Academic literature on the topic 'Professional ballet artist education'

In every country, the school of classical dance, as the foundation for the training of ballet dancers, has its own specific features. The late twentieth century, in most countries an independent path for the development of ballet art and the structuring of professional ballet education have been determined. Nowadays European ballet schools have almost the same structure of choreographic education, and in the countries that have undergone totalitarian regimes and economic and political isolation, other ballet system are mostly used. A separate branch in the overall system of ballet education is Eastern School that has not had a clear standardized system of education yet, but has already ranked in the overall structure of the world educational process and trains European-level performers. The current system of professional ballet education should be analyzed in the light of the experience of national, artistic and educational traditions, as this leads to excellent training, which is not scientifically substantiated in this context. Therefore, the purpose of this article is to identify the characteristic features of different schools and to carry out their comparative analysis. The aim is achieved by identifying the leading countries providing training at the above schools and formulating basic criteria for the comparative analysis of the structure and results of ballet education. Thus, for the first time, an attempt is made to identify the distinctive features and identities in the systems of training of ballet dancers in different schools, taking into account national, artistic and educational traditions. The comparative analysis has made it possible to determine the features of modern professional ballet education, which are specified by: national dance traditions built-in the system of primary education, state cultural policy, systematic training and mastering additional types of dance. All this determines the effectiveness of ballet training, and enables to distinguish the features of performing technique and ballet style, gives artists the opportunity to represent their skills in academic or contemporary ballet repertoire.

The article outlines the possibility of a systematic principle of training a circus artist in today's conditions.
 The purpose of the study is to systematically review the training of the future professional circus artist − an acrobat and gymnast. The system of humanitarian, artistic, pedagogical, scientific and professional competencies is traced. The specificity and characteristics of the educational process in the circus industry are determined.
 The research methodology is based on the desire for an integrated approach to the study of circus culture of related art forms. In addition, empirical, descriptive, and general scientific methods of comparative analysis and synthesis are used. A The scientific novelty consists to identify the characteristic features of specificity and the training of a professional circus artist in genres − acrobatic voltage and air gymnastics on the cord de péril.
 The circus culture in the process of evolution is enriched with the modern interaction of the performing arts: from introducing stunt elements from sports acrobatics and gymnastics; contemporary theater, in particular acting and psychophysical training; neoclassical ballet school and popular youth styles in contemporary choreography with the borrowing of modern dance, jazz dance; plastic and facial aspects of the school of contemporary pantomime; circus genres − manual balancing, juggling, as well as the humanities and art cycle of instruction. The uniform load of the professional cycle in combination with the artistic and humanitarian opens up new opportunities in the preparation of a contemporary circus artist with professional skills. The emphasis on the student’s use while learning the great possibilities of modern technologies for independent work is electronic sites, video presentations, master classes, training and practical training, creative events create unlimited opportunities for becoming a professional circus artist in the modern labor market, both in Ukraine and abroad.
 Keywords: circus genres, acrobatics, gymnastics, voltige acrobatic, aerial gymnastics on the cord de parel, circus stunt, stage representation, circus number, choreography, pantomime.

The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko.
 Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.

Demonstration is one of the most important teaching principles. The foundation for the scientific study of this principle was laid by the outstanding pedagogue Ya.A. Komensky, who called it the golden rule of didactics. Later, Komenskys ideas were developed by J.H. Pestalozzi, K.D. Ushinsky, and other pedagogues. A special role in clarifying and specifying the functions of demonstration belongs to Russian pedagogues and psychologists developing the ideas of the unity of consciousness and activity (S.L. Rubinstein), the theory of activity (A.N. Leontyev), and the theory of gradual formation of mental actions (P.Ya. Galperin). Demonstration has been used in teaching dance since the ancient times, when various visual aids were used to illustrate the teachers words. Yet, despite the presence of extensive literature in other areas, in ballet pedagogy the study of demonstration has been limited to just a few researchers - N.I. Tarasov, E.P. Valukina, and A.A. Alferova. This paper presents the first attempt in ballet pedagogy to comprehensively analyse the use of the principle of demonstration in ballet teaching. Drawing on the historical traditions of ballet education, the author shows the leading role of demonstration in teaching professional skills to ballet artists and reveals the essence of the main types of demonstration - figural/pictorial, verbal, image-based and natural. The paper highlights the leading role of figural demonstration, in which showing of movements is traditionally the main teaching tool. The combination of the four types of demonstration - figural, verbal, image-based and natural - facilitates the visual, audial and motor perception of a movement (or its model, image) by the students allowing them to internalize movements into their psyche and body.

