1. How did you become involved with dance?

When I was little I would jump off furniture trying to imitate Baryshnikov and ended up in the emergency room a few times. That’s when my parents decided to take me to a ballet class. 

Jacqueline Moscicke, Photo by Richard Brodzeller

2. What are you currently doing in the field?

I joined The Joffrey Ballet in July.

3. Would you share a special moment or two from your career?

One of my favorite moments was being featured in Margo Sappington’s, Common people.  The ballet turned into a film documentary called Gonzo Ballet with William Shatner. Another great ballet experience was being Clara in the Nutcracker, it will always hold a magical spot in my heart.

4. What is the best advice you have ever received regarding dance?

The best advice I received was from my Grandpa, he said “write it all down before you forget all these special moments”.

5. Do you have any advice for those who would like to dance professionally?

I would have to say there’s a company for everyone, you just have to search for where you feel comfortable and fit best.

6. What has been your biggest challenge in dance?

Injuries are the worst!  I had loads of doubts and insecurities when I had ankle surgery. I missed all the other dancers, felt left out, and wondered if I’d ever catch up again. 

Jacqueline Moscicke, Photo by Richard Brodzeller

7. What is it that you love so much about ballet?

It’s hard to explain my love for ballet, I just feel most at peace when I’m on stage.

8. Do you have a special routine that you go through before a performance, or is each one different?

I definitely am superstitious.  I can’t go up on stage too much before the show starts or I’ll get nervous, and I keep good luck charms with me in my dressing room.

9. Where you do think dance is headed?

Hopefully rock ballets continue to become more popular they’re great fun to do!

10. What is next for you?

I’ll be taking in all the wonderful new things I’m discovering in Chicago, with The Joffrey Ballet.

BIO: Originally from Sussex Wisconsin Jacqueline Moscicke received her formal training at Milwaukee Ballet School on full scholarship. In 2003, she received honorable mention in the National Foundation for Advancement in the Arts competition. In 2006 and 2008, Ms. Moscicke was featured as Clara in Milwaukee Ballet’s the Nutcracker. Other roles she has enjoyed performing are George Balachine’s Agon, variations from Marius Petipia’s Raymonda, appearing as the Songbird Fairy and Princess Florine in The Sleeping Beauty,  and Margo Sappinton’s Common People which is featured in William Schatner’s Gonzo Ballet Documentary. She spent seven years with Milwaukee ballet Company and is thrilled to be joining The Joffrey Ballet.

Name: Shreveport Dance Academy

Location: 2537 East 70th Street, Shreveport, LA71105

About: This dance academy is also home to the Shreveport Metropolitan Ballet. The facility is 9,000 square feet, and there are five studios. Sprung floors and limited class sizes help insure that students will have a safe experience with plenty of personal attention.

The studio teaches classes for those ages 2 1/2 to adult, and there are also offerings besides ballet, including Pilates, tap, jazz and hip hop. For more information about the school, tuition and policies, visit their site on the web.

Today it’s my turn to give an opinion about how someone can get into watching dance.

I think it’s important to see a live performance if possible. Something about seeing dance in person is so much more powerful. I’ve gone to shows that have showcased dance styles I don’t even particularly like and enjoyed it because I could feel the energy radiating from the stage. It’s magic.

If that isn’t a possibility (I would say though for most people it is!), then video is the next best thing. It can help to select something you think you might enjoy. For example, if ballet bores you to tears, you probably aren’t going to go crazy with joy watching a video of Swan Lake. TenduTV has a channel on YouTube that offers a variety of videos you can choose from.

Learning a bit about dance can also be helpful. For example, you may enjoy the ballet Giselle more if you have an idea of the storyline before you go. Check out Henrik’s fun take on some of the main ballets on Tights and Tiaras–he tells the stories well! There are also some at BalletMet Columbus that offer great overviews.

Going with someone else can also be a great way to get into the performance. Much like seeing a movie and talking about it afterwards, there is a reward in sharing the experience.

What do you think? Add your answer to our latest question on Pas de Trois–we’d love to hear your voice!

As always, if you have any suggestions, feel free to add them in the comments section!

Ballet for Men - Written by David Hunter, this blog is a great resource for guys who are interested in ballet. Not only is there a ton of “how to” information there, but you can listen to podcasts as well.

Tights and Tiaras - This blog is authored by Henrik Lamark, a Norweigan ballet dancer with a flair for the written word. Read up on the stories of the great ballets, get behind the scenes and learn some ballet terminology or learn about life as a dancer from his point of view.

Demicontretemps - Eric Taub’s writing is a joy to read, and he recently started posting video on his site as well. Drop by and check out his musings on dance for a treat.

Art Intercepts - Meet Lauren Warnecke, a Chicago-based dancer and educator and enjoy her posts on topics such as anatomy for dancers, dance injuries and other scientific information.

