Summer Intensive 2018
Ballet by Day – The Tropics by Night | July 16 – August 5, 2018
Three exhilarating weeks of inspiration, development and delight beginning July 16 through August 5, 2018. Ballet Hawaii’s annual summer intensive offers three levels of training: Advanced, Intermediate and Young Dancers.
Advanced & Intermediate Classes
● Classes meet Monday through Friday from 9:00 am to 3:00 pm with rehearsals until 6:30 pm.
● Classes include: ballet technique, pointe, character, modern, jazz, hula and body conditioning.
Young Dancers Classes
● Classes meet Monday through Friday from 12:00 pm to 3:15 pm with rehearsals until 6:30 pm.
● This program is designed for students ages 7-10 years who are at the pre-pointe level and have been taking ballet technique classes 2+ times per week.
● Classes include: ballet technique, character, modern, jazz, musical theatre, hula and body conditioning.
● All levels may have the opportunity to participate in a full-length ballet performance at the culmination of training on August 3rd, 4th and 5th at the Blaisdell Concert Hall. This summer’s performance will be Sleeping Beauty choreographed by Devon Carney, Artistic Director of the Kansas City Ballet.
● The Summer Intensive program draws students from around the state, across the mainland, and internationally.
● The Ballet Hawaii studios are located at 777 S. Hotel St. Suite 101 near the Blaisdell Concert Hall and Straub Hospital off of Ward Ave.
● Rehearsal schedules will be given after the first day of classes during orientation.
AUDITIONS & APPLICATIONS
All students must please submit an application form.
Please download the Japanese translated application.
1. Auditions: For those who are not currently Ballet Hawaii students, please submit a headshot and a photo in 1st arabesque along with a DVD audition with your application. The video should be no longer than 10 minutes of basic barre and center work. Please include adagio, pirouettes en dedans and en dehors and petite and grand allegro.
Female dancers who are already en pointe should wear pointe shoes for the center combinations. The video is non returnable unless you provide a self-addressed, stamped mailer. ( Current Ballet Hawaii students do not need to audition. No DVD is necessary ).
2. Visiting dancers who wish to audition for Summer Intensive may arrange an audition time with our Artistic Director during any week of the current session. All live auditions must be completed by February 1, 2018
3. Application and required attachments (headshot, photo, and DVD) are due by February 1, 2018.
SUMMER INTENSIVE TUITION (3 WEEKS TOTAL)
Advanced & Intermediate level tuition: $1,650.00 Young Dancer level tuition: $925.00
● Current Ballet Hawaii students must be taking classes during the Summer Session to qualify for
● Visiting students must be actively dancing to qualify for Summer Intensive and will need a letter
of confirmation from their current ballet teacher.
● Upon acceptance a non-refundable deposit of $200.00 is required to hold your place due by
February 15, 2018.
● Final tuition payment is due May 1, 2018.
● Deposit and tuition may be paid online once you have been accepted through our secure system.
● An additional Production Fee will be charged according to your role if cast in the final Summer
Student housing arrangements must be handled by each student.
Outstanding Faculty & Guest Artist
Our Summer Intensive program offers each student the experience of pre-professional dance training with an outstanding guest faculty. In addition, the student dancers have the opportunity to work with exceptional guest artists who come here to participate in Ballet Hawaii’s August summer production.
Auditions for the performances are held during the first week of Summer Intensive. Few summer ballet intensive programs in the nation provide the caliber of dancers and professional standards that this opportunity offers. Our Summer Intensive program draws students from around the state, the mainland, and other countries.
Each summer production is a chance for students to showcase their hard work.
Our production in 2015 showcased the innovative choreography by Septime Webre, former Artistic Director of the Washington Ballet, music by Matthew Pierce, spectacular costumes by Liz Vandal, and amazing sets by James Kronzer, puppet design by Eric Van Wyk and Flying by Foy.
In August 2014 Ballet Hawaii was delighted to culminate our program with the magical production of Septime Webre’s Peter Pan and wonderful musical score by Carmen DeLeone with guest artists from the Washington Carolina and Eugene Ballet companies.
