power Trip Ballad and Requiem for a Dream” (music by Maria Mena and Clint Mansell) showcased the talents of Messino both as choreographer, and as a soloist.

Messino's solo/Photo Credit Debra Schreiber.

Dancing for joy/Photo Credit Debra Schreiber.

This was a high energy routine that required the strength of all dancers involved, including Potter, Messino, O’Rorke, Comunale, Duespohl, Cerimele and Bristow. While Potter fought for his power trip, he was quickly unplugged by the girls as the swirled around him. Potter made some fantastic lifts, highlighting his strength as a dancer and gymnast. The technique of all the dancers was showcased in this piece, as well as their ability to tap into the darker side of their emotions.

Potter on a power trip/Photo Credit Debra Schreiber.


Potter's powerful lift/Photo Credit Debra Schreiber.

Messino ends Potter's power trip/ Choreography by Messino/Photo Credit Debra Schreiber.

Potter is finished/Photo Credit Debra Schreiber.

A powerful routine to hold the audience’s attention right before intermission.


"Expressions"/Photo Credit Debra Schreiber.

Expression through movement was the message, and that was never clearer than right after intermission, when only the silhouettes of the dancers were available to the audience.

Performing "The Magic of Us"/Photo Credit Debra Schreiber.


Choreography by Lea Fosbenner/Photo Credit Debra Schreiber.

Seth Laidlaw in "The Magic of Us"/Photo Credit Debra Schreiber.

“The Magic of Us,” music by Bim and The Section Quartet, choreography by Fosbenner, showcased the talents of Salter, Fronczekk, Alexander, Fosbenner and Laidlaw. This was another heavily technical modern number.

Choreography for "Sweeping Insensitivity" by Alexander/Photo Credit Debra Schreiber.

"Sweeping Insensitivity" One/Photo Credit Debra Schreiber.

"Sweeping Insensitivity" Two/Photo Credit Debra Schreiber

The dancing was silhouetted again when Fosbenner, Alexander, Climo, Laidlaw, Freger, Fuller, Stokowski, Fronczekk and Livingston gracefully brushed the stage to choreography by Alexander and music by Imogen Heap, Never Shout Never, and Mumford and Sons, “Sweeping Insensitivity.”

Sparkman's hip-hop number "Dizzy"/Photo Credit Debra Schreiber.

Hip-hop was brought in by Sparkman and her class, including Comunale, Kusher, Carbaugh, Coleman, Cunningham, McGinty, Miller,  Mulkins, Dara Stockdell ,Trill, Audra Joseph and Lisa Master. Music was”Dizzy” by Day 26. Hip-hop is hard to feel, especially if you are a ballet-trained dancer, and it was evident that some of the dancers in this number where trying to break free from technique so they could express themselves through unstructured movement.

Batons spinning to the sky to "Man! I Feel Like a Woman!" Choreography by Yohe/Photo Credit Debra Schreiber.

“Man! I Feel Like a Woman!” by Shania Twain was used by the baton class, including Yohe, Veschio, Herr, Mellor, Patty Camarda, Alexis Ellis, Jenna Lowrey, Carley Risley and Brittany Yu. Yohe choreographed this piece, and batons flew high, with some batonists twirling more than one.

Salter's number "Rock Your Soul" with the intermediate class/Photo Credit Debra Schreiber.

Salter had her number “Rock Your Soul” by Elisa do just that with the intermediate class. These girls are learning fast; their technique is growing, but it was their movement and emotional connection with the audience that really made the piece draw you in.

These girls just want to "Settle Down"/Photo Credit Debra Schreiber.

Chorepgraphy by Fuller/Photo Credit Debra Schreiber.

“Settle Down,” music by Kimbra and choreography by Fuller, was my favorite piece of the evening. It was modern, sexy and quirky, and incorporated dancers with incredible technique and theatrics: Fuller, Salter, Cerimele, Livingston and Freger. The girls took on the idea of the old-fashioned wife and quickly flipped it on its head, whipping their aprons off and dancing with pizzazz.

These dancers "Gotcha"!/Photo Credit Debra Schreiber.

“Gotcha” was a trio choreographed by Messino, with music by Liza Minelli. Messino, Comunale and O’Rorke were sassy and sizzling in this number slightly reminiscent of “Cell Block Tango” from “Chicago.”

Dancers move and groove through the audience during their finale. Choreography by Sparkman/Photo Credit Debra Schreiber.

No one saw what was coming when the dancers came out to take their final bows – and then rush the audience to music by Fun Ft. Janelle Monae (Alvin Risk Remix) and choreography by Sparkman. Dancers took the floor and aisles as they danced their hearts out one last time before the curtain came down and another season with Exhalations Dance Theatre came to a close.

Bravo, Exhalations!/Photo Credit Debra Schreiber.

