Conni and daughter Breanna

written by Conni Berns

When Brianna asked me this today, I had a ten dollar answer for a  one dollar question.  She got weary after the first few words, so I will write down the entire answer here.

My family origins are interesting, and the family “von Oettingen” has its estate along the borders of the North Sea.  These areas were at times German, at times of other ethnicities, and yet my Mother, her Mother were born in Germany.  My Father was born in a small town, Stettin, which has jumped across the border from Germany to Poland over the centuries, and my Grandfather was born on vacation in St. Petersburg, Russia.  So when it came to being the “Pure” German that was so desired in  Hitler Germany, we were NOT that type of person.  In fact, the entire family was too independent, too philosophically thinking, and not group oriented as needed to be.  Only my Father’s brother “belonged” and agreed with the party line. 
My Father was a pacifist, was forced to join the army, regardless, and sent to the front line to be a medic as ambulance service.  The thinking was that pacifists would be on the front lines saving lives, risk their lives, and if killed that would be an easy way to teach others that was NOT an easy way out of armed service.  He was sent to the Romanian Front, and was Missing In Action. 

My Mother was left in Germany in the heaviest bombing of the city.  She sent his oil paintings and life’s work by train to her mother in southern Germany to save them, but they were bombed and destroyed.  She then heard the stories of the Russians closing in on Berlin, using mustard gas on the Germans, raping and burning where ever they went.  She decided she needed to reach the American lines (they were handing out Hershey bars and cigarettes.. .) and she had a place of refuge with her Mother.  She took the baby carriage, with Tyll and I in it, took her fur coat for warmth, a belt to which she tied a typewriter on one side, a record player on the other,  and hung it around her neck like a scarf.  She began to walk the 200 miles from Berlin to her parents’ home in Elmshausen. 

Along the way she had several experiences that make your hair curl… Another time I will write those down.  After she arrived she planned her trip to America, and wrote to my Aunt Barbara, who had married an American living in Cincinnati.  We did not fit under the German quota,  as  explained by our heritage of non-Aryan bloodlines, and so Mother listed us as “Stateless”.  Sure enough, in March of 1947  my Mother, brother and I left from Hamburg, Germany, on the ship, the Ernie Pyle, for a boat trip to the United States. 

The ship almost sunk off the coast of England, but since we were a ship of immigrants headed for America, England was afraid of letting us come ashore, and possibly remain.  Instead, in high seas (most people were seasick), they decided to transfer us by means of a high chair on a cable system which went something like this: when the wave on our ship was pushing us up, they would push the chair towards the other ship and the passenger would fly down, they’d grab the passenger on the other ship & unload and push the chair back and wait for the next passenger. My mom put life jackets on us all and insisted we 3 get on a chair together and trolleyed us over to the small ferryboat where a very pleasant crew fed us tea and crumpets while they repaired the holes in the Ernie Pyle’s hull. There was a story in the newspaper about this ship and how many times it had been shot during the war which I still have in my scrapbook. We were returned to the ship the next day, put back on our trip, but instead of it being an 11 day trip, it took 30 days.  We arrived April 1, 1947. My uncle met us at the wharf in New York City. My mother had a typewriter, a record player and 2 children with her. On April 4th, we arrived in Cincinnati. I was 4 & Tyll was 6.

Our costumes must:

1. Be simple.  We do not allow too much “bling.”  The dancers must be seen enhanced by the costume.  We do not want the costume to upstage the dancer.  The result is usually qualified by “old fashioned” standards of modesty and beauty– nothing “flashy” or “shocking.”
2.  Be practical.  We try to build our designs on costume basics that can be re-used and interchanged.  We try to allow for leotards that can be re-used for exercise or emergency ballet class back-ups,  tutus that can be seen again in company productions or school talent shows, headpieces and accessories that can withstand dress-up play or costume make-overs.  We also try to invent costumes that minimize backstage hastles by serving as more than one costume for those in more than one dance.  (This is not always possible, but we try our best!) 
3. Be economical.   This is really dificult in a world where $2000.00 proessional tutus are common.  Finding any decent costume under $100.00 can be an uphill battle.  Most dance organizations will find a $75.00 costume and triple the price to help pay expenses through the summer months.  We hunt out a $40.00 basic, dress it up to look like the $75.00 wholesale priced costume and pass the savings to our families.  We also take advantage of kinderballet supplies to “loan out” costume acessories whenever possible.  We have even been known to design costumes around what our dancers already have in their closets, allowing items to be re-used.  We consider it part of what it means to “be creative!”
4. Have historical significance.  Every year our performances embody a larger theme focusing on an historical ballet epoch such as “classical, “modern”, “national dance,” or “baroque.”  This year our theme is centered around the Romantic era.  Historically placed from 1815 to 1910, Beatrix Potter actually wrote her stories within this time, publishing her “Tailor of Gloucester” in 1903.   Ludwig Minkus (ballet muisc composer), Marius Petipa (choreographer), and Jules Perrot (choreographer & ballet master) were all contemporaries in the mid to late nineteenth century.  John Lanchbery reorchestrated much of Minkus’s music to create the Tales of Beatrix Potter Ballet for the Royal Ballet film in 1970.  All of this suggests homage to the “romantic era of ballet.”  

