Morphoses this week at the Joyce

Just a moment of self promotion: Morphoses opened Bacchae last night at the Joyce to a very important and enthusiastic audience. The wonderful dancers presented on this blog and I would love to share this show with as many people as possible. It is important not only as a re-imagining of a classic greek myth, but also as a remaking of a dance company's model. Lourdes Lopez, artistic director, and Luca Veggetti, resident choreographer, have created a spellbinding show! More information below!

Synopsis and performer biographers: www.morphosesbacchae.org

Tickets here.

Yusha Loves Everyone's Individuality.

Yusha Marie-Sorzano is originally from Trinidad, she received her primary instruction from New World School of the Arts, The Miami Conservatory, and The Dance Theater of Harlem. She attended the Ailey/Fordham BFA Program and in her junior year was invited to join Ailey II. She has been a member of Complexions Contemporary Ballet, The Alvin Ailey American Dance Theater, and TU Dance under the direction of Toni Pierce-Sands and Uri Sands. Ms. Sorzano has performed works by Ulysses Dove, Mauro Bigonzetti and Ron K Brown as well as with recording artists Wynton Marsalis, Beyonce Knowles, and Rihanna. She was a guest artist on Dancing with the Stars and has most recently starred as the lead dancer in the independent film "You Me and The Circus". When not performing Ms. Sorzano enjoys teaching both nationally and internationally. 

When did you first begin dancing?

• o   I started dancing soon after moving to the states from Trinidad at about 9. I am a product of the public school magnet program and took my first ballet class in a tiny studio attached to the cafeteria. It wasn’t very pretty and smelt like tater tots.

What style of dance do you prefer and why?

• o   I can’t really answer that question. Each style offers something unique. However, I will not deny that at the end of the day there is nothing like an old school jazz combination…..pure satisfaction!

Who have you worked with in the past?

• o   As far as concert dance I have danced with Ailey II, Complexions, The Alvin Ailey American Dance Theater, and Morphoses.  In addition, I have done some work commercial work with Beyonce, Rihanna, and was a guest artist on Dancing with the Stars. My career has been a pretty mixed bag. It keeps me on my toes!

Who do you aspire to work with in the future?

• o   Not sure at present. As long as it inspires me I am on board.

Being a freelance dancer, how do you earn your living, ie: do you have side jobs or skills you utilize for income? 

• o   I teach modern and contemporary classes as often as possible. It’s pretty awesome to be on the other side of the room. I tend to pick up new ways of approaching the art form when I have to use my words to explain it. It’s also really inspiring when someone gets “it” for the first time. 


Have you attended college or another kind of training? What/where?

• o   I am an alum of The Ailey/Fordham BFA Program.

What is the most challenging thing about your career?


• o   Staying in shape during the in between. 

What do you feel and think when you’re on stage?


• o   See Billy Elliot’s response in the film, Billy Elliot, when asked what he feels when he dances. I think that sums it up!

How do you keep yourself motivated and maintain creative thinking during your off time? 

• o   I find that I maintain motivation through unpredictability. I try not to plan too much or get stuck in a routine. Don’t get me wrong; routine is what makes a dancer. I just find it thrilling to not know where I may end up at day’s end.  


What is the most valuable advice you have received from a teacher or mentor?

• o   Everyone’s body is different. You have to do what works for you. I like to apply this statement to my career as well

What element, theme, or character from the Bacchae do you relate to most? 

• o   Not sure, though I am continually challenged by Agave.

What is the best/funniest/most challenging experience of the rehearsal process thus far? 

• o   The best: New faces, sensibilities, and artistry
• o   The funniest:  That’s a tough one…it changes daily.
• o   The most challenging: Staying true to the work while still learning the vocabulary. It takes a second to understand how a choreographer works. What their likes and dislikes are. I find it challenging to balance what is asked of me with what I want to say as an artist. We are the vessel for Luca’s language. So it’s important to be clear about what we are trying to convey.

