How many years have you been doing ballet?
I began training when I was two and half, so I’ve been dancing almost nineteen years.
What are some roles you’ve danced with Alabama Ballet?
My favorite was the Cowgirl in Agnes de Mille’s Rodeo. I also loved performing Lead Marzipan in George Balanchine’s The Nutcracker and as a Blue Girl in Sir Frederick Ashton’s Les Patineurs.
What’s your favorite thing about ballet?
My favorite part about dancing is working hard and seeing the results. It’s so gratifying and there’s always something to work on and perfect even further. And there will always be another goal ahead of me to tackle. I also love the feeling when I’m onstage. We spend so much time in the studio for maybe three minutes on the stage, but when I’m up there I feel so alive.
What’s in your dance bag?
Bloch Heritage pointe shoes, jumper, cover-ups, leg warmers, Tiger Balm – a dancer’s best friend for achy muscles, sewing materials and new pointe shoes – to sew on breaks, Abigail Mentzer and Bulletpointe skirts, bobby pins, hair elastics, hairbrush, supportive athletic tape, and Kenesio Tape – I had a Deltiod sprain last season, so it supports my arches on long days, and, for snacks, I usually keep an apple and some seasoned almonds in my bag for sustainable energy, and, of course, H2O to keep hydrated!
Tricia Bianco began dancing when she was two and a half years old at Alabama Dance Academy under the direction of Pamela Merkel, Michael Vernon, Jamie Hinton, and Tammi Carr. She has received and accepted scholarships to summer programs with Boston Ballet, Dance Theatre of Harlem, and Alabama Ballet. In 2011, Tricia competed in Youth American Grand Prix and was Top Twelve in the Southeast region. Tricia was offered an apprenticeship when she was seventeen with the Alabama Ballet in 2012, and is excited to be returning for her fourth season and first year as a Company Member.
Since joining Alabama Ballet, her favorite roles have included Showgirl in Roger Van Fleteren’s Dr. Jekyll and Mr. Hyde, Juliet’s Friend in Van Fleteren’s Romeo and Juliet, the title role in Agnes de Mille’s Rodeo as Cowgirl, Lead Marzipan in George Balanchine’s The Nutcracker, and Blue Girl in Sir Frederick Ashton’s Les Patineurs. She also teaches at Alabama Ballet, and is a teacher for the Ballet’s outreach program, City Dance. Tricia also teaches at Westwood Ballet. Tricia feels very blessed to be a member with the Alabama Ballet, and is looking forward to her first season as a company member.
What drew you to the profession of teaching dance?
To be honest, it was at first for very selfish reasons! As a young dancer, I was given some advice from my Artistic Directors to begin teaching as a means of improving upon my own technique. As a dancer, it is sometimes difficult to feel what exactly your body is doing. Teaching provided me with the opportunity to take the role of the onlooker, see corrections that needed to be made on my students, and apply them to myself. I started teaching at a very young age, and I really think it enriched my dancing on the whole.
What does your average work day look like? Give us a little snapshot of your life…
I’m freelancing a good bit these days, so my schedule is a bit all over the map. At the moment, I’m in Carlisle, PA teaching for Central Pennsylvania Youth Ballet’s summer program and having a blast, but there is always a long list of ‘to do’s’ to keep my life running back in New York. Here’s what today looks like:
7:00am – 9:00am – Answer questions for this interview over coffee and a bagel.
9:00am – 10:30am – Teach my morning class at CPYB
10:30am – 1:30pm – Head to Staples to print, sign, scan and email a contract for a new ballet I’m creating for Point Park University in Spring of 2016. Then I head to the Post Office to ship two orders of ‘Find Your Fifth.’ We are a small start-up, so orders are processed not through a company, but from my apartment in Queens (or wherever I happen to be). You should see my living room. It’s a ‘Find Your Fifth’ extravaganza in there!
How many years have you been doing ballet?
I began ballet at the age of five, so twenty years now.
What are some roles you’ve danced with Miami City Ballet?
