Podcasts about Aspen Santa Fe Ballet

On today's newscast: an employee has filed a charge against Aspen Valley Hospital alleging labor-law violations, Aspen Santa Fe Ballet recently lost its lease at Basalt Elementary School, the Colorado State Forest Service opened a new office in Rifle earlier this year, and more.

Did you go (or are you considering going) to college for dance? It's pretty cutthroat out there and my incredible guest, contemporary and ballet diva, Julie Friedrich, discusses the pro's and con's of going to college for dance, how she's paved her own path professionally (5:00) and how she mentors dancers through her own program (10:42). Julie Friedrich's distinguished career as a professional dancer, mentor, and dance educator in the areas of ballet and contemporary dance spans more than 20 years. Julie received her primary dance education from Meredith Baylis of the Joffrey Ballet School and the Los Angeles County High School for the Arts. Upon graduation, Julie joined the American Repertory Ballet under the direction of Septime Webre; and then went on to join Les Grands Ballets Canadiens in Montreal under the direction of Lawrence Rhodes.  Throughout her career she has danced works by George Balanchine, Anthony Tudor, Ohad Naharin, Septime Webre, Nacho Duato, Guy Weizman, Roberto Zappala, and various other European and American choreographers. Upon returning to the United States, Julie joined the acclaimed contemporary dance company BodyTraffic as one of its founding members, where she danced for the last three years of her professional dancing career.Julie taught for over a decade at both the Orange County High School for the Arts and the Los Angeles County High School for the Arts. Through her guidance, Julie has numerous Young Arts winners and her students have gone on to study at the Juilliard School, USC/Kaufman, SUNY Purchase, Arts Umbrella, Cal Arts, Tisch at NYU, and Pace University just to name a few. Professionally, she has former students working in such companies as ATE9, Kyle Abraham, Aspen Santa Fe Ballet, Cirque Du Soleil, and on Broadway. Currently, Julie is in her 11th year serving on the performing arts faculty at the Windward School in Culver City, where she teaches, directs, and curates the dance program. Along with her full time work at Windward, she serves as the ballet director for Danceology, and as guest ballet faculty at various institutions across the nation. Since 2012 she has been an integral part of the artistic team at Francisco Gella Dance Works. Julie continues her work mentoring students in preparation for their entrance into the collegiate world through her College Preparatory Program that has developed into a nationwide program serving students and families. In 2013, through the Young Arts Foundation, President Obama and the White House named Julie one of the most influential arts teachers in the country for her mentorship of young dancers.https://franciscogelladance.com/college-career-prep/Instagram@missjulie1220FacebookJulie Rose FriedrichHey y'all! I'm Justine, the voice behind the DC:U pod and MNTR MGMT. After 15+ years in the industry as a choreographer, dancer, producer, educator and more, I'm now working closely with dance artists on professional development, business skills and digital enhancement. Curious? join the mntrU Crew. Help support the podcast! Subscribe and receive exclusive member benefits --> Pod Producer/SupporterConnect with me on Insta @mntr.mgmt

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-54Links referenced in/relevant to episode 54:-Washington Post story on the Washington Football Team replacing its cheerleaders with a coed dance team: https://www.washingtonpost.com/sports/2021/03/03/washington-football-team-cheerleaders-replaced/-New York Times piece on dancer bodies: https://www.nytimes.com/2021/03/03/arts/dance/what-is-a-ballet-body.html-Actors' Equity statement on the Open Culture program: https://www.actorsequity.org/news/PR/OpenCultureDisappointment/-Denver Post story on Aspen Santa Fe Ballet's company closure and organizational evolution: https://theknow.denverpost.com/2021/03/09/aspen-santa-fe-ballet-closes-coronavirus/254403/-Sydnie Mosley's Dance Magazine essay on not creating for the sake of creating: https://www.dancemagazine.com/virtual-burnout-2650626814.html-Al Blackstone's Dance Teacher love letter to the dance studio: https://dance-teacher.com/al-blackstone-dance-studio/-Dance/USA's second COVID impact survey: https://s-a39abb-i.sgizmo.com/s3/i-zYkAqbH1dQ67H04kbl-4331405/?sguid=zYkAqbH1dQ67H04kbl-Excerpt from from "Dismantling Racism:  A Workbook for Social Change Groups," by Kenneth Jones and Tema Okun: https://www.showingupforracialjustice.org/white-supremacy-culture-characteristics.html-Dance/USA site: https://www.danceusa.org/-Dance/USA social pages:https://www.instagram.com/danceusaorg/https://twitter.com/DanceUSAorghttps://www.facebook.com/DanceUSAorg