Chris Bordenave 'keeps it fluffy' in preparation for the Bacchae

Christopher Bordenave, a native of Los Angeles, CA, began his early dance training under master teachers Lula Washington, Karen McDonald, and Debbie Allen. He has studied and received training on scholarship with American Ballet Theatre, the Ailey School, Springboard Dans Montreal, and the Dance Theater of Harlem. Christopher has danced and performed works by Nacho Duato, Complexions Contemporary Ballet, Zhukov Dance Theater, and Alonzo King LINES Ballet. He also holds a BFA from the Alonzo King LINES Ballet/Dominican University BFA program as a member of the Inaugural Class.

To see Chris live, go to Morphoses performance of the Bacchae at the Joyce- October 24-30th, 2011. Or to see Chris in 2-d go here. 

What style of dance do you prefer and why?

• I am a child of contemporary dance.  Everything happening tomorrow or the next day is where I find myself.

Who have you worked with in the past?

• I have worked with Desmond Richardson and Dwight Rhoden, Nacho Duato, Alonzo King, and Yuri Zhukov both as student and professionally.

Who do you aspire to work with in the future?

• Geniuses…mad scientists…astronomers.

Being a freelance dancer, how do you earn your living, ie: do you have side jobs or skills you utilize for income?

• I have been blessed to maintain myself solely as a dancer.

Have you attended college or another kind of training? What/where?

• Upon graduating from high school in 2006, I attended SUNY Purchase for a semester. I transferred to The Ailey School's Fellowship Program for a year while taking online classes through a community college, and then graduated from LINES Ballet/Dominican University in 2010 with a BFA in dance.

What is the most challenging thing about your career?

• Saying goodbye.

What do you feel and think when you’re on stage?

• Every emotion all at once continuously until I'm in the dressing room.

What is the most valuable advice you have received from a teacher or mentor?

• "Stay fluffy."

Every Step You Take- a review

To readers, I am honored to have been found by an editor at Harper Collins to review Jock Soto's new book. You will see my official review below, but the unofficial review is that I would love to meet this man. He presents himself so positively and in service of the art form. It is truly a must read.

Every Step You Take

Jock Soto with Leslie Marshall

New York: Harper Collins, 2011

271 pp, $24.99

ISBN- 978-0-06-173238-6

Review by Brittany Fridenstine-Keefe

Jock Soto's memoir, written with Leslie Marshall, comes out today. Entitled, "Every Step You Take," the book is a charming homage to an inspiring male dancer who dedicated more than two decades dancing at the New York City Ballet.

Jock Soto is part Navajo Indian, and part Puerto Rican. His first encounter to dance was in the form of Indian Hoop dances. After seeing Edward Villella on the Ed Sullivan show, Mr. Soto was determined to learn more about formal western dance genres. His family is an inspiration in the sacrifices and support they offered to enable his study of dance. Mr. Soto’s pursuit of training led him to the School of American Ballet, New York City Ballet's official school, and a separation from his parents at a young age.

Much of the book is Jock's tribute to his deceased mother. Perhaps this is the meaning behind the title. Perhaps he still feels a connection to her as he serves dance. His family was a part of his dance despite distance. Although positive in his reflections, his separation from his roots is an underlying theme. Simultaneously, he acknowledges his need for space and a connection to who he is.

Personally, he recounts growing up in the gay community in the 80s. Mr. Soto reflects on his growth as an individual through each of the relationships; doubly as he witnessed the AIDS epidemic tearing apart his community. Working hard and playing hard, Mr. Soto ran in the circles of many prominent art figures, including a close relationship with Andy Warhol.

Mr. Soto’s career was an embodiment of the American dream; he was quickly and easily promoted to a leading dancer at NYCB. He shares his is appreciation of his many ballerinas including: Lourdes Lopez, Heather Watts, Wendy Whelan, Stephanie Saland, and Miranda Weese. As he recounts these relationships, he shares numerous human moments from behind the scenes. Mr. Soto worked in a magical time when the work of George Balanchine, Lincoln Kirstein, and Jerome Robbins was well established and inspired. The New York dance scene was supportive and at the nexus of the form.