In August 2013, Ballet Hawaii culminated our program with the beautiful production of Cinderella choreographed by Septime Webre. Guest artists from the Washington Ballet, Carolina Ballet, Eugene Ballet and American Ballet Theatre graced our stage in the principal roles along with our Summer Intensive students.
Other past productions have been Cinderella with the Cincinnati Ballet dancers and staged by Victoria Morgan, Romeo and Juliet with the Carolina Ballet dancers, Giselle with New York City Ballet dancers and Serenade staged by Robert Barnett, artistic director emeritus of the Atlanta Ballet.
Summer Intensive 2018 Master Teachers
Kansas City Ballet Artistic Director
Sleeping Beauty Choreographer
Devon Carney was born in New Orleans, where he began his dance training with Harvey Hysell. He later joined the New Orleans Ballet, where he danced his first leading roles. In 1978, Mr. Carney was invited to join Boston Ballet. While a corps de ballet member, Mr. Carney was chosen by Choo San Goh to dance the title role of Romeo in Goh’s first and only full-length ballet, Romeo and Juliet. Mr. Carney was promoted to principal in 1986.
During his 21-year professional dance career, Mr. Carney was able to perform many leading roles in well-known classical ballets such as Giselle, Swan Lake, Don Quixote, The Sleeping Beauty and Raymonda Act III. Mr. Carney had the opportunity also to perform leading roles in 20th century classical works such as John Cranko’s Eugene Onegin and Taming of the Shrew, Ben Stevenson’s Cinderella, Bruce Wells’ A Midsummer Night’s Dream, Harald Lander’s Etudes, and Anthony Tudor’s Lilac Garden. He also was able to dance roles choreographed by cutting-edge choreographers. These roles include Maurice Bejart’s Le Sacre du Printemps, Paul Taylor’s Company B, Merce Cunningham’s Breakers, Sir Frederick Ashton’s Monotones 1, Mark Morris’ Mort Subite, and Susan Marshall’s Overture. His George Balanchine repertoire includes principal roles in Square Dance, Agon, Mozartiana, Rubies, The Four Temperaments, and Theme and Variations among others.
Mr. Carney has toured extensively throughout Europe, the United States, Mexico and Asia with such greats as Rudolph Nureyev, Fernando Bujones and Cynthia Gregory. In 1994, Mr. Carney was the non-competing partner of the Senior Division Bronze Medalist at the Jackson International Ballet Competition.
Mr. Carney served as Ballet Master for Boston Ballet from 1998 to 2003. During this time he worked closely with choreographers Ben Stevenson, Christopher Wheeldon, Michael Corder, Michael Pink and Bruce Wells. Furthermore, he has worked closely with Anna-Marie Holmes in the staging of several major productions of the great classics.
Mr. Carney was appointed Artistic Director of Boston Ballet Summer Dance Program in 1994 and served in this capacity for nine years. Teaching credits include Alvin Ailey Dance Theatre, Arizona Ballet Summer Program, Ballet Austin, Boston Ballet, BalletMet, Cincinnati Ballet, Guangzhou Ballet of China, Hartford Ballet, Houston Ballet Summer Program, Pittsburgh Ballet Theatre, University of North Carolina School for the Arts, Texas Christian University, Boston Conservatory, Butler University, University of Cincinnati College Conservatory of Music Dance Department and various regional ballet companies and schools across the United States and Europe. He also has served as a judge on the juries of the 2002 Youth America Grand Prix Ballet Competition finals in New York City and the 2005 and 2006 American Ballet Competition.