I joined Miami City Ballet in 2014. Since then, I have performed roles such as the Sugar Plum Fairy in Balanchine’s The Nutcracker and as the Harp Soloist in Balanchine’s Raymonda Variations.
What’s your favorite thing about ballet?
Being completely swallowed by light on stage.
What’s inside your dance bag?
I usually have about 6-7 pairs of Capezio Arias to rotate, gel toe pads, second skin, toe spacers, Sansha ballet slippers, two rollers, stretching stick, headphones, iPad, grey theraband, shoe scraper, fashionable duct tape, band-aids, Oragel, scissors, towel, hand cream, alcohol wipes to clean my feet at the end of the day, alcohol spray for pointe shoes, extra rosin, perfume, garbage bag pants, purity face wash, wine holder for my pointe shoes, Salonpas deep relief roll on, pliers, sewing kit, red stretch strap, and, for snacks, I always have Gu Brew and Quest bars to get me through my day if needed, plus tic tacs or mints.
Samantha Hope Galler, a Bedford, Massachusetts native, spent 13 years training with The Ballet Academy, Inc., under the direction of Frances Kotelly in the Cecchetti Method. She performed six seasons with The Northeast Youth Ballet under the direction of Denise Cecere. She continued training, on scholarship, with Boston Ballet School and received the PAO Merit Trainee Scholarship. She received the NFAA Honorable Mention Award in Ballet. Galler spent summers training at Boston Ballet, Central Pennsylvania Youth Ballet and Boston Conservatory. She danced with Cincinnati Ballet in their 2008-2009 season under the direction of Victoria Morgan.
Samantha spent five seasons with Alabama Ballet under the direction of Tracey Alvey and Roger Van Fleteren. During her tenure there, she was promoted to principal dancer. She had the honor of performing some of her dream roles including Juliet in Romeo and Juliet, Odette/Odile in Swan Lake, The Lilac Fairy in The Sleeping Beauty, The Sylph and Effie in La Sylphide, Myrtha and Moyna in Giselle, Dryad Queen and Mercedes in Don Quixote, and the Rancher’s Daughter in Agnes De Mille’s Rodeo. Her Balanchine roles included Dark Angel in Serenade; The Sugarplum Fairy, Arabian and Lead Marzipan in George Balanchine’s The Nutcracker™; and the principal roles in Allegro Brillante and Tarantella. She has also performed in Jiří Kylian’s Sechs Tanze, and Van Fleteren’s Shostakovich and Romancing Rachmaninov, both world premieres. Samantha joined Miami City Ballet as a member of the corps de ballet in 2014.0
by Todd Fox
I’m a Bunhead Surfaholic!!! That’s right, my career focus and lifelong passion has always been ballet and there’s not many things in this world I love as much as ballet, but surfing is definitely one of them. I surf every chance I get and am probably one of the only surfers in Florida who strikes ballet poses while riding a wave. Over the years I’ve surfed on all sorts of boards including long boards, short boards, foam boards, plank boards with no fins, kayaks, canoes, boogie boards, etc.– if it floats I’ve surfed it and probably tried to do some ballet on it as well.
A few years ago I began noticing more and more stand up paddleboard (SUP) surfers catching waves at the local surf breaks here where I live in Miami. I had previously paddled a SUP on our calm south Florida inter-coastal waters and it was super fun but surfing on a stand up paddleboard looked intense. I couldn’t believe surfers were dropping in on waist to chest high waves while using a paddle to maneuver these giant heavy SUP boards. It looked like an incredible workout as well as a ton of fun so I decided to give it a try and bought a used 10’6″ Surfseries SUP off Craigslist to start learning with.