Throughout the book, Jock presents himself humbly. When People magazine voted him one of the "50 Most Beautiful People in the World", he shrugged it off stating his merit was merely to fill a performing arts quota. But he doesn't take himself lightly; he remains focused on his mission as a dancer. Mr. Soto recounts the fleeting moments of a life onstage and the struggle to keep each performance alive. Before each performance, Mr. Soto would say, "it is going to be a different story tonight." Therein lies his dedication to "every little step" he took.

Throughout the book Mr. Soto shares recipes, which correlate to his growth. He keeps his aplomb as he comically recalls using Gorgonzola in a tiramisu, but clearly cooking has become a new creative passion. A vehicle to meld his creativity with entertainment and invest in the people he cares about. He continues to service the field as a teacher at the School of American Ballet.

Jock Soto is an important male figure in the ballet world. As such his memoir, "Every Step You Take," is a refreshing and inspiring account for any artist living their mission. 

Brandon Cournay 'chassé ball changes' from Julliard to become a dancer at Kegwin + Company and Morphoses!

Brandon Cournay is originally from Detroit, Michigan. He has danced with the Mark Morris Dance Group, and Kegwin + Company Extended. Brandon has performed the repertoire of Twyla Tharp, Ohad Naharin, Lar Lubovich, and Nacho Duato. Brandon has also performed in the Radio City Christmas Spectacular and has appeared in commercials for Puma and Target. Brandon received his BFA from The Juilliard School. 


You can see him in action at the Joyce Oct 24-30th in Morphoses production of Bacchae. 


Additionally, follow his adventures through his social media links: 
Facebook: http://facebook.com/brandon.cournay
Twitter: http://twitter.com/#!/Brandon_Cournay

When did you first begin dancing?

• I have been chassé ball changing since I was ten years old. I signed up to do a musical theatre camp at my school and after that, I was hooked. I became obsessed with my teacher's Capezio jazz sneakers... So, I talked my parents into getting me a pair. You better believe I wore them to school, no shame.

What style of dance do you prefer and why?

• I prefer anything that is physical, organic, and inspiring.

Who have you worked with in the past?

• I am having this really cool journey performing in both commercial and concert dance. Professionally, I've worked with the Chase Bock Experience, Mark Morris Dance Group and I'm currently dancing with Keigwin + Company.
• While in school, I had the honor of working on creations with Matthew Neenan, Nicolo Fonte, and Larry Keigwin. When we would learn pieces for our repertoire concert choreographers such as, Mark Morris, Lar Lubovich, and Ohad Naharin all came in to help set and coach their pieces that we were performing. It was such an amazing experience to learn and work with the creators of such brilliant works.

Who do you aspire to work with in the future?

• I'm really inspired my choreographers such as Aszure Barton, Crystal Pite, Peter Chu, Hofesh Shechter.
• I want to work with anyone that is really pushing the envelope in dance. I'm really interested in working with anyone who is creating something inventive, imaginative, and accessible.

Being a freelance dancer, how do you earn your living, ie: do you have side jobs
or skills you utilize for income?

• Teaching and choreographing are what I consider my ‘side jobs.’ I really enjoy it though, so I rarely consider it work. Which is cool. I also judge for dance competitions on the weekends.

Have you attended college or another kind of training? What/where?

• I received my BFA from Juilliard in 2009.

What is the most challenging thing about your career?

• I'd have to say the most challenging aspect of my career is living a balanced lifestyle... in sort of a "work hard/play hard" kind of way. As artists we are constantly on, constantly learning and exploring; sometimes whether we like it or not. Specifically for freelancers self-motivation is vital, our schedule and intentions change daily. It's easy to cram your self- planned day with tons of classes, auditions, and rehearsals to benefit your work and not take anytime for yourself... And vice-versa. It took me a long time to learn that taking a little time for yourself can benefit your work inside the studio tremendously.
• It took me a long time to learn that guilty feeling of skipping your 10am ballet class to go see the new Twilight movie will soon go away. I stress the time in this scenario because we all know that movie tickets are only $6.00 if you go before noon. Paying for a full priced movie ticket as a freelancer in New York emphasizes the obvious and biggest challenge that plagues us all... Finances.