I was born and raised in the great state of Utah, surrounded by natural gems like the Great Salt Lake and Zion National Park. I’ve spent my youth witnessing Utah grow and change, and I am an enthusiastic contributor to Salt Lake City’s blossoming art community as a Soloist at Ballet West. Over the past 10 years, I have obtained a Bachelor of Science in Human Development, a 200-hour Yoga Certification from Kripalu, and have studied with Scott Moore, Kim Dastrup, John Cottrell, Coby Kozlowski, Dana Regan, Jashoda Edmunds, Devarshi Steven Hartman and Anodea Judith. As a dancer and yoga instructor I aim to connect my body and consciousness to the point where I am always evolving, always surrendering to the present moment. I walk a path blazed by professional ballerinas before me, but I often stray to the road less traveled in search of balance. When ballerinas perform on stage we appear composed, elegant, and alert, but maintaining a healthy presence of mind is a daily commitment. I began dancing professionally in 2009 with Aspen Santa Fe Ballet touring their Nutcracker, later joined The Tulsa Ballet for three seasons, and have been a member of Ballet West from 2013-Present. I have worked with a vast range of choreographers including: Nicolo Fonte, Wayne McGregor, Jorma Elo, Christopher Bruce, Jodie Gates, Edwaard Liang, Ma Cong, Matthew Neenan, Val Caniparoli, and Natalie Weir. Performing in roles such as: Olga in John Cranko’s Onegin, The Young Girl in Kurt Jooss’s The Green Table, Court of Love in Nicolo Fonte’s Rite of Spring, Pas de Cinq lead in George Balanchine’s Chaconne, Sugar Plum in Ballet West's The Nutcracker, Overgrown Path Jiri Kylian, Pas de trois in Adam Sklute’s Swan Lake, and Kate from David Bintley’s Shakespeare Suite. I am currently providing Mentorship, Life Coaching, and Workshops for dancers who struggle with anxiety through the process of meditation, life skills, daily tools, and yoga. Wellness is a prominent word within my vocabulary whether it is physical or mental. Chelsea-Keefer.com @thechelseakeeferpodcast @keeferchels

Kaya Wolsey, a ballerina with the Aspen Santa Fe Ballet, joins the show. Kaya chats about the differences in classical and contemporary dance, the stress of auditions, and how she channels creativity. Anygivenrunway.com

This week on 5.6.7.EIGHT, Aleksandra speaks with Jenelle Figgins — an award-winning dancer, choreographer, and teacher, who is using her talents to help engage with schools and outreach to communities. Figgins, who currently dances for the Aspen Santa Fe Ballet, uses her platform for good through teaching both domestically and internationally and through community outreach and dance advocacy. Her passion for choreography has also led her to produce original performances in partnership with schools through the United States. Recently, Jenelle was honored to take part in the NYC Dance Project, alongside her twin sister Samantha. Jenelle is all too familiar with the grind of a professional dance career and has learned through her own trials that mental toughness, in many ways, supersedes physical toughness. On the podcast, Jenelle opens up about her struggles with bipolar disorder but discusses how she, personally, gets mentally ready for the grind of her career, day in and day out. Figgins also describes the joy of dancing alongside her twin sister, how her dance career started, the struggles of dancing in extreme altitude, and a myriad of other topics.   Moving Quotes: “There has to be peace on the inside in order for there to be chaos happening all around you." “Having a strong mental stability is what definitely contributes to you having a long-lasting dance career. You have to have tough skin… But it propels your artistry when you’re able to tap into your sensitivity and make that a strength." “My struggles are my greatest teachers." “I always want to be able to do exactly what I want to do — to be passionate in my art — but also to develop myself as an artist for the things that I’m going to do later." “In the moments where you have great sadness or great pain — those are the moments that you have the most access to who you really are and the things that you really need to learn. There’s only so much development you can make when you’re in a happy place." “[My twin sister and I] have both had things that we have no control over, but what we do have control over is how we treat each other and how we support each other in the things that could hold us back but, in reality, propel us forward." Bullet Points (w/ timestamps) - Highlighting key topics discussed: 4:10: Jenelle discusses the challenges of training and dancing in Aspen, at an extremely high altitude. 5:27: Jenelle describes the mental toughness that’s necessary to maintain a professional dance career, even beyond the physical toll that dance takes on the body. 8:10: Figgins explains how she personally prepares herself mentally to cope with the oft-chaotic professional dance lifestyle. 12:30: Jenelle explains how she landed at the Aspen Santa Fe Ballet and why the company holds a special place in her heart. 18:05: Figgins shares about her experience taking part in the NYC Dance Project. 21:35: Jenelle discusses how she has made her journey in dance alongside her twin sister, Samantha, and how going it side-by-side with her has been an incredible blessing and advantage. 25:46: Jenelle describes what she is most proud of as a dancer and artist. 27:32: Figgins retells an extremely low point for her when she first moved to Aspen but explains how our struggles are often our greatest teachers. 32:01: Jenelle discusses her own personal goals within dance, including producing more choreographed works and using arts to benefit communities. Bullet List of Resources –  Jenelle Figgins Instagram On NYC Dance Project On Aspen Santa Fe Ballet site