French Choreographer Julie Bour graces Wayne State University with her Fairy Tale

By: Megan Drabant

Once upon a time, there was a French choreographer who brought her European flair to a lucky school in the United States. That choreographer just so happens to be Julie Bour, artistic director of Compagnie Julie Bour, and the lucky school is our very own Maggie Allesee Department of Dance at Wayne State University (WSU). Bour graduated from the Conservatoire National de Paris and followed her career to work with a variety of renowned choreographers around the world including Angelin Preljocaj, Inbal Pinto and Cave Canem company. As assistant to the French choreographer Angelin Preljocaj, Bour has re-staged his repertory in New York City and Bordeaux, France. Also, she had the pleasure to work with director Julie Taymor on the Opera “Grendel”. She received a Bessie Award for “Best performer of the year” in New York City.

Bour does not feel restricted by a style, a history or a technique. As a choreographer, she is driven by the need to question, mix and share. By exploring the dynamics of contemporary culture through the prism of who she is now, on any particular day, she creates work which resonates in the cultural moment. The key to Bour’s creative process is to work consistently with dancers who are committed to movement invention and to develop a technique and language over time. Bour founded The Flying Mammoth with Loic Noisette in 2006 as a bridge between the different arts, cultures and countries they have encountered over the course of their careers. The unorthodoxy and internationality of both her professional and personal paths are strongly present in her choreographic process.

As the Fall 2011 Allesee Artist in Residence, Bour worked for a week with the talented dancers of WSU through teaching morning modern technique classes and then rehearsing in the evening with the dancers selected to be in her piece. The dancers found Bour’s choreographic process to be quite refreshing and different than any other residencies they have experienced before. Senior, Jordan Holland describes Bour’s movement to be “Deep, visceral, and organic; everything has intention.” The work is very detail oriented; yet Bour’s process of developing movement directly on the spot with the dancers is different for many of the WSU students.

In setting her new work entitled “Rouge,” Bour found inspiration in the classic tale of Little Red Ridding Hood. However, Bour’s rendition of the story is twisted with a modern spin of three different endings. The multiple endings relate to the concepts of defeating, being defeated, and indecision. All three endings can be witnessed at one time during the piece as the whimsical, yet contemporary music strings the story along. Bour pushes the dancers to be strong characters and precision movers with musically, pedestrian movement. Overall, Bour’s new version of Little Red Ridding Hood is pleasantly enthralling with an underlying parallel between real life and fairy tale.

Come see “Rouge” performed at the informance on Monday, October 31, at 12:30pm in the Maggie Allesee Studio Theatre, 3317 Old Main Building, 4841 Cass Detroit, MI 48201.

This is a free event and seating is limited so please arrive fifteen minutes early. Also, “Rouge” will be performed at the December Departmental Dance Concert on December 1-2 at 7:30pm and December 4 at 2:00pm and 7:00pm in the Maggie Allesee Studio Theatre, where other works choreographed by both students and faculty will be premiered.

Review: Swan Lake – Russian National Ballet – Jan 9 in Dearborn

By Liza Krylova

I went to Russian National Ballet Theater’s performance last weekend. I believe it was one of three: Coppelia on Friday evening in East Lansing, Sleeping Beauty on Saturday at 2pm in Macomb, and Swan Lake on Saturday at 8pm in Dearborn. For the first two, they went under the name “Moscow Festival Ballet” directed by Sergei Radchenko, but this is actually the same company as “Russian National Ballet” directed by Elena Radchenko (or at least, the dancers said it was one company when I talked to them last year). Last year, I saw their performances of Cinderella and Don Quixote. I have to say, their company has improved tremendously! The dancers’ technique is better, and the look of the performances overall. The costumes and sets were beautiful. The girls were uniform in “swan” Acts 2&4 and good soloists in Acts 1&3. The men in the corps were ok; they looked good in the parts they performed. Overall, the choreography was well done, highlighting their strengths and hiding their weaknesses. It was not the Mariinsky version, but perhaps it was more similar to the Bolshoi? I recognized the “Spanish Bride” dance in Act 3 as the one from a recent Bolshoi production (search for Osipova on youtube)! Instead of character dances in Act 3, each hopeful bride was a soloist with several demi-soloists. The Act 1 Pas de Trois cavalier had nice lines, but instead of landing on his knee at the end of his variation, he slipped into bent-leg splits and did not try to cover it up one bit! After finishing a pirouette later, he almost slipped out of his extra-wide fourth position as well! The Pas de Trois girls were a pleasure to watch–light on their feet, flirtatious and happy. The jester was very cute and playful (perhaps he had the best jumping/turning technique out of all the men). The Prince had a sorrowful face (which would have gone well for Don Q), but he had nice lines and showed emotion (especially when he did not have to partner with Odette/Odile). Odette had the longest arms imaginable; sometimes she was too abrupt in faster parts, and stoic in slower parts. I did not fully like her phrasing, and she showed no emotion with her face/upper body, which was sad because in general she was pleasing to the eye… As Odile she made a much more imposing character, which is not surprising for such a young/unexperienced dancer (almost everyone in the company looked like they were under 21). Rothbart was a great jumper and had a fierce personality! I remembered him from last year as the unflexible, turned-in, and crooked-legged Basilio–but in the costume of Rothbart he was great!
I really enjoyed their Swan Lake. The theater was almost full. I’m sad I did not get to see their other performances that weekend, but I look forward to their next one on January 23! I wonder what they will be showing?! It is so exciting when a company brings so much variety to Michigan. Most importantly of all, they keep on coming back to the Metro-Detroit area!!!