What do you feel and think when you’re on stage?

• On stage, I try to sensitize my whole body as much as possible. I like to pretend I'm performing in a theatre that's 360 degrees around and that the audience is seeing me at every possible angle. Even if the choreography has a specific direction, to me there is no front. I want to know and feel what my leg bones, arm muscles, ribs, fingers, eyes...etc. are doing at all times, wherever they are in space. When I bring awareness to my whole body I feel I am able to communicate better as an artist. It's no longer about executing steps physically, but about how I am using my instrument, my entire body to embody and enhance the artistry of the work.

How do you keep yourself motivated and maintain creative thinking during your
off time?

• I like to see a lot of dance. I think it's important to educate yourself on what you like and what you don't... and more importantly, WHY you like or don't like something.
• I also listen to music a ton, the little dancer in my head is constantly improving to something up there.

What is the most valuable advice you have received from a teacher or
mentor?

• Risa Steinberg, one of my mentors at Juilliard, was talking about evaluating feedback about your work. She said that if someone loves your work... awesome, if someone absolutely hates your work... awesome, but the problem comes when someone leaves the theatre without having an opinion of your work. I thought that was a very interesting statement.

What element, theme, or character from the Bacchae do you relate to most?

• I relate most to the ever evolving pace and flow of the Bacchae. As well as the inspiration of the work, always looking forward to try something new.

What is the best/funniest/most challenging experience of the rehearsal process
thus far?

• Best- Creating with such amazingly talented, diverse, and inspiring artists everyday. It’s been an honor to work and learn from such an eclectic group of dancers.
• Funniest- Karaoke night!
• Most challenging- Scooting up the stairs. At the Vineyard my thighs were so sore, I could barely walk!

For more information on Morphoses's production of Bacchae go to:www.morphoses.org

Morphoses dancer, Gabrielle Lamb, shares her thoughts.

Photo by Ken Kramer

Gabrielle Lamb
Gabrielle Lamb is a native of Savannah, Georgia, and was trained at the Boston Ballet School. She joined Les Grands Ballets Canadiens de Montreal in 2000 and was promoted to soloist in 2003. Since 2009, she has been living in New York City and performing with Morphoses and Pontus Lidberg Dance. Her repertoire  includes principal roles in works by George Balanchine, Christopher Wheeldon, Peter Quanz, Jiri Kylian, Mats Ek, Ohad Naharin, and Nacho Duato.  She has also created leading roles in new works by Shen Wei, Stijn Celis, Pontus Lidberg, and Mauro Bigonzetti, among others.  


Ms. Lamb is also a choreographer as well a self-taught video artist and animator.  You can see some of her videos here. 


For more information go to Gabrielle's personal website. 

When did you first begin dancing?

• I started dancing when I was 4, but hated it because the tights were so annoying
  to put on. So I quit and then restarted the next year.---somehow I got over the
  tights issue.

What style of dance do you prefer and why?

• I prefer any kind of dance which originates with the intention to communicate and
  connect. The more I learn, the less interested I am in virtuosity for its own sake.
  I want to be able to let go and become someone else onstage, not to spend
  those precious moments worrying about steps.

Who have you worked with in the past?

• I've been lucky enough to work with a lot of talented choreographers and stagers
  in the past. Some of those are: Natalia Makarova, Sylvie Guillem, Mats Ek,
  Ohad Naharin, Christopher Wheeldon, Shen Wei, Peter Quanz, Stijn Celis,
  Pontus Lidberg….not to mention all the fantastic dancer colleagues who have
  inspired me over the years.

Who do you aspire to work with in the future?

• Other artists who open new pathways in my mind, no matter what discipline they
  belong to. A dream list might include Crystal Pite, William Kentridge, Robert
  Lepage, Michel Gondry.

Being a freelance dancer, how do you earn your living, ie: do you have side jobs
or skills you utilize for income?

• I choreograph and teach sometimes. I am also a self-taught filmmaker and
  animator. I worked as the company videographer for Les Grands Ballets
  Canadiens when I was still dancing there, and I've also done work for Morphoses
  and BalletX. I'm preparing for a project with the Dance Theatre of Harlem.