Dance Advantage - Nichelle’s mega-resource for dancers, teachers and parents. You could spend hours looking through all the great information here.

Dave Tries Ballet - A new site by – you guessed it – Dave, who is just starting out in ballet. A very interesting read.

Dance.com Blog - Another dance blog you could spend an afternoon browsing. Here you’ll find dance news as well as posts on all types of dance styles.

KinerEnterprisesInc. Blog - This recently re-vamped site offers tips on social media, business advice and more.

The Ballet Bag - Expect the unexpected on this delightful ballet blog. Always entertaining, well-written and informative.

Pas de Trois at dancing3.com - Not to toot my own horn here, but our new site (David Hunter, Henrik Lamark and I) is something I’d love for you to check out if you have the time. We’re hoping that people will really join in the conversation so we can all learn more about one another.

Name: Kentucky Ballet Theatre Academy

Location: 736 National Ave., Lexington KY 40502 

Photo courtesy of Kentucky Ballet Theatre Academy

About: This ballet school offers a solid curriculum with some interesting classes. Besides the typical fare, such as creative movment and technique classes, you will also find things such as pas de deux classes, pre-pointe classes and even the opportunity to perfect things like turns through private lessons. There is even a salsa class offered.

The school’s approach to training is described as, “combining the strength of the Russian School of dance with the Cuban influence of fluid movement, rhythm, and passion”.

You can visit their website for details on things such as the dress code, class prices and registration.

This resource has information from nutritionists, coaches and even from Kate Thomas, Director of The School at Steps Dance School.

Information covered includes:

+ The facts about eating disorders

+ Help with identifying those affected by eating disorders

+ A guide to possible treatments

Pas de Trois at dancing3.com is a collaboration between David Hunter from Ballet for Men, Henrik Lamark from Tights and Tiaras and myself–as well as all of the readers out there. We are coming together to discuss various issues and ideas about dance. We are actively exploring ways to work together so that there can be a better sense of community on the web for those interested in exploring dance in depth with one another.

Each week we’ll pose a question and answer it one by one on our blogs. This week’s question is “What is the most important quality in a dance teacher?”

I have been both a student and a teacher, so I really had to stop and think this through from both perspectives. I find that the answer is similar–I think that the most crucial skill is the ability to communicate.

As a student, I was striving to understand how to improve my technique. As anyone who has taken dance knows–this does not come naturally. The teacher must be able to tell the student exactly what they need to do to adjust what they are doing to make it right. Those teachers that could do that for me made me dance better. And what’s more–I found I really gravitated toward their classes. I didn’t necessarily like them more, but I learned from them.

As a teacher, I know that finding the right way to communicate with a student can take a while! When I make corrections or comments I try to say things in a variety of different ways, because I know that what impacts one person and gives them that “eureka!” moment may not do anything at all for another one. It is also important to use visual repitition so that students who don’t do well with verbal direction can see what you are saying.

There are many important qualities that dance teachers should have. It’s hard too choose just one, but after a bit of thinking, I’d say I’m pretty comfortable with the one that I picked. What do you think? Join us here and share your answer!

Property of Ballet Quad Cities, Photo by Joe Maciejko

1. How did you become involved with dance?

My mother took me to see a performance when I was five years old and I said to her “I want to be a ballet dancer when I grow up”. I always thought it a bit funny because who really believes it when their five year old makes a statement like that, but my mother did. I could never really thank her enough for believing in me from such a young age.

2. What are you currently doing in the field?

I am currently employed by Ballet Quad Cities and have been dancing with the company professionally for seven years. I grew up in this community so it is great to be able to give back through performances and the interactive educational programs we take into the schools. Last year we touched over 10,000 students with our art form.

3. Would you share a special moment or two from your career?

The opportunity to perform in New York city with BQC as part of Ballet Builders 2010 was something I didn’t expect to do in my career and I was definitely nervous. When we finished our piece “Ash to Glass” and the audience started clapping I was overwhelmed with pride for the company and myself. What a great feeling! I also can’t forget all of the great people that I have been fortunate to work with. Deanna Carter, BQC’s resident choreographer, has pushed me to do more than I ever thought possible through her coaching and her belief in me as an artist.  

Property of Ballet Quad Cities, Photo by Joe Maciejko

4. What is the best advice you have ever received regarding dance?

There really isn’t just one. There seems to be this data bank full of all of the ideas my teachers have given to me over the years that have laid dormant until someone else has said the same thing to me years later. The one that I have had on my mind is how to work smarter not harder. I love that piece of advice because so often I would push myself so hard all I would do is end up more frustrated and tired than need be. I would just muscle through things to make things happen. Taking a step back though has helped me to step forward and grow into a more of a thinking dancer.

