Summer Intensive 2019
Ballet by Day – The Tropics by Night | July 8 – July 28, 2019
Join Ballet Hawaii for three exhilarating weeks of dedication, development, and delight beginning July 8 through July 28, 2019. The annual summer intensive offers three levels of training: Advanced, Intermediate and Young Dancers.
Advanced & Intermediate Levels
● 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.
● Third week will be Tech and Performance week. Students experience the preparation and rehearsals needed to perform with professional dancers from national dance companies in a main stage production.
Young Dancers Level
● 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 meet Monday through Friday from 12:00 pm to 3:15 pm with rehearsals until 6:30 pm.
● Classes include: ballet technique, character, modern, jazz, musical theatre, hula and body conditioning.
● Third week will be Tech & Performance week and provides students with the experience of preparing and rehearsing a high caliber show with professional dancers from national dance companies.
● All levels may have the opportunity to participate in a performance at the culmination of training on July 26,27, and 28 at the Blaisdell Concert Hall. This summer’s performance will be announced January 2019.
● Ballet Hawaii’s Summer Intensive 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.
● Orientation for the Summer Intensive will be Sunday July 7, 2019. A basic schedule for the first two weeks will be given on this day.
● 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 and your $30 application fee (Checks made out to Ballet Hawaii please). 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, 2019
3. Application and required attachments (headshot, photo, and DVD) are due by February 1, 2018. An additional $100.00 fee will be added for late applications turned in after Feb. 15, 2019.
SUMMER INTENSIVE TUITION (3 WEEKS TOTAL)
Advanced & Intermediate level tuition: $1,675.00
Young Dancer level tuition: $950.00
● Current Ballet Hawaii students must be taking classes during the Summer Session to qualify for Summer Intensive.
● Visiting students must be actively dancing to qualify for Summer Intensive. A letter of confirmation is needed from their current ballet teacher.
● Upon acceptance a non-refundable deposit of $200.00 is required to hold your place due by
February 15, 2019.
● Final tuition payment is due May 1, 2019.
● 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 Summer
Student housing arrangements are the responsibility of the student.
Outstanding Faculty & Guest Artist
Ballet Hawaii’s Summer Intensive program offers students a pre-professional experience with outstanding faculty. Students have the opportunity to work with exceptional guest artists who come to participate as teachers and performers in Ballet Hawaii’s summer production. Auditions for the performances are held during the first week of Summer Intensive.
Very few summer intensive programs provide students the opportunity to perform onstage with professional dancers. Ballet Hawaii’s Summer Intensive program draws dancers from around the state, the mainland, and other countries.
The summer production is a chance for students to showcase their hard work. This past summer 2018, Ballet Hawaii presented Kansas City Ballet’s The Sleeping Beauty with choreography by Artistic Director Devon Carney. Dancers from Kansas City Ballet, Pacific Northwest Ballet, and Eugene Ballet shared the stage with students of the Summer Intensive program.
In 2015 and 2012, Ballet Hawaii presented Alice (in Wonderland), which showcased innovative choreography by Septime Webre, Artistic Director of Hong Kong Ballet, with music by Matthew Pierce. Design included spectacular costumes by Liz Vandal, amazing sets by James Kronzer, and puppetwork by Eric Van Wyk and Flying by Foy.
In August 2014, Ballet Hawaii was delighted to share Septime Webre’s Peter Pan with a musical score by Carmen DeLeone and guest artists from Washington Ballet, Carolina Ballet, and Eugene Ballet.
In August 2013, Ballet Hawaii concluded the Summer Intensive program with Cinderella , choreographed by Septime Webre. Guest artists from Washington Ballet, Carolina Ballet, Eugene Ballet, and American Ballet Theatre graced the stage in principal roles alongside students of Ballet Hawaii’s Summer Intensive.
Past productions have also included Cinderella with Cincinnati Ballet staged by Victoria Morgan, Romeo and Juliet with Carolina Ballet, Giselle with New York City Ballet, and Serenade staged by Robert Barnett, Artistic Director emeritus of Atlanta Ballet.