Have you attended college or another kind of training? What/where?

• No. I've taken a few classes in film, but generally I prefer teaching myself.

What is the most challenging thing about your career?

• Keeping a sense of the long-term. It's too easy to get crazy about a small injury
  that may be gone in two days---or a temporary lack of work---or the challenges of
  learning new choreography. What seems impossible today often improves
  overnight, so I've had to learn to back off being so rough on myself when I can't
  have what I want straight away.

What do you feel and think when you’re on stage?

• If I'm in the space I'd like to be in, I feel like time slows down and I can be
  fearless. In the best moments I'm very conscious of the sensations in my body,
  and I imagine being able to communicate those sensations to the audience. It's
  like there's a line of communication that runs underneath the floor of the stage
  and branches out to every seat in the house. If I'm not quite there, then I'm just
  judging and chastising myself and thinking about what just happened or what's
  about to happen 5 seconds from now. And I imagine that on those occasions the
  audience feels somehow less connected as well.

How do you keep yourself motivated and maintain creative thinking during your
off time?

• I don't have much off-time. I always seem to have some project to work on or
  think about. On the less fun side, there is always email to reply to or scheduling
  to do.
  
  
  I do yoga every day, and unless I"m really on vacation, I take ballet class at
  least 5 days a week.

What is the most valuable advice you have received from a teacher or mentor?

• I was feeling envious of another artist's talent----and despair of ever being able to
  approach her accomplishments. I expressed this to a friend and fellow dancer,
  who wrote to me,"Use her journey as a template for what you want, the beauty of being yourself and expressing it to your full ability"…
  
  
  This really made an impression on me---it reminded me to stay on my own path
  and follow it as far as I can, and not to get hung up thinking I'm on the same path
  as any other single person.

What element, theme, or character from the Bacchae do you relate to most?

• I do an improvisation which is composed of asymmetrical arm movements which
  evolve into symmetry. When I'm asymmetrical, my attention is very fragmented,
  and when I achieve symmetry I become more focused, as though I'm making
  a new connection between already existing ideas in my mind. This for me is an
  interesting physical expression of the way that consciousness and creativity
  work: disconnected streams of thought which with practice can become focused
  and aligned.

What is the best/funniest/most challenging experience of the rehearsal process
thus far?

• The best part of the experience thus far has been working with a group in which
  every single person has something truly special and different to offer. I've been
  working a long time, and I can say that it's pretty rare to be in a group where I
  can watch and be inspired by everybody. Every day in class and rehearsals I
  see coordination and phrasing that I'd like to steal and try to make work on my
  own body.

For more information on Morphoses's production of Bacchae go to: www.morphoses.org

Here is a paper I researched and wrote for my senior project with LEAP. The program allows for individualized learning, and I chose to research the potential of psychological factors on incidence and onset of injury. I was also fortunate to intern with the Harkness Center for Dance Injuries during my project. Although it is not of professional standing, I learned so much about planning, implementing, and presenting research; I hope you enjoy the fruits of my labor.

Biopsychosocial factors in injury: From an artist's perspective.

College for working dancers.

Although there are many great university dance programs, dancers often enter their professional careers without a college degree. I am among those whose eagerness to begin dancing forced an absence from academia after high school. 

But a dancer's career is short, and the benefit of a degree can have a profound effect on transitioning into the civilian workforce. Certainly going back to college after a dance career is an option, but now there are also programs which enable dancers to continue working in their professions while going to school.

One great option is a program called LEAP- Liberal Education for Artistic Professionals. It is a program affiliated with  St. Mary's College in California; a small, private liberal arts college. Over 300 dancers have obtained their degrees through the LEAP program in LA, San Francisco, and New York. There are also plans to expand the program to Las Vegas and Chicago.

The LEAP website states, "Founded in 1999, LEAP makes it possible for these working adults to receive a comprehensive liberal arts education and earn a Bachelor of Arts degree from Saint Mary's College in 3 to 4 years of part-time study. Courses are offered at convenient times and locations and the program's flexibility encourages dancers to pursue individual interests and explore different disciplines. Our alumni have continued on to graduate studies and successful new careers in a variety of fields."