I had been a traditional board surfer for many years and figured the transition to surfing on a SUP would be relatively easy, plus I’m a professional ballet dancer and have good strength/balance/coordination, right? WRONG!!! I couldn’t believe how incredibly difficult it was to balance on a SUP in choppy water and the workout was much more intense than I imagined, it gave a whole new meaning to the word exhaustion. Paddling a SUP on nice glassy calm water is an amazing full-body workout but when you add waves, rip currents, and rough surf to the equation, the physical demands become much more extreme. Complicating matters was the fact that where I surf most often, Miami Beach, rarely has “clean” easy-to-paddle surf, most of our good surf is accompanied by rough, choppy ocean conditions. Without going into too much detail, this is due to Miami’s geographic proximity to the island chain of the Bahamas located directly to our east. On my first attempts I could only manage to stand on the SUP briefly, once the board started to wobble or bob up and down as a result of the choppy surface water, I would immediately lose balance and fall off every time.3
At what age did you begin ballet? Where did you receive your early training?
I began dance at age 3. Both my older sisters danced and I begged for a year to take class too. I started in a combo ballet/tap pullout class at a Montessori school and my first recital was a tap recital.
The next year, I started ballet and tap classes at a small studio called Denton Ballet Academy. I moved to Ballet Conservatory (BC) when I was 8 to train with Kelly Kilburn Lannin. Ms. Lannin introduced me to classical ballet, modern, tap, jazz, and musical theater. It was a great performance studio that fed into a local company, LakeCities Ballet Theatre (LBT).
I was invited to join LBT at age 11 and performed many ballets there for two years before leaving for NYC. At BC/LBT, I was able to train with Ms. Lannin, Shawn Stevens (NYCB and Twyla Tharp), and Allan Kinzie (Boston Ballet) as well as guest artists including Michael Vernon (Royal Ballet), Josh Bergasse (On The Town, Smash), Marco Perins (La Scala), Julie Kent (ABT).
When did you realize you wanted to be a professional ballet dancer?
I always preferred tap/jazz over ballet until I was 11 years old – then I got my pointe shoes! I auditioned for summer programs that winter and spent my 12th summer at ABT NYC. I knew then I wanted to be a professional ballerina in NYC. When I was 13, I performed Serenade with LBT and knew then it was Balanchine all the way.
I saw on YouTube that you competed in Youth American Grand Prix (YAGP) when you were 13. Tell us a little about that experience and what you learned from it.
I did compete in YAGP when I was 13. It was a great year. I did two classical pieces – Satanella and Aurora’s first variation from Sleeping Beauty. I also did a contemporary piece choreographed by Shawn Stevens to Vivaldi called Red Cardinal. I had gorgeous tutus sewn by Elizabeth Schillar, a tutu designer in Texas. She allowed me to help with the creation, picking fabric and even sewing on all the crystals.
I won 1st place in Classical in Dallas and Top 12 in Contemporary and went on to compete in the YAGP NYC Finals. I had great scores and great comments and was offered full scholarships to quite a few places including Canada National and John Cranko, but I had to decline them all because I already knew I was going to the School of American Ballet (New York City Ballet’s official school) on scholarship.
Training for YAGP is an experience a young dancer cannot replace at that age. Private lessons that provided individual performance coaching were so valuable for my technique and confidence. My coaches taught me to work for the sake of experience, not to win a contest. I learned that a dance career is a marathon not a sprint, and not to get caught up on losing or winning any one thing.6
by Jan Dunn, MS
Aloha! — Happy August! The posting below is one I’ve wanted to bring you for a long time–discussing “core control” (alias “center” in dance). It’s something that’s very important, yet not that many people – dancers included – really understand what it’s all about. (And thanks to Denver Dance Medicine
Associate Sarah Graham, PT, provider for Colorado Ballet and many Broadway touring companies, for her help in clarifying the information from a medical perspective).
I hope that after reading it (along with Part Two, coming in a few weeks!), you’ll have a better idea of what all this “core” talk is, and how to best incorporate it into your dance life. My best to all –
For some time I’ve been wanting to bring you an article on “core control”. I put it in quotation marks because it’s a term that conveys different things to different people, and not everyone really understands what it means. In the dance world, we often refer to “center”, as in “find your center”–but many dancers do not really understand what that means, either.