Summer Intensive 2019 Master Teachers
Artistic Director Emeritus, Atlanta Ballet 1962-1994
Robert was born in Okanogan, Washington on May 6, 1925. Due to his father’s work opportunities the family relocated to Wenatchee, Washington in 1939, where he developed his interest in the arts, in particular dance. He attended Wenatchee High School, graduating in 1943, at which time he joined the Navy during World War II, serving until the summer of 1946. Using his knowledge of tap dancing, he appeared in several shows sponsored by the Army in Tokyo, Japan, while on temporary leave from his Navy duties. Upon completion of his service with the Navy in 1946, he began studying ballet seriously. Living in Los Angeles, CA, he studied under the tutelage of Bronislava Nijinska, made possible by the GI Bill of Rights. After a year and eight months of study, he was invited by the choreographer David Lichine to travel to Europe and join the original Ballet Russe, then performing in Spain and throughout Southern Europe and North Africa. When the Ballet Russe relocated to Paris, France in February of 1949, he continued his studies with two distinguished teachers, Lubov Igorova and Olga Preobrajenska. Returning to the US in the late spring of that year, he spent the summer performing at the Municipal Theater in St. Louis, Missouri and then moved to New York City, where by December he was invited to join the New York City Ballet. Within two years, he was made a soloist and went on to have the honor of having roles created especially for him by George Balanchine, Jerome Robbins and Sir Fredrick Ashton, director of the Royal Ballet in London, England.
In 1958, at the request of Dorothy Alexander, Founder and Artistic Director of the Atlanta Civic Ballet since 1929, he and his wife Virginia Rich Barnett, relocated to Atlanta to become principal dancers and associate directors of what would later become the Atlanta Ballet. In 1962, at the time of Ms. Alexander’s retirement, Mr. Barnett was asked to assume the role of Artistic Director and he remained in that position until his retirement at the end of May, 1994. Serving the company for 36 years, he was responsible for bringing the coming from pre-professional status to be not only the first professional ballet company in the Southeast, but one of the most respected companies in the country.
Since his resignation, Mr. Barnett is called upon to teach, coach and stage his own choreographic works, as well as being authorized by the George Balanchine trust to stage Mr. Balanchine’s works in this country and abroad.
In the past he has served as head coach for the American delegation at the International Ballet Competitions in Varna, Bulgaria in 1980 and in Moscow Russia in 1981. He was a panelist for the Benoise de la Dance Competition at the Bolshoi Theater in Moscow in 1992. He was on the Competitor Selection Committee, as well as a master teacher, for the sixth USA International Ballet Competition in Jackson, Mississippi in 1998. He also served as Master of Ceremonies with Anna Marie Holmes for this competition in the year 2000.
He has served on the Advisory Board for the National Endowment for the Arts, in Washington, DC, the Fulton County Arts Council for the state of Georgia and the Meet the Composer Foundation Panel in NY City. He continues to serve on the Advisory Committee for the International Dance Competition in Jackson, Mississippi, the International Dance Alliance LTD and on the National Board for Regional Dance America. Up until this year, he was Master Teacher and advisor for the SC Governor’s School for the Arts and Humanities Dance Department.
Mr. Barnett has been honored by many dance organizations in this country and been an adjudicator or teacher in all five regions represented by Regional Dance America. He was the proud recipient of the State of Georgia’s Governor’s Award in the Arts for 1987. In 1996 he was presented with the ABBY Award for distinguished service in the Arts, presented by the Coca-Cola Company and the greater Metropolitan Chamber of Commerce of Atlanta, GA.
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.
LESLEY RAUSCH -Principal Dancer Pacific Northwest Ballet
Ms. Rausch has performed as a guest artist with Chicago Dancing Festival (Robbins’ Afternoon of a Faun), Lafayette Ballet Theatre (Snow pas de deux and Sugar Plum Fairy in The Nutcracker), Nantucket Atheneum Dance Festival (Balcony pas de deux from Jean-Christophe Maillot’s Roméo et Juliette and Annabelle Lopez Ochoa’s Cylindrical Shadows), and Nevada Ballet Theatre (Titania in George Balanchine’s A Midsummer Night’s Dream).
In addition to her performing career, Ms. Rausch has been a guest teacher at Ballet Hawaii, Evergreen City Ballet, New American Youth Ballet, and Punahou Dance School. She also is on the faculty of Pacific Northwest Ballet School.