For more information, email leap@st-marys-ca.edu or call 866-306-0395. Or you can post a comment or email me as I am a proud student in the program and intend to graduate next spring!

Great Event hosted by Dance/NYC and the Taskforce for Dancer Health

Dancers' Bodies. Promoting Wellness. Richard Gibbs * Jared Angle * Jen Edwards * Melissa Gerson * Jenifer Ringer Monday, May 16, 2011 6:30pm - 8:00pm Abrons Arts Center Henry Street Settlement Playhouse Theater 466 Grand Street (corner of Pitt Street) New York, NY 10022 RSVP: http://dancersbodies.eventbrite.com/ Calling All Stakeholders in Dance! Dance/NYC and the Dance/USA Taskforce on Dancer Health invite you to join us in responding to the Taskforce's recent call to action to achieve the dancer aesthetic in a manner that promotes overall good health and protects the artist and performer. Led by Richard Gibbs, M.D., the town hall provides a forum to discuss case stories from the perspective of the health professional, cultural critic and professional dancer, including New York City Ballet Principal Dancers Jenifer Ringer and Jared Angle. What words work to promote dancer wellness? What positive practices? What can we as a field do for our dancers? __________________________________________________________________________ Richard Gibbs, MD. After training with Perry Brunson and Vera Volkova, Richard Gibbs danced several years each with the Hamburg Ballet, the Royal Winnipeg Ballet and First Chamber Dance Company. Richard then earned a degree in English from Harvard and an MD from Yale. At the invitation of the San Francisco Ballet in 1991, the Gibbs's created one of the nation's most progressive programs in dancer health in. Richard continues as the company's Supervising Physician. He lectures nationally on dancer health, and he continues to teach ballet having served on the staffs of the San Francisco Ballet, Pacific Northwest Ballet, the Harvard Dance Program and Washington State's Summer Dance Labs. Richard is the founding Chair of Dance/USA's national Taskforce on Dancer Health, and he is the lead author of the Taskforce paper, Guidelines on Nutrition for Professional Companies. In 2006, Richard introduced the idea of a standardized preventive healthcare screen for professional companies. Over 35 companies across the U.S. and Canada are now using the Taskforce Screen and working together to bring better health to those who dance for a living. In 1996, the Gibbs's founded the San Francisco Free Clinic where they provide free medical care for people with no health insurance. Jared Angle was born in Altoona, Pennsylvania, where he began his dance training at age six with the Allegheny Ballet Academy. In the fall of 1996, he entered the School of American Ballet (SAB), the official school of New York City Ballet, and for the 1997-98 he continued his studies at the School as a recipient of the Rudolf Nureyev Scholarship. Jared became an apprentice with New York City Ballet in March 1998 and joined the Company's corps de ballet in July of the same year. He was promoted to soloist in 2001 and to principal dancer in 2005. Jared is a Princess Grace Dance Fellowship recipient for 2001-2002. In May of 2004, he appeared in the Live From Lincoln Center broadcast of "Lincoln Center Celebrates Balanchine 100," dancing in Liebeslieder Walzer, and his film work includes Columbia Pictures' feature film Center Stage. For Jared's complete bio, including a comprehensive list of featured roles with the Company, click here. Jennifer Edwards is a writer, culture critic, choreographer, and messaging consultant. She writes for the Arts and Living sections of The Huffington Post on topics including innovation in dance, culture, and wellness. The founder of JenEd Productions (jened.com), and co-creator of the Home/Body Project (homebodyproject.org), Edwards enjoys paring her passions for multi-media content, the written word, science, and technology. She will present her work entitled ‘Building Stages Across Platforms: How New Media is Changing the Landscape of the Performing Arts' this May in Austria for the International University conference, Performing Arts Training Today, and this July in Chicago for the annual Dance / USA conference. Her degrees, certifications, and accolades highlight her varied background and interests. Edwards holds a MFA in dance from NYU Tisch School of the Arts and was a professor of dance and choreography for several years. She holds RYT certification in Yoga philosophy, meditation, and physical practice and has taught yoga-informed stress management for the last 10 years for organizations including the American Heart Association