5. Do you have any advice for those who would like to dance professionally?

Be humble. I think without humility one loses the ability to grow and learn. I am definitely not saying to lack in confidence but check your ego at the door and be open to whomever may come in no matter how crazy you think their theories may be. You will never know until you try. I have seen dancers be so resistant to teachers and choreographers simply because they didn’t “agree” and they end up fading into the background. Just work hard and be ready to learn.

6. What has been your biggest challenge in dance?

I think my own self image has hindered me more than anything. Not letting you get the better of you is a daily struggle. When judging yourself so harshly on a daily basis it is hard to keep things in perspective. Injuries seem to be unavoidable but I have found that dealing with the physical side of dance is easier to manage than the mental challenges that come with the job.

7. What is it that you love so much about ballet?

Pointe shoes. But, in all seriousness, if it weren’t for them I would have been a modern or contemporary dancer. I think there is a sort of romanticism about pointe shoes that a young girl has when she sees someone floating across the stage en pointe. I don’t think I ever got over that fantasy. I also love the way ballet in general can fuse such great athleticism and pure artistry. The challenge of how to make those things work together is what really drives me to keep doing what I am doing.

Property of Ballet Quad Cities, Photo by Joe Maciejko

8. Do you have a special routine that you go through before a performance, or is each one different?

My routines always seem to change but there are a few things that I never do! First I have to stand at the same place at the barre once we get into the theater. Secondly I have to put on and take off my pointe shoes because they never seem to feel quite right the first time around. I also can’t have my hair feel loose. If it does it’s time to start over and there has to be tons of hairspray. I am not really a superstitious person I just need to feel ready. One has enough things to think about when performing without thinking about hair or shoe malfunctions.

9. Where you do think dance is headed?

Dance could go in so many directions. With dancers doing more and more physically each year choreography has the challenge to keep up while maintaining the balance of virtuosity and artistry. I also sincerely hope that ballet companies keep the classics like Giselle and Swan Lake even though it is difficult for many companies to stage such productions today.

10. What is next for you?

I am really looking forward to the upcoming season. Our first performance will be “I Vampire”. It will be based on a book written by a local author, Michael Romkey. I have just finished reading it and can’t wait to see how his book comes to life through dance.

Bio: Heidi Dunn began her ballet training at City Center School of the Arts, now Ballet Quad Cities School of Dance. She also trained with Ballet Conservatory of St. Louis with Nathalie Levine. In 1999, she was invited to become an apprentice with Cassandra Manning Ballet Theater under the direction of Johanne Jakhelln. Since becoming a full company member in 2003 she has worked with Dominic Walsh in “Die Hochzeit” and was featured as Clara in his 2008 version of the “Nutcracker”. She has worked with Deanna Carter in “Dracula” as Lucy, “Ash to Glass”, and as Carmen in ”Carmen”. While working with the company she has also had the pleasure of working with Domingo Rubio, Cleo Mack, Simone Ferro, and L.D. Kidd. This will be Ms. Dunn’s 8th season with Ballet Quad Cities.

Name: Kansas City Ballet School

Location: This school has two locations

1. The Downtown Campus, 1616 Broadway Blvd., Kansas City, MO 64108

2. The Johnson County Campus, 5359 W. 94th Terr., Prairie Village, KS 66207  

Photo courtesy of Kansas City Ballet School

About: Students who attend the Kansas City Ballet School not only get top-notch training from experienced faculty–but they also receive some nice additional perks as well. Classes are taught with live piano accompaniment–something that I know from experience can give a dancer the opportunity to develop their musicality in depth.

In addition, the school provides a stepping stone for those who want to go on to a professional dance career–the Kansas City Youth Ballet. The dancers who perform with this company are between the ages of 13 and 18, and they study with the faculty of Kansas City Ballet, as well as the director of the Youth Ballet, Alecia Good.

I also have to point out this wonderful interview Susan did with Charlie Rose in 2002. Don’t miss it.

1.  What is your teaching philosophy and who has it been influenced by?

This is a question one can write entire book on, but below is snap shot of my philosophy. Also, I have had many great teachers in my life including books, artists from other professions, and life’s circumstances (good and bad), but here is a list of people from my professional ballet life that have mostly influenced my teaching: Mikhail Baryshnikov, Irina Kolpakova, Elena Tchernichova, Christina Bernal, Nancy Bielski and Julio Horvath-who created Gyrotonics.

Susan Jaffe

I am very much focused, when teaching a ballet class, on correct placement, correct use of turn out, breadth, coordination of the arms and head and legs, using the oppositional forces within a step, i.e. every force has an equal and opposite force going in the opposite direction within the body. For example, to releve´ the dancer must push down into the floor through the legs to rise up to pointe. Secondly, it is important that the dancer takes all of these skills and transforms them into a movement quality with the understanding of the use of dynamic, musicality, amplitude, and of course, the heart, which is the source that allows a dancer freedom and genuine expression.

