![]() This class will use advanced technique and more difficult choreography. Amii makes dances with narrative, text, film, live music and messy edges. Level II builds on previous contemporary and lyrical training and knowledge, while working on developing style, finesse and emotional expressiveness.įor students with a strong dance background and desire to challenge themselves. Release generated momentum, ballet finesse, yoga and Pilates conditioning. Level II includes more intricate, technical, and naturalistic moves. This class is a combination of contemporary and lyrical that challenges dancers to use motion to interpret music and express emotion. This class introduces students to the styles of both genres, while also understanding the performance aspects associated with both. Lyrical is a combination of ballet and jazz that challenges dancers to use motion to interpret music and express emotion. For that reason, she loves the pianists Nate Fifield and Steven Mitchell.Contemporary combines ballet and modern techniques with musical and emotional expression with a strong focus on modern techniques (contractions and release, off-center balances and suspension) as well as musicality and self expression. ![]() In class, Brandt gravitates towards fun, uplifting songs and piano covers that her students are familiar with. When you’re executing everything exactly in tandem with the music, your whole body becomes more engaged.” ![]() ![]() The music is very dance-like in quality, going over and over through mostly the same sequence of. Jazz technique finds all of its roots in classical Ballet. in control, and use muscles efficiently, and for football they can use finesse to move. Requires power, control, subtlety and finesse. It is the basis of most musical theatre work, and is the primary style behind show choir choreography. “It’s easy for our musicality at the barre to get a little wishy-washy, but, for example, by holding your fifth position until exactlythe right count to tendu, you’re teaching your muscles to fire in a totally different way. Another important thing to mention in dancing, is the musicality. “I always encourage my students to challenge themselves to give equal attention to every movement, and really play with the music,” she says. It was challenging to create that slight delay-for instance, picking the imaginary petals off of the flower not exactly on each note-in order to indicate to the audience that Giselle is going mad.”Īs a teacher, Brandt passes on as much of her musical finesse as possible. “It took me a while to try to learn how to be off the music so that there’s that creepy, eerie element as we see her go through a lot of the same choreography that we saw 20 minutes ago when she was dancing with Albrecht. “Mastering the timing of Giselle’s mad scene at the end of Act I was unexpectedly difficult,” Brandt says. Ironically, Brandt’s most musically challenging role thus far has been one that demands a deliberate lack of musicality. Latin, Swing, Country, Argentine Tango, Folk Dancing, Musical Theater & Tap. Photo by Rosalie O’Connor, Courtesy Brandt Meet our team of renowned Portland-based and visiting dance instructors. “It’s almost like the music indicates whether or not something even feels worthwhile to do, because at the end of the day, we have only a certain number of unique steps that can be mixed up in different orders what matters is if that choreography will be a beautiful, interesting or unique expression of the music.” “In pieces like Twyla Tharp’s In the Upper Room-that is close to 40 minutes long-the music is what helps us push our physical and mental limits and carries us through to the end,” Brandt explains. “I’ve worked with Mark Morris on several occasions throughout my career,” Brandt shares, “and I remember him saying that he doesn’t choreograph because he loves dance-he does it because he loves music. I can understand where he’s coming from.” Brandt’s timing, artistry, even her memorization of choreography at its earliest stages, are all tied to musical cues. As a result, we have a really good rapport.”įor Brandt, musicality comes as a natural outworking of the way certain music inspires her. I should be capable enough to follow the orchestra’s lead, whatever they’re feeling that night. “I hardly ever make requests with the conductors,” she says, “because I feel that adaptability is such an important skill. With reliably impeccable technique honed over decades of dedication, Brandt’s more than comfortable with letting the music lead the way in her performances. Post-piano fiasco, Brandt worked her way up through the ABT ranks, starting at the JKO School for four years, then joining ABT’s Studio Company in 2009 and, finally, in 2011, the corps of the main company, where she is now a principal dancer.
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