and Columbia University Medical Center. She is a Spoken Word Slam Champion and an Award-winning performance poet and essayist. This September, Edwards will begin her post-graduate work in Organizational Change Management at Milano, The New School for Management and Urban Policy. Melissa Gerson, a national leader in the eating disorder treatment community, entered the field of mental health after spending many years first, as a professional ballet dancer. Melissa trained at the School of American Ballet and upon graduating from the Professional Children's School in NYC, joined the corps of the Miami City Ballet in Florida. She was soon promoted to Soloist, performing featured roles in over fifty ballets until she retired in her mid-twenties. Ms. Gerson returned to New York City to study psychology at Columbia University where she went on to graduate magna cum laude and Phi Beta Kappa. Melissa earned her master's degree in social work at New York University and completed NYU Psychoanalytic Institute's post-graduate program in psychodynamic psychotherapy. She continued post-graduate training at the Center for the Study of Anorexia and Bulimia and at the William Alanson White Institute of Psychiatry, Psychoanalysis & Psychology. Melissa served as the primary mental health consultant for La Palestra Center for Preventative Medicine, NYC while concurrently building her private practice, with a specialty in eating disorders and body image concerns. In 2008, she founded Columbus Park Collaborative, a private eating disorder treatment center in New York City, where she now serves as Clinical Director. Since 2008, Melissa has developed, staffed, supervised and directed CPC's Day Treatment Program, an intensive treatment program for adolescents and adults with anorexia, bulimia and binge eating disorders. She also recently founded and launched Columbus Park Behavioral Health, LCSW, LLC, which is a training initiative for clinicians in the field of eating disorder treatment and a clinic for individuals in need of affordable treatment services. Melissa maintains a private practice, in which she specializes in the treatment of eating disorders, depression, and anxiety, with a sub-specialty in the treatment of performing artists and athletes. Jenifer Ringer was born in New Bern, North Carolina, and was raised in Summerville, South Carolina, where she began her dance training at age 10 with local teachers. At the age of 12 she entered the Washington School of Ballet, where she studied for two years. After attending a summer session at the School of American Ballet (SAB), the official school of New York City Ballet, Jenifer was invited to enter the Winter Session at the School on a full scholarship. She became an apprentice with New York City Ballet in October 1989 and a member of the Company's corps de ballet in January 1990. Jenifer was promoted to soloist in 1995 and to principal dancer in 2000. She is a guest teacher at SAB and the Artistic Director of New York State's Summer School for the Arts ballet program. In 2002, Jenifer appeared in the Live From Lincoln Center broadcast of "New York City Ballet's Diamond Project: Ten Years of New Choreography," dancing in Mercurial Manoeuvres, and in 2004 she appeared in the Live From Lincoln Center broadcast of "Lincoln Center Celebrates Balanchine 100," dancing in Liebeslieder Walzer. Jenifer received her B.A. in English from Fordham University in December 1997. In July of 2000 she married former NYCB Principal Dancer James Fayette. For Jenifer's complete bio, including a comprehensive list of featured roles with the Company, click here. Dance/NYC is a satellite of the national arts service organization Dance/USA. Its mission is to sustain and advance the professional dance field in New York City-serving as the voice, guide and infrastructure architect for all local dance artists and managers. The organization achieves this mission through three core program areas: advocacy and research, audience engagement and professional development. As a convener, Dance/NYC aims to connect and educate our constituency-strengthening the collective voice for dance. Visit www.dancenyc.org to learn more about our programs.
Dance/NYC is grateful to the Abrons Arts Center for hosting this event. Dance/NYC Town Hall Meetings are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. The program is also supported by the New York State Council on the Arts and the National Endowment for the Arts.

great link

Granted there are now many point shoe brands and even materials with which they are made. This is a great inside.

http://edition.cnn.com/2011/SHOWBIZ/02/02/ballet.pointe.shoes/