At the beginning a dancer needs to understand how to stand up correctly. This includes not only the proper placement of the torso, arms, feet, head and legs, the correct use of turn out, and the correct coordination, but also where to direct ones energy and focus while executing a step. This is a very sophisticated understanding of the body and requires much will and focus to acquire. Then as the dancer progresses, those same ideas apply when s/he is moving through space, which requires added strength, skill and application of those same principals.

I try to teach all of this within the appropriate stages and levels of maturity of a young dancer’s training. Each level can be taken to higher levels of understanding and sophistication that equals their abilities. I also try to be as honest, but as positive and reassuring as I can. It is important for a dancer to know what they need to work on, but it is equally important how a dancer approaches their work and how they feel about themselves while they work. If they are implementing their corrections with the joy and curiosity of learning, then they will improve much faster than if they go into habits of self-flagellation. My quest is to empower the dancer with their-own confidence, curiosity, self- exploration and passion to learn and improve.

2. What is your best advice for a dancer who wants to become a professional?

To become educated about your art whether it is in or out of class. It is important to know dance history, see the greats (past and present) in the profession in videos or movies, go to museums, listen to great music, and read literature. It is also important to get to know yourself on a deep level and understand what is beautiful and horrible about humanity. Never stop trying to learn as much as you can about you, and it. Then you will have the possibility to become a professional that can transform pure movement into genuine inspiration. You should not aim to be a technical machine; a true dancer is guided by their heart and soul to speak a language that is deep, informed, and inspired. That is where the real art of ballet lies. Aim for that.     

Susan Jaffe rehearsing "Lilac Garden", Photo: Paul B. Goode

3.  How has your dance career informed and impacted your teaching?

Everything that I have done in my life has impacted my teaching. It takes many, many years to understand this art form and what makes it come alive. But, while I was dancing I reinvented my approach to technique several times throughout my career. That has informed me a great deal about how long it takes to change a habit or to implement a new idea. It takes tremendous patience and perseverance and I am able to support a dancer through a change because I lived it myself.

4. What was it like to leave the stage and start teaching in the classroom?

When I left the stage, I was ready to go, so teaching was a nice way to give back to the art form that I have loved all my life. That is the way dance continues on, and it seemed like the most natural thing to do for me.

5. What will you miss about teaching at Princeton Dance & Theater Studio and what are you looking forward to in your new role as ballet mistress at ABT?

The thing I will miss most from my school is my students and the lovely families that came together as a result of opening the school.

What I am looking forward to in working at ABT is being able to share what I have learned on a more sophisticated level (now we are getting into roles and dramaturgy. Yeah!) to the dancers that are going out there and performing those roles. I already started working with them last spring and it has been a real joy. I look forward to more of it.

Susan Jaffe

BIO: Declared by the New York Times as “America’s Quintessential American Ballerina” Susan Jaffe danced as a principal dancer with American Ballet Theatre for 20 years. Prominent in the international dance scene as well, her European engagements included performances with The Royal Ballet, The Kirov Ballet, The Stuttgart Ballet, The Munich State Opera Ballet, La Scala Ballet in Milan, The Vienna State Opera Ballet, The Royal Danish Ballet, The Royal Swedish Ballet, and The English National Ballet.

Ms. Jaffe’s versatility as a dancer allowed her to tackle a large range of choreographic works. This not only included her acclaimed interpretations of the classics like Swan Lake but also the dramatic works of John Cranko, Anthony Tudor, Agnes DeMille and Kenneth MacMillian. She also worked with and danced the works of many prominent choreographers such as Jiri Kylian, Twyla Tharp, George Balanchine, Jerome Robbins, Lar Lubovitch, Nacho Duato and Roland, Petit, David Parsons, Mark Morris, Merce Cunningham, Ronald Hynd, Frederick Ashton, Ulysses Dove and Lynn Taylor Corbett.

In 2003, one year after her retirement from the stage, Ms. Jaffe co-founded the Princeton Dance & Theatre Studio in Princeton, New Jersey where she enjoys passing on the wealth of her knowledge to her dance students. Along with teaching for American Ballet Theatre and giving corporate lectures for Duke Corporate Education, Ms. Jaffe has expanded into choreography. Her choreographic achievements to date include “The Nutcracker” “Pop Sonata” “Velez Pas de Deux” “Sleeping Beauty Act lll” “Raymonda Divertessments” “Novem Pas de Deux” “Ballet Studies”, “Tarantella”, “Royenne”, “UnCaged” and the “Cancan.” She also wrote a children’s book, “Becoming a Ballerina” for children ages 7-13.

Ms. Jaffe has recently been named Ballet Mistress at American Ballet Theatre; a position she will fulfill in October of 2010.