In addition, his choreographic endeavors include the ballets Opus II and Interlude for Boston Ballet, Cascadesand Daystar for Boston Ballet II. Through the years, he choreographed Symphony #1, Awakenings and Wonderful Land for the Boston Ballet Summer Dance Program, as well as staged several classical ballet excerpts. He choreographed a work for BalletMet in August of 2007 titled Speaking In Tongues. He also has worked very closely with the Cincinnati Opera from 2005-2012 choreographing works in Aida, Un Ballo in Maschera, Lucie de Lammermoor, Die Meistersinger, La Traviata and many others. In addition, Mr. Carney has choreographed several ballets for Cincinnati Ballet including U Too?, Just You and Me, Another Time Another Space, Blue Rondo and in September of 2007 Convergent Sight. Also, in February of 2006, Mr. Carney choreographed Acts 2 and 4 of the full-length Swan Lake for Cincinnati Ballet. Then, in November of 2006, he choreographed his full-length version of Giselle for Cincinnati Ballet to rave reviews. Also, he presented his full-length world premiere of Dracula in October of 2008 and then subsequently choreographed his world premiere of World Citizen in March of 2009 with a review stating, “Carney’s work is not only well crafted but moody and intense with a palpable sense of loneliness. His work grows more confident and more skillful with every piece he creates” (David Lyman, Cincinnati Enquirer).
Mr. Carney was most recently the Associate Artistic Director of Cincinnati Ballet and had been with the Cincinnati Ballet since 2003. He had the opportunity to work closely with choreographers such as Donald Byrd, Lynn Taylor Corbett, Jorma Elo, Victor Kabanieav, Trey McIntyre, Donald McKayle, Darrell Grand Moultrie, Kirk Peterson, Viktor Plotnikov and many others during this time.
He recently created a new version of the full-length version of the world renowned Sleeping Beauty to great critical acclaim. In addition he choreographed in the spring of 2011 a world premiere, Thrive On Here, set to the live music of the nationally known hit group Over the Rhine. In the summer of 2011 Mr. Carney again had the opportunity to choreograph for the Cincinnati Opera for the recently written opera A Flowering Tree by John Adams. In the Spring of 2012 he choreographed a world premiere version of the Hans Christian Anderson story of The Steadfast Tin Soldier. In the spring of 2013 he had the opportunity to choreograph two works back to back for Cincinnati Ballet. The first was Concerto #4 in March of 2013. The second, which closed the 2012–2013 season, was Boot It Up! This was performed with the live musical accompaniment of rock-and-roll legend Peter Frampton and his entire band and hailed as a tremendous high point in the Cincinnati performing arts scene for the season.
Mr. Carney was appointed Artistic Director of Kansas City Ballet starting with the 2013–2014 season. Upon arrival he created his first work for the company, titled Opus I. Additionally, in 2014, he choreographed for Lyric Opera of Kansas City’s productions of Die Fledermaus and La Traviata. Also, in 2014 Kansas City Ballet presented his critically-acclaimed version of Giselle. In 2015, Kansas City Ballet debuted his newly-choreographed rendition of the timeless classic, The Nutcracker, with stellar reviews including: “The rebuilt and re-imagined “Nutcracker” … is, among other things, a visually mesmerizing spectacle that will fill viewers’ heads with indelible images.” (Robert Trussell, The Kansas City Star) This success was immediately followed in 2016 with his staging of the world-renowned classical masterpiece, Swan Lake. One review stated: “In Kansas City Ballet’s first ever presentation of “Swan Lake,” artistic director Devon Carney’s relentless enthusiasm and vision seems to have finally manifested—the performance Friday indicated a company capable of anything.” (Libby Hansen, The Kansas City Star)
Kansas City Ballet
Sleeping Beauty Répétiteur