 Basics for this year’s costumes:

Even though our themes are characters from Beatrix Potter: mice, rabbits, frogs, squirrels, and the like, costuming will be very “ballerina-like” as if the mice and squirrels are classical ballerinas.  The theme of the Jeremy Fisher “frogs” will take more inspiration from the flowers and lily pads than any “bug-eyed amphibian.” Costumes will be decorated with pretty sashes and flowers with less emphasis on mouse ears and tails which will be added in good proportion.

Pre-ballet

Pre-ballet themes & characters:

• Mice
• Ladybugs
• Butterflies
• Bunnies

Beginner & Advanced Beginner

• Beginner & Advanced Beginner Themes & Characters
• Kittens
• Frogs (lily pads and pond flowers)
• Mice
• Squirrels

Adults, Intermediate, Teens, & Advanced Levels

Themes & Characters

• Ducks & Foxes
• Romantic Era Ballerinas

Please check this post for updates for choreography downloads as choreography is given in class.

Pre-ballet

In pre-ballet students perform based on the same storytelling improv technique we use in each class.  Students are challenged to listen and move as the teacher recites and acts out a story.   Steps and movements are built upon the story using creative imagery.  The story will be told to the students on stage and demonstrated.  It is important that the pre-ballet student be given the chance to focus on the story as a tool to remember the order of movements and for the artistic interpretaion of the story on stage.  Pre-ballet dances are a little longer in length to give students ample chance to be seen on stage. 

Monday 5:00 class will perform The Tale of Two Bad Mice

Click link for music: Two Bad Mice  

Tuesday 6:00 class will perform The Tale of the Flopsy Bunnies

The Batesville classes will perform as mice, ladybugs, and butterflies together in The Tale of Mrs. Tittlemouse

Click link for music:  Mrs Tittlemouse & Neighbors

Beginning Ballet

At the beginning level dances are based on arranging basic dance vocabulary into a longer composition.  Although not based on the story improvisation technique as the pre-ballet are, stories are still important creative imagery to remember the order of movements and as inspiration for artistic interpretation on stage.  Dances are a little shorter as every movement must be memorized.  Demonstrators are used to assist the students.

 Monday 5:30 class will perform The Tale of Tom Kitten

 Thursday 5:00 class will perform The Mouse Picnic Waltz

Click link for music:  Mouse Waltz

Advanced Beginners

Students at this level will focus on more intricate compositions reflecting more advanced vocabulary studied.  Since it is our philosophy that steps reflect material already mastered, the dance may be simplified to material studied in the fall semester of classes.  

The Monday 6:30 class will perform The Story of Jeremy Fisher

Click link for music:  Jeremy Fisher Monday 6:30

The Thursday 6:00 class will perform The Tale of Squirrel Nutkin

Teen & Intermediate Levels

As students progress choreography becomes more challenging.  Those with sufficient strength will be permitted to perform en pointe.  Students will have opportunity for small features in smaller groups of two or three as longer music permits.

The Wednesday Teen & Adult class will perform The Tale of Jemima Puddleduck

Click link for music:  Ducks & Foxes

The Saturday Morning Pre-Pointe will perform The Tale of Pigling Bland

 Click link for music: Pig Wig & Pigling Bland

Advanced Intermediate & Advanced Classes

Students in the advanced levels will study the four classical variations given in Company:  the two variations from The Grand Pas de Quatre, The Don Quixote Cupid, and the Raymonda variation.  Please refer to the following posts with video and explanations for reference:

Squirrel Nutkin joins in: http://www.avoballet.org/squirrel-nutkin-joins-in/

A Little Ballet History: http://www.avoballet.org/a-little-ballet-history/

When   

Where

Who

Cost

Tickets

What to do

Each student who wishes to participate must fill out a Recital Registration Card.

Non-refundable $55 Production fee must be submitted with Recital Registration Card. In order to allow time for costume ordering, all Recital Registration Cards must be turned in by Friday, March 19th.

Questions: Call Michele Frey at 481-0092 or home 353-1433.

Download complete info here 2010 Spring Recital Info

Continuing our celebration of Beatrix Potter, The Kinderballet will present Four Beatrix Potter Tales: Mrs. Tittlemouse, Tailor of Gloucester exerpts (The Mouse Rennaissance), Two Bad Mice, and Peter Rabbit.  Any interested in performing with the Kinderballet are encouraged to attend a class audition Saturday, January 16th from 10:30 a.m. to 1:00 p.m.  There are lots of wonderful parts available!  Please contact Conni Berns or Laura Hughes (513 410-0277) if you have any questions.           