LINDSI DEC – Principal Pacific Northwest BalleT
Lindsi Dec is from Fairfax, Virginia. She trained at Washington School of Ballet and on scholarship at Pacific Northwest Ballet School. She joined Pacific Northwest Ballet as an apprentice in 2001 and was promoted to corps de ballet in 2002, soloist in 2009, and principal in 2014.
Ms. Dec has performed as a guest artist with Ballet Hawaii, California Ballet, Corpus Christi Ballet, Dance Arts Theatre, Grand Rapids Ballet, Lafayette Ballet, and Mid-Columbia Ballet.
KAREL CRUZ – Formerly of Pacific Northwest Ballet
Karel Cruz is from Holguin, Cuba, and received his training at Cuba’s Escuela Nacional de Artes. He joined Ballet Nacional de Cuba in 1996 and left in 1998 to join Ballet Clasico de Camara in Venezuela. From 1999 to 2000, he danced with Teatro Teresa Carreno, also in Venezuela. After coming to the United States, Mr. Cruz spent a year at The Rock School for Dance Education (Philadelphia, PA) before joining Pacific Northwest Ballet as a member of the corps de ballet in 2002. He was promoted to soloist in 2007 and principal in 2009.
In announcing his retirement, Mr. Cruz said, “I never thought my career would end up the way that it has,” said Mr. Cruz. “I have gotten to dance such beautiful ballets I never dreamt I would do growing up in Cuba. I am incredibly grateful and fulfilled with my career at PNB and have appreciated the love and support from our organization, the dancers, our audience, and especially my wife, who has been here with me every moment.”
TIMOUR BOURTASENKOV – Former Principal & Founder Carolina Ballet
Timour Bourtasenkov began his professional education with the Moldavian Opera House and the Bolshoi Ballet. Upon coming to America he danced with the Pennsylvania Ballet, New Jersey Ballet and the New York based Daring Project. In 1998, Mr. Bourtasenkov joined Carolina Ballet as a Principal dancer and founding member of the Company His repertory includes ballets by Marius Petipa, Lev Ivanox, Mikhail Fokine, Leonid Massine, Auguste Bounonville, Arthur Saint-Leon, Georg Balanchine, Jerome Robbins, John Cranko, Frederick Ashton, Antony Tudor, José Limón, Peter Martins, Robert North, Margo Sappington, William Forsyth, Richard Tanner Lynne Taylor-Corbett, Christopher Wheeldon and Carolina Ballet’s Artistic Director, Robert Weiss.
Mr. Bourtasenkov has choreographed works for Carolina Ballet, Ballet Hawaii, Infinity Ballet and New Jersey Ballet. He has appeared in two USSR movies, The Long Way and The Magic Star. In 1996, he filmed Little Red Ridinghood for the Sundance Film Festival. In 2006-2009 he was named Assistant Professor at East Carolina University where he choreographed Listianna, Provocative Monologues and Swan Fake. During the summer of 2008, he choreographed the dance scene for the independent film Looking for Nick. Currently he’s on the faculty of American Ballet Theater Summer Intensive and judging/teaching for Youth America Grand Prix.
DANIELLE TOLMIE – Principal Dancer Eugene Ballet
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 – Principal Dancer Eugene Ballet
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.
Regina Ahlgren is a native New Yorker. Her dance training includes, Phil Black, Feld Ballet, David Howard and the Joffery Ballet. She started dancing professionally at 18 in the national tour of Sugar Babies staring Pinky Lee. She would continue to tour first nationals and broadway productions of Joseph.. Dreamcoats, Ragtime, and Saturday Night Fever. She has been seen nationally and internationally in musicals such as A Chorus Line directed by Baayork Lee, Babes in Arms staring Kristin Chenoweth, Oklahoma and Phantom. She was “dance captain” of the European tour of 42nd Street. Regina has also directed and choreographed productions of West Side Story, Annie, Caberet, Sound of Music, Kiss Me Kate, and Pippin. Most recently, in 2016, Regina directed and choreographed a CJ Entertainment production of 42nd Street in Seoul Korea.
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.