A native of Charlotte, North Carolina, her ballet training includes the School of American Ballet, Harid Conservatory and the University of North Carolina School of the Arts. While at UNCSA, she was chosen to study and perform with the Hungarian State Ballet School in Budapest, Hungary. Upon her graduation, Kristi was a member of the Atlanta Ballet for three seasons and then joined Cincinnati Ballet. Rising quickly through the ranks to Principal, Mrs. Capps delighted audiences in many lead roles including Swanhilda in Coppelia, Kitri in Don Quixote, Aurora in Sleeping Beauty, Giselle in Giselle, Odette/Odile in Swan Lake, Juliet in Romeo and Juliet, Titania in A Midsummer Night’s Dream, Cinderella in Cinderella and Diamond in George Balanchine’s Jewels. Her repertoire also includes works by choreographers such as Twyla Tharp, Val Caniparoli, Lynne Taylor-Corbett, Trey McIntyre, Kirk Peterson, Stanton Welch and Jorma Elo. In 2002, Kristi danced the role of the Sleepwalker in the recreation of George Balanchine’s La Sonnambula under the direction of Frederic Franklin, CBE for the Balanchine Trust Archives. Mrs. Capps also danced as a principal with the Chautauqua Ballet Company in New York under the direction of Jean-Pierre Bonnefoux. In 2008, she performed the leading role in George Balanchine’s Chaconne with The Suzanne Farrell Ballet at the Kennedy Center in Washington, DC As a guest artist, she performed with many ballet companies and galas such as the International Ballet Festival of Miami, Florida, International Dance Festival in Vail, Colorado, and with Angel Corella and Stars of American Ballet in Spain. Kristi performed original works by Luca Veggetti at New York City’s Guggenheim Museum “Works in Process” series as well additional works of Veggetti’s with the Morphoses dance company in Paris, France. As a teacher she has been part of the faculties of the Cincinnati Ballet Academy and Colorado Ballet Academy as well as a guest teacher at numerous universities and ballet academies throughout the country. Prior to joining KCB, Kristi served as ballet mistress in residence for Kansas City Ballet’s 2013-2014 season during the production of Dracula as well as a repetitor for its spring production of Cinderella.
Kansas City Ballet
Sleeping Beauty Répétiteur
Dmitry is from Saint Petersburg, Russia. At the age of 9 he was accepted to the Academy of Russian Ballet (the school of the Kirov Ballet). After eight years of hard ballet training, Mr. Trubchanov joined the famous Kirov Ballet Theater, where he toured extensively around the world. In 1995, Mr. Trubchanov was invited as a guest artist to perform with Universal Ballet Company in Seoul, Korea. Mr. Trubchanov has performed in various galas and festivals including The Stars of Kirov Ballet held in Innsbruck, Austria and Syracuse, Sicily, International Ballet Festival in Miami, Florida and International Dance Festival in Vail, Colorado. He was also a guest star at a several gala performances in Fukuoka, Japan. In 2004, Mr. Trubchanov was featured in the recreation of George Balanchine’s La Sonnambula, which was filmed for the Balanchine Trust archives. Also, he was a part of documentary “Do Not Go Gently” featuring legendary Frederic Franklin, CBE. It aired on PBS in 2007 and was nominated for the best documentary at the Wisconsin Film Festival. Most recently, Mr. Trubchanov was a Principal dancer with the Colorado Ballet in Denver. Throughout his career Mr. Trubchanov has danced numerous classical and contemporary ballets and has won acclaim from critics worldwide.
Maiqui Mañosa began her training in her homeland, the Philippines, under the direction of her mother Inday Gaston Mañosa and the late Totoy de Oteyza.
Ms. Mañosa joined the Atlanta Ballet in 1980. She advanced to principal dancer where she was recognized for her performances in Nutcracker, Sleeping Beauty, Giselle, Swan Lake, Dennis Nahat’s Copella as Swanilda, Midsummer’s Night Dream as Tatania, Eugene Loring’s Billy the Kid as the Sweetheart, Lyn Taylor Corbett’s Escape, Fernand Nault’s world renowned Carmina Burana and La Fille Mal Gardee as Lizette.
Ms. Mañosa received wide acclaim for her interpretation of Tom Pazik’s Romeo and Juliet and his world premiere of Madame Butterfly with the Philippine Ballet Theater in the role of CioCio-san. Pazik created this ballet for Maiqui.