The term “core control” is everywhere in the media / fitness world, and many people think it means “abs”. And abdominal muscles (one in particular) are very much involved in “core”– but there’s much more to it than that. From reading this post, I hope you come away with a better understanding of exactly what it means, and hopefully get some hints and cues on how better to incorporate it into your life–both in dance and in everyday movement, because it is important in everything our body does!
So much has been written / so much could be said–it could be the topic of several different posts. But over the years, teaching dance / Pilates / Franklin, I’ve evolved a specific way of teaching it to people, using a fairly short version that makes sense to everyone.
In the medical field, it is the same as back stabilization–in other words, when your back and torso are strong and able to provide support for your entire spine and limbs—because your arms and legs are going to be more fully able to move and be supported by your torso, to do all of those gorgeous extensions and powerful movements we love to do and see in dance, when your “core” musculature is strong.
So with that said, from here on out, I’m going to use the term “back stabilization”, which you now know means “core”.
This post is going to be in two-parts: In this first segment, I’ll do a lot of explaining. For the second one, I want to show to you some specific exercises and things you can do at home or in the studio to help increase the strength of all the muscles we’re talking about here–i.e, ways to help improve your back stabilization / “Core Control” / “center”.
The Four-Legged Stool
There are a good number of muscles / muscle groups involved in back stabilization, but we’re going to simplify it and talk about the 4 primary ones. When teaching, I like to use the analogy of a 4-legged stool.
Think of it this way:
You have a 4-legged stool made up of 4 main parts, all of which are necessary to keep the stool (your torso) upright and strong, and in balance.
1–One leg of the stool is the Transverse Abdominal muscle, or TA for short.
This is the deepest of the 4 abdominal muscles–on top of it is the Rectus Abdominus (RA), or the “6-pack” muscle (whose main function is to flex – bend forward – the torso, not to provide back stabilization). Under the RA are the obliques, running in two different directions. They help stabilize the torso, but they are often over-used, and then the really important one, the TA, is not working in the most beneficial way.
2 – the 2nd leg of the stool is the Pelvic Floor.15
by Alessa Rogers
That is what people think of when they think of ballet. And that is what we strive to be, with our tutus and tiaras and sweat and…wait what? Yes, dancers sweat, and we also curse sometimes too. Ballet is hard work after all!
But–back to effortless grace.
Yes, that is what we are. At least- that is–until halfway through Tharp’s In the Upper Room or maybe David Parson’s Caught or the Don Quixote third act pas de deux, when we are gasping for air like a fish out of water, with a variation and a coda left to go (and don’t forget those pesky bows that are next to impossible after a three hour long ballet).
No one wants to be that dancer that is visibly out of breath and increasingly out of control, making the audience worry if they need to call a doctor. But dancers for the most part tend to forget about stamina, focusing instead on technique and shape and choreography and musicality–and even injury prevention. These are all very important to consider, of course, but if a dancer is too exhausted to get through a piece then technique just isn’t going to be useful. Actually, as a dancer gets more tired, technique gets sloppy, choreography becomes harder to learn, and it’s definitely the time when injuries happen.
So a few years ago I set out to consciously improve my stamina. It was mostly out of necessity; a high-profile world premiere was looming where I would be onstage for all but four minutes of the entire full-length, no intermissions, ballet (and those off-stage minutes were for stressful costume changes!). A lot of the work was running and jumping. The first time I ran through the full ballet in the studio I went home and passed out at about 7 o’clock. I knew I had to get myself in shape.
Wouldn’t it be nice if dancers had trainers the way professional sports stars and Olympics athletes do–with scientists, analysts, nutritionists and trainers at our disposal? But we don’t. We only have ourselves, and our acute sensitivity to our bodies, to decide what works for us individually and what doesn’t. We have only ourselves to maintain accountability, to customize a plan that works for us and turn our bodies into fine-tuned machines.
Fast forward a few years and I’d say my stamina is now one of my strengths as a dancer. Other dancers often note how when they are bent over and panting I am still standing up and smiling. None of what I do now is scientifically proven–but they are the practices I’ve discovered that work for me.
See for yourself if some of these work for you:0