Francisco Nevarez Burgueño is the Director of the Folklorico Dance Program at Aspen Santa Fe Ballet. Here he shares about his love of dance and his journey from the mountains of Chihuahua, Mexico to New York City and the Roaring Fork Valley.

Balancing Pointe Podcast's new mini series is called "Where are they now?".  On this series some of the earliest and most popular guests to were asked to send an update on what is gong on in their lives right now.  On today's episode we catch up with Jenelle Figgins.  Since we last spoke with Jenelle, she has not only won the Princess Grace award but was also featured in numerous magazines.  Jenelle has also made a shift from Dance Theatre of Harlem, leaving the city of NYC to now dance with Aspen Santa Fe Ballet, where she lives and dances with nature. For more episodes and more dance related shows, visit the Premier Dance Network: Premier Dance Network Today's show was sponsored by: Bodywrappers Aspen Santa Fe Ballet JENELLE FIGGINS: TRANSITION

An expert details the latest hacking tactics after Colorado’s legislature approves $8 million for a cyber security center in Colorado Springs. And, the director of the Folklorico program at Aspen Santa Fe Ballet receives the governor’s award for creative leadership.

Helen Pickett, born in San Diego, California, studied dance at The San Francisco Ballet School under the direction of Lew Christensen and Michael Smuin, and later, Helgi Tomasson.  In 2005, Mikko Nissinen, director of the Boston Ballet, offered Helen her first choreographic commission,Etesian. The New York Choreographic Institute awarded her a Fellowship Initiative Grant in 2006. In the same year and through 2008, Helen choreographed for Boston Ballet, Washington Ballet, Aspen Santa Fe Ballet, Louisville Ballet and Ballet X. In 2007, Dance magazine named Helen one of "25 to Watch". She received a Choreographic Residency from Jacob's Pillow in 2008. From 2009 through 2011, Helen created new ballets for Royal Ballet of Flanders, Ballet West, Boston Ballet, Aspen Santa Fe Ballet, Atlanta Ballet, and Dance Theatre of Harlem. In 2012 and 2013, her commissions include Atlanta Ballet, Semper Oper/Dresden Ballet, Vienna State Opera, Scottish Ballet and Smuin Ballet. Helen was one of the first choreographers to receive the Jerome Robbins Foundation’s New Essential Works Grant. For over a decade Helen performed with William Forsythe's Ballet Frankfurt. During her last season with Ballet Frankfurt, Helen simultaneously performed with The Wooster Group, director, Elizabeth Le Compte. She acted with the Group for five non-consecutive years in the OBIE award winning House/Lights,North Atlantic. In 2005, Helen returned to the role, as a guest artist with The Royal Ballet of Flanders, in William Forsythe Impressing the Czar. In 2009, Impressing the Czar received the Laurence Olivier Award and in 2012, the Prix de la Critique award for outstanding performance of the year. Helen collaborates, as an actress and choreographer, with installation video artists and filmmakers including Eve Sussman, Toni Dove and Laurie Simmons. Helen, a founding member of Eve Sussman The Rufus Corporation, created the role of the Queen in 89 Seconds at Alcazar, which was shown at the 2004 Whitney Biennial, and now is in the permanent collection at Museum of Modern Art in New York. In 2007, Helen acted in Sussman feature length film, The Rape of the Sabine Women. She played Sally Rand in Toni Dove's video installation and feature film, Spectropia. Helen teaches Forsythe-based improvisation and her motivational creative workshop entitled The Expansive Artist throughout Europe and the United States. Dance Europe published Helen's article, Considering Cezanne,in 2006. In 2011, Helen earned a Master of Fine Arts in Dance from Hollins University.

Jean-Philippe Malaty, executive director, Aspen Santa Fe Ballet discusses the company and gives insights into the nights performance.