Atlanta Ballet’s Director, Robert Barnett featured Maiqui in several Balanchine, including the Dark Angel in Serenade, the Siren in Prodigal Son, Tchaikovsky’s Pas de Deux, Four Temperatments, Allegro Brillante, Concerto Barrocco, Scotch Symphony, Square Dance, Stars and Stripes and Tarantella and Themes & Variations.
Ms. Mañosa was chosen to represent the Philippines in a cultural exchange program with China. Performing with the Central Ballet of China, she was warmly received and widely acclaimed by Chinese audience and critics.
Ms. Mañosa was invited to work with the Singapore Dance Theater (SDT) as ballet mistress, where she staged Graham Lustig’s Cinderella. Apart from Mr. Lustig, Maiqui also worked with internationally renowned choreographers such as Val Caniparoli [San Francisco Ballet], John Paul Comelin and the late Choo San Goh [Washington Ballet]. She returned to the United States and joined the faculty of Rock School for Dance Education where she became Principal Teacher. She worked at the Rock School for four years and now teaches as a permanent guest.
Currently, Ms. Mañosa stages ballets for Val Caniparoli both in the US and internationally. She has staged Mr. Caniparoli’s works with American Repertory Ballet, Boston Ballet, Cincinnati Ballet, Louisville Ballet, Milwaukee Ballet, Nevada Ballet Theater, Oregon Ballet Theater, Orlando Ballet, Pennsylvania Ballet, Sacramento Ballet, Singapore Dance Theater, Texas Ballet Theater and Tulsa Ballet. One of her more memorable experiences was in Moscow coaching Bolshoi Ballet’s ballerina Anastasia Volochkova in Val Caniparoli’s ballet “Lambarena.”
She has also returned to her beginnings with Atlanta Ballet as a stager and coach upon the invitation of Artistic Director John Mcfall. Ms. Mañosa has restaged John Mcfall’s“Nutcracker” and Fernand Nault’s world renouned “Carmina Burana.” She continues her guest teaching in summer workshops around the country.
Native New Yorker, John Selya trained at the School of American Ballet from 1980-1988. In his final year, he received the Mae L. Wien award for outstanding promise. John was then invited by Mikhail Baryshnikov to join American Ballet Theatre, where he performed and created works by Balanchine, Robbins, Tharp, and Mark Morris, Tetley, Kudelka, and Kylian as well as the classical repertoire.
In addition to making a name for himself as a dancer, John choreographed three works for the company: Moondance, Disposition and Don’t Panic. Since that acclaimed first work, Mr. Selya has gone on to create choreography for A.B.T., Houston Ballet, Oregon Ballet Theater, Sacramento Ballet, American Ballet Theatre Studio Company, and the School of American Ballet.
Following his departure from A.B.T., John created and performed the central role of Eddie in Twyla Tharp’s Tony winning Broadway show, “Movin’ Out.” His performance earned him a Tony nomination for best actor in a musical, an Astaire award for outstanding dancing on a Broadway stage and a Theater World Award for outstanding Broadway debut. Since then Mr. Selya has appeared as the Mambo dancer in “Damn Yankees”, Scranton Slim in “Guys and Dolls” and Sid in “Come Fly Away.”
Mr. Selya continues to perform on stages across the globe as a member of Twyla Tharp Dance. He also is slated to stage Ms. Tharp’s works for Pacific Northwest Ballet in the fall of 2017. Recently, Mr. Selya was awarded a fellowship with NYU Center for Ballet and the Arts where he continues to create and develop new choreography.
Mr. Selya has also acted as director for Twyla Tharp, staging productions of “Come Fly Away” and “Nine Sinatra Songs” and “Sinatra Suite.”
In addition to appearing on stage, John also has appeared on screen in the movies’ “Everyone Says I Love You”, “Across the Universe” and “Romance and Cigarettes.
In 2008 Mr. Selya was named “artist-in-residence” at the Joyce SoHo where he created two works: “La Voix Humaine” and “Tweaker.”
Danielle Tolmie received her early training from Connecticut Dance School and attended the University of Utah where she graduated with a BFA in Ballet Performance and a BS in Business Management. She joined Eugene Ballet Company in 2008 as an apprentice, was promoted to the corps de ballet in 2011, and principal in 2015.