Additional stories will be represented in the student performance at The College of Mount Saint Joseph Auditorium Saturday, May 15th, 2010.  (Additional information TBA.)  

Here is a small sample of some of the music…

Mrs Tittlemouse 2

Tittlemouse third try improved

Hope to see you Saturday the 16th!

Baby Mice save the day in AvO’s newest Ballet!

Here’s a little song to sing & dance and have a little fun with Beatrix Potter’s “Tailor of Gloucester”

(Sung to the tune of 12 Days of Christmas!)

In part ONE of our ballet the story goes like this! Welcome to Gloucester Wassail!  (Strut in your own little circle like the village gentlemen.)

In part TWO of our ballet the story goes like this! Simpkin sneaks around! (Do little leaps like a cat sneaking up on a mouse!) … and Welcome to Glouster Wassail! (Don’t forget to strut…)

In part THREE of our ballet the story goes like this!  Mice hide in teacups! (Kneel and hide your mouse ears– make yourself tiny to fit under the teacup!) … Simpkin sneaks around … and Welcome to Gloucester Wassail!

… Part FOUR … Snowflakes are swirling! (chausse entournant… a turning leap!)

…Part FIVE … The Tailor Catches COLD! (AH CHOO!) (Sneeze!)

…Part SIX … Snow Queen Flits By (small bourree with arms and hands gliding showing snow falling) …

…Part SEVEN … Animals can speak! (Jump with legs bent like a frog: grande changement) …

…Part EIGHT … Flowers are in stitches! (Show flowers growing or mice sewing) …

…Part NINE … Two Mice get Married! (Step solemnly like bride and groom walking down aisle) …

…Part TEN … Simpkin is Sorry! (Show Simpkin’s Sad face and tears on cheeks) …

…Part ELEVEN …  Wake up, It’s Christmas! (Arabesque Skip!) …

…Part TWELVE … We all take a bow! (Bow or Curtsey) ….

As fitting to the month of Thanksgiving, we have plenty of cause for thanks, ways we would like to show our thanks to you, and wish wrapped for under the tree.

 We are thankful for all our wonderful students and would like to encourage the possibility of welcoming more friends and family to the table.  Small cards for “Bring a Friend” at the studio may be taken and given to friends.  These cards may be used for attendance at a complementary lesson during one of the “Bring a Friend” weeks listed on the website calendar.   Special accomodations will be made for guests who do not have previous dance experience.  Guests may attend a partial lesson with their friend if a more advanced class, or the friend and guest may attend a beginning level class together on another day.  Please contact the School of Ballet at 513 481-0092, or Laura Hughes at 513 410-0277 if uncertain which lesson is more appropriate.

If the guest chooses to enroll, our thanks will be shared with special discounts at enrollment to both guest and friend.

Our special wish for our students is new Marley flooring for the studio.  This flooring is a special surface that would roll out over our current hardwood floor to drastically improve the quality and safety of our dancing surface.  In order to afford this tremendous expense we have a goal of raising $1500.00 through a special fundraiser.   Read adjoining post about our “Well-Wishes to Grant Wishes” Fund Raiser.

We are in the final weeks of preparation for our new ballet production “The Tailor of Gloucester!”  Be sure to attend one of our performances!  CLICK HERE FOR PERFORMANCE SCHEDULE  And if you would like to know more about being a member of the Kinderballet Company, be sure to contact Laura Hughes (laura@avoballet.org)

We are hard at work arranging for the Spring Class Schedule and will announce Class Registration soon!  Be sure to sign up to receive our e-Newsletter updates to keep up with the latest on this and other announcements!

The “Marley” floor is a special thin overlay that when rolled out over our current hardwood floor will drastically improve the quality and safety of our dancing surface.  It is similar to the touring floor we already have for our Kinderballet and end of year performances, but will be dedicated solely to the studio and will be better able to withstand the heavier usage.

In order to afford this tremendous expense we have a goal of raising $1500.00 through a special fundraiser. 

Musical Wishes

For this fundraiser we are teaming up with a friend to offer some musical greeting cards.  Musical cards will be offered in sets of five for $10.00.  Card designs can be found on the website under the “Fund-Raiser” tab along with full instructions for ordering.  Each $10.00 donation will get you five musical cards at a bargain price, and help us reach our goal of new studio flooring.   

Send a Wish

However, if you wish to make a small (or medium sized) contribution directly to the goal of new flooring, we would be happy to instead provide you a receipt allowing you to claim your donation as a tax deduction.  

Spread Our Well-Wishes!

We are asking all our current students, ballet families, and our ballet friends to help us spread the word.  Write your friends, family, and colleagues with a link to our website.  They will appreciate the opportunity for musical greeting cards at a discount, and all our students will benefit from new flooring.  Special sales packets with order forms and a card sample will be available at the studio.