Posted 2 days ago #

Restore Ketinoa’s 1300 Ballet Videos

As you all know, KETINOA is ballet goddess on youtube. Her account has been DELETED by youtube because The Balanchine Trust complained about her sharing a Tchaikovsky Pas de Deux video. WE HAVE LOST 1300 VIDEOS from her precious, one-of-a-kind ballet collection. These other excellent sources of ballet videos are now also SUSPENDED: Paradiselost89, BalletPlanet, FreyaBallet, and perhaps others as well. This is UNFAIR and a huge disadvantage for ballet fans around the world, who used ketinoa’s videos for educational purposes. PLEASE HELP restore ketinoa’s account by PROTESTING to youtube and The Balanchine Trust!!!
You May copy and paste these emails that I composed, and make sure to forward the message to all of your dance friends!

SUBJECT(must be exact): “YouTube DMCA Counter-Notification”
SEND TO: copyright@youtube.com

To whom it may concern,

I am an avid youtube user. Youtube has given me an opportunity to view priceless video clips for free. I am a dancer, and I view these ballet videos for educational purposes. If there are no ballet videos, there is no reason for me to use youtube; the same goes for many of my dance friends.

I have been appalled at the suspension of ketinoa, the dance community’s invaluable resource of ballet videos. I understand that ketinoa has violated the copyright of The Balanchine Trust, and these Balanchine-choreographed videos must be removed. However, why was ketinoa’s whole account suspended? I suspect a similar story with the following suspended accounts: Paradiselost89, BalletPlanet, and FreyaBallet. Please explain why ketinoa and these other accounts have been suspended, while their violation was so miniscule? On behalf of ballet students, teachers, and fans across the world, I implore you to restore ketinoa’s account. If you do not return these priceless videos, I fear youtube will lose many of its subscribers.

Yours faithfully,

Liza Krylova
dancekitty135 (my youtube account)


Suggested SUBJECT: Please Forgive Copyright Infringer on YouTube
SEND TO: georgebalanchinetrust@balanchine.com

To whom it may concern,

I am a dancer who uses Youtube for educational purposes. Youtube has given me an opportunity to learn about ballets, dancers, and choreographers for free. In fact, I discovered the great choreographer Balanchine thanks to Youtube! But now, my ballet education has been cut short because of the suspension of some priceless video contributers.

I have been appalled at the suspension of ketinoa, the dance community’s invaluable resource of ballet videos. I understand that ketinoa has violated the copyright of The George Balanchine Trust, and these Balanchine-choreographed videos must be removed (only 1% out of her 1300 videos). However, why was ketinoa’s whole account suspended? I suspect a similar story with the following suspended accounts: Paradiselost89, BalletPlanet, and FreyaBallet. Please explain why ketinoa and these other accounts have been suspended, while their violation was so miniscule? Ketinoa meant no harm, and I am sure she would not make this mistake again if her account were restored. On behalf of ballet students, teachers, and fans across the world, I implore you to restore ketinoa’s account.

If you do not return these priceless videos, I fear Balanchine will lose his respect in the dance community.

Yours faithfully,

Liza Krylova



My name is Precious Adams. I am 14 years old and I am from Canton, Michigan…… you have probably never hard of it but that is ok! Every summer since I was  10 years old I go to a summer intensive(s). This summer I am in Monte Carlo, Monaco (along the edge of France, a skip and hop from Italy). It is the 2nd smallest country in the world…… so i guess you could think that it is hard to get lost in such a small place but not really because it is always filled with tourist. Also Monaco is one of the richest country’s in the world along with a Prince as the ruler…… (Prince Albert II) The climate is very  nice and very hot in the summer. It is very hilly like Calafornia (but it has palm trees and lots of expensive designer shops like Miami). A very nice place to spend some  summer weeks.

I came to Monaco because of the ballet school called Le Princess Grace Academy De Claissical Dance, founded by Merika Besobrasova. It has a style based on Russian /Vagancova but it has it’s  own french twist. It is housed in an old building called Casa Mia. when i started classes it was very different but I cought on fast. One thing that is different for sure is there is no uniforms, for the summer classes or for the year round students. I can wear any color i want but black…. the teachers do not really like black leotards at all because the Artisic Director ( Merika Besobrasova) she can’t see as well as she used to so she likes everyone to were bright colors. In classes it is very strict in anatomy and how you are saposed to feel your bones and musels and the correct ways to place them. One other thing that is really different is every day after classes the teachers like use to go over correction and anatomy in a note book.

In this school i have meet alot of new people and i think i am really learning alot about anatomy, I also have meet alot of people  from all over the world like Japan, Italy, France, Poland, America*, Spain, Greece, Slovakia, Australia and probably some more that I have not meet yet. Over All my expirience is really great, it is just really hard to find activities to do after dance class the don’t cost alot of money… 😀 even the movies costs over 15 euro in Monaco (like 25 or 30american dollars).