Danielle has been featured as Aurora in The Sleeping Beauty, Myrtha in Giselle, the Sugar Plum Fairy in The Nutcracker, as Carmen, and most recently she performed the title role in Toni Pimble’s world premiere of The Snow Queen. Danielle is an instructor for the Eugene Ballet Company and teaches in the Academy and throughout the Northwest. She has had the pleasure of working and performing with Ballet Hawaii during their summer intensive for the past 7 years.
Mark Tucker grew up in Hawaii and began his early training with Maria Jose Beltran, Paul Maley, Pamela TaylorTongg, and Daniel Nelson. He continued his training at The North Carolina School of the Arts where he graduated high school and began his BFA in Classical Ballet with a minor in Modern Dance.</span>
Mark started his professional career at 19 as a freelance artist and joined Eugene Ballet Company at 20, where he has been for the past nine seasons. Mark has defined his career as a strong partner and has had the opportunity to be a part of the creation of some of Toni Pimble’s more modern ballet’s including Pink Floyd’s Dark Side of The Moon and “I Want You” in Pimble’s All You Need is Love. Mark began dancing principal roles with EBC in 2012 as the lead male in Rite of Spring and Cavalier in The Nutcracker the following year. He has been featured as the lead male in Gerald Arpino’s Light Rain and he also enjoys bringing characters to life onstage in roles such as Lord Capulet in Romeo and Juliet and Von Rothbart in Swan Lake. In 2015 Mark starred alongside his wife, EBC Principal Dancer Danielle Tolmie, in Pimble’s Carmen. “Dancing the role of Don Jose across from my wife was one of the most memorable and powerful moments I have ever experienced on stage.” After his promotion to Principal Dancer he has had the privilege of dancing Prince Desire in The Sleeping Beauty and Jay Gatsby in Toni Pimble’s ballet based on the American classic novel.
This last year Mark was a part of the world premiere of Toni Pimble’s The Snow Queen with music composed by Kenji Bunch. He has also began taking on the role of instructing company class for the Eugene Ballet and is looking forward to continuing his artistic development as a dancer and instructor.
Katherine Williams was born in Honolulu, Hawaii and began her early training with the Hawaii State Ballet. After moving to Maryland with her family, she studied at the Ballet Royale Academy under the direction of Donna Pidel. She was awarded the Youth Grand Prix at the 2003 Finals of the Youth America Grand Prix in New York, and was a Top 12 Finalist at the 2005 Finals. Williams joined American Ballet Theatre as an apprentice in December 2007 and the corps de ballet in June 2008.
Her repertoire with ABT includes a Shade in La Bayadère, an Odalisque in Le Corsaire, one of the Nutcracker’s Sisters and the Spanish Dance in Alexei Ratmansky’s The Nutcracker, Cinderella, Finger Fairy, and Jewels in The Sleeping Beauty, the pas de trois, Big swans, and the Italian Princess in Swan Lake and roles in Airs, Company B, Continuo, Her Notes, In the Upper Room and Jardin aux Lilas. She created roles in AfterEffect and Everything Doesn’t Happen at Once.
Regina Ahlgren performed as a professional dancer for more than 18 years. She has worked in regional theater, first national tours and on Broadway. She has spent many years teaching all forms of dance and is excited to join the teachers at Ballet Hawaii.
Micki was born in Pusan City, South Korea and adopted by American parents. She grew up in upstate New York where she began her ballet studies with the Ithaca Ballet. She attended and is a graduate of The Kirov Academy of Ballet where she studied with Jacqueline Achmedowa and Alla Sizova. Micki began her pre-professional career under the instruction of Truman Finney in Ballet Austin’s trainee program. She danced professionally with the Louisville Ballet in Kentucky and Ballet Black in London, England. While in the UK, she performed as a guest artist in Wales with Ballet Russe’s Swan Lake. In 2007 Micki moved to Honolulu, HI where she has been dancing with Ballet Hawaii and Onium Ballet Project.