 
Date: Friday, November 13, 2009
Time: 8:00pm – 9:15pm
Location: Leath Hall -West Center Church 101 Pondfield Rd West Bronxville, NY 10708

Description: Ballast -friday, november 13 at 8pm
Cori Kresge, Sarah Olson, Jeremy Tressler
THREE NY ARTISTS COLLIDE FOR AN INTERSECTION OF DANCE, MUSIC, AND PAINT

(Cori’s work is…)

SAPIENCE
a new work by Cori Kresge exploring the fringe side of evolutionary theory. Humorous, explosive, and always unpredictable- on the way to becoming human.

Here is a picture of Cori from a past performance in NY.

Here is Cori when she performed in Kinderballet back in the 90’s.  Cori has also recently given special workshops at AvO during the summer.  We hope to see Cori again soon!   

This was Anneliese’s very difinition of her “European Method.”  We asked our instructors and guest artists to weigh in on three simple questions regarding the topic of “corrections.”

Our first question was…

In thinking back on the most recent classes you have taught at our AvO school, what ONE correction, if applied, do you think would help our students progress the most?

Steve Bierens:  “I think that it would really be very helpful if we could have Marley laid down in the studio. This will help the students not to dance in fear that they will fall or slip on pointe and possibly injure themselves.”

Kodee Lind Van Nort:  “Students becoming aware of the brush into the floor in exercises such as battement tendu, battement degage, grand battement. This will translate into better turns and jumps in the center.”

Lauren Canfield:  “AvO students would show dramatic progress by spending a bit of time focusing on port de bras and epaulement– after all, that’s the icing on the cake.”

Emily Gardner:  “If I were to make one correction that would benefit the students progress the most it would be to always keep the class upbeat and moving.  I always try to start a class off with fun and new interesting things but sometimes as the class go on I find some students becoming tired, or I even find myself losing energy.  So what I am currently working on is always keeping that positive attitude and keeping a smile on my face. (Passing that smile on to others is never a bad idea either.)”

Second Question…

In your own years of experience as a student, a performer, an instructor, what ONE phrase/ comment/ correction is most memorable to you– or because of its clever wording your FAVORITE?

Steve Bierens:  ”Phrase, work hard and to your full potential. Present yourself.”

Kodee Lind Van Nort:  ”One of my favorite images is the idea of smoke rings radiating from the deep torso which then float and expand out the head, tail, arms, and legs. This is a perpetual sensation.”

Lauren Canfield:  “The correction that hung with me throughout my student and professional years is extremely basic.  If heeded, it produces very professional results.  The advice is:  unless you are bearing weight on your feet, they MUST be pointed.  It sounds silly, but, often times, that is one of the few differences between students and pros.”

Emily Gardner:  “Well this necessarily isn’t a phase but more of a quote.  Ever since I went on a school retreat my junior year in high school I have stuck to this quote.  ’Do what you want today because there are only so many tomorrows.’  When I first heard this I was taken away.  I never really thought of how this relates to dancing until a couple months ago.  I finally figured how my favorite quote relates to my favorite thing to do.  I figured, do the best you can on every combination because you may never have the chance to perform the same steps twice.” 

Third Question…

In your own years of experience as a student, a performer, an instructor, what ONE correction was your own most difficult to overcome?

Steve Bierens:  “Most difficult to overcome: Knowing when to stop pushing myself and take a rest.”

Kodee Lind Van Nort:  “I have always struggled with the trust in my technique and learning not to force movement.” 

Lauren Canfield:  ”A correction I always struggled with overcoming was not focusing my eyes in the direction my head was turned.  I watched myself in the mirror too much.  This distorts the continuation of the dancer’s line.  For me, watching myself in the mirror was my way of reassuring myself that the line was there in the first place!  It can be a tricky habit to break.”

Emily Gardner:  ”Being a dancer for almost 14 years I have had to overcome many corrections, and am still continuing working for my best.  One particular obstacle or correction I had to overcome was my correct posture.  I still today have trouble with the proper body alignment.  Straight knees, tummy in, seat tucked under, shoulders back, elbows rounded, chest pulled up, chin lifted: all these are reminders running through my head even before the combination starts!  When I was younger  I always tended to have an arch in my back.  I still remember the night this was brought to my attention.  In the summer when guest instructor, Jonnie Lynn Jacobs-Percer, told me to look in the mirror and showed me how I had a “swoop” in my back.  After coming to this realization I tried to fix the problem.  I would lay, on the floor, on my back every night and just feel how I had a ”tunnel” in my lower back and try to push my back flat against the floor I would repeat that exercise numerous times until I didn’t have to think about it, I would just do it.  This is just one of the many obstacles I had to overcome.”