Micki is an experienced registered 200 hour yoga teacher, Ayurvedic Health Educator, and formerly certified Foundation I, Level I GYROTONIC(R) instructor. She has taught ballet classes for the Ithaca Ballet, Chambersburg Ballet Theatre, Tri-Coastal Ballet, Gateway Ballet, and the Boston Conservatory. Micki was the dance director at Sacred Hearts Academy in Honolulu, HI from 2008-2016 where she developed and led the dance program for students in grades 7-12, directed various performances, and choreographed a full-length version of The Nutcracker. She currently teaches with Ballet Hawaii.
A native of Portland, OR, Marcie Munnerlyn recently relocated to Honolulu, HI. As a young aspiring dancer, Marcie began her training at Jefferson High School of the Performing Arts and continued her training at the School of Oregon Ballet Theatre and Cornish College of the Arts in Seattle, WA. In 2002 Marcie began her professional career in New York City working with the renowned choreographer, Merce Cunningham. After two years in the Cunningham Repertory Understudy Group she was invited to become a member of the Merce Cunningham Dance Company. Her career spanned 8 years with the company, concluding in 2011 with the company’s final legacy tour. Since departing from full time performing, Marcie has taught numerous workshops and master classes throughout the US, and was a Merce Cunningham Fellow in 2015. Marcie holds teaching certificates in barre, mat pilates, and power yoga. She is currently working in the development department at Ballet Hawaii.
KUMU KALIKO (Claudia Kalikolehuaiukaomānoa Pizzino)
Kumu Kaliko was born in New York City but her formative years were spent in Europe and Canada. In 1972, she graduated from the University of Miami with a bachelor’s degree in Special Education. She has been a Pan American World Airways flight attendant and a United Airlines purser and has lived in Honolulu for the past forty years.
Her introduction to ballet at the age of five in Stockholm, Sweden sparked a passion for dance that has continued to the present day. In 2003, she began studying hula `auwana and hula kahiko with Kumu Edward Kalāhiki at Nā Punahele o Hāluakaiamoana. She accomplished the three major trials of hula kahiko.
Hula ūniki as Kumu Hula Papa Kukui November, 2014.
Permission to teach hula `auwana class was granted by Kumu Kalāhiki, Nā Punahele o Hāluakaiamoana, 2015.
Crystal was born in Hawaii and began her classical ballet training in Europe. She received her BFA and Masters of Education degrees from Texas Christian University. She has danced professionally with domestic and international dance companies such as: Ballet Frontier, Commedia Ballet Theater, Contemporary Ballet Dallas, Contemporary Dance/Fort Worth, New World Ballet, North Texas Ballet Theatre, and Skånes Dansteater in Sweden.
Crystal has taught ballet at various studios in the Dallas Fort Worth metroplex as well as for the Swedish National Ballet School in Malmö, Sweden. She has also taught ballroom dance through the Dancing Classrooms North Texas program, and is a 500 hour certified yoga instructor. Crystal just got married and has moved to Honolulu from Texas.
Nataliya is originally from Ukraine and has been dancing since she was 9 years old. Nataliya received her choreographic education from Kherson Cultural College in Ukraine where she studied ballet, historical ballroom, modern, and character folk dance. Since 1993 while under contracts with many entertainment agencies she has performed with various venues in Ukraine, Bulgaria, Lebanon, Greece, and Macedonia. Before moving to Hawaii in 2001, she has been a ballet dancer at Kherson Musical Dramatic Theater in Ukraine. In Honolulu Nataliya has been involved as a dancer and or choreographer with the Mardi Gras Follies, the Honolulu Academy of Arts, HOT, and ACT. Since 2004 she has been teaching Ballet, Tap, Jazz, Character dance classes for children privately and as a faculty staff member at the Academy of Performing Arts in Ewa Beach, the NIX Performing Arts, and currently is delighted to continue working with Ballet Hawaii.