Problem statement. The article is dedicated to the 120th anniversary of famous Ukrainian conductor, Honored Artist of Ukraine, Professor Israel Solomonovich Shteiman (1901–1983), who devoted more than 55 years of his life to opera conducting. The musician is also famous by his skills in training of opera singersactors to their professional activity, as a head of Opera Studio under the Kharkiv I. P. Kotlyarevsky National University of Arts (former Kharkiv Conservatoire and the Kharkiv National University of Arts now). However, in addition to short lines of newspaper chronicles covering the theatrical life of Kharkiv city at that time, the brief background information collected in the archives of art institutions of the city and single memoir pages of his contemporaries (Shasha, 1991; Chepalov, 2012), there are still no special studies on the artist’s work. At the same time, these few sources provide an opportunity to recreate a holistic picture of I. S. Shteiman’s activities as a conductor of the Opera Studio under the Kharkiv National University of Arts and highlight one of the pages of its historical development, which is the goal of this article. The research methodology is based on the ways of analysis and systematization that were used in working with factual material; generalization and historical reconstruction when referring to opera productions by I. S. Shteiman in striving to characterize him as a musician-teacher. The results for discussion. In the period after II World War, many famous conductors worked in the Opera Studio under the Kharkiv Conservatory, but the activity of Israel Shteiman was the most fruitful, long and outstanding one. From 1944 until the end of his life, he was one of the leading conductors of M. Lysenko Kharkiv Opera and Ballet Theater. A characteristic feature of Shteiman-conductor was the ability to penetrate deeply into the composer’s creative concept, an impeccable sense of taste, an attentive and sensitive attitude towards the singer. Having started working at the Vocals Department of Kharkiv Conservatory in 1947, since 1953 I. S. Shteiman became the Opera Studio’s conductor, and from 1973 to 1979 – the Head of Opera Training Department at I. P. Kotlyarevsky Kharkov Institute of Arts. When working with students, I. S. Shteiman infected them with love for creative process, showed and knew how to emphasize the individuality in each of them. Among I. S. Shteiman’s students – Peopl’s Artists of the USSR N. Tkachenko, M. Manoilo, T. Alyoshina, People’s Artists of Ukraine and Russia V. Arkanova, L. Solyanik, L. Sergienko, Honored Artists of Ukraine V. Tryshyn, A. Rezilova, Y. Danilchishin... Since late 1960s, a new trend has emerged in the Opera Studio’s repertoire policy associated with growing interest in the creative work of contemporary composers. Thus, Studio productions of the operas by A. Nikolaev “At the Price of Life” (1967), A. Spadavecchia “The Road to Calvary” (1970), A. Kholminov’s “Optimistic Tragedy” (1972) were called to life by I. S. Shteiman. He believed that a deep disclosure of modern themes requires new thinking not only by composers, but also by singers, and it is crucial to develop this in young actors based on modern repertoire only. Continuing the course for revival of Soviet classics, to commemorate the 30th Anniversary of the Great Victory, I. S. Shteiman together with director L. Kukolev, staged V. Gubarenko’s opera “The Revived May”. The directors managed to reveal vividly all the strengths of the talented opera by this contemporary Ukrainian composer. Farther, the performers of the main parts were successfully working on various opera stages at Ukraine and abroad. Conductor I. S. Shteiman’s individual approach to working with each performer led to positive results – a high performance culture that ensured his performances’ long and successful life and high-quality professional training of singers-actors. From 1982, even after the stopping of his active conducting work, to the end of his life, Israel Shteiman was a professor-consultant at the Opera Training Department of the Kharkiv State Institute of Arts, continuing his life and creative mission – “to awaken of an artist in every musician”… (S. Kussevitsky). Conclusions. So, I. S. Shteiman dedicated practically all of his life to opera conducting. The memorable date is an occasion to analyze and appreciate his contribution to the very difficult and extremely important task of professional education of the opera singers, to pay tribute of respect and gratitude to this extraordinary man and musician. As one of the leading conductors of the Kharkiv M. Lysenko Opera and Ballet Theater, I. S. Shteiman had extensive experience of collaboration with prominent opera performers of his time. His conducting work was distinguished by a subtle understanding of the composer’s idea, a huge artistic taste. All these qualities were reflected in his fruitful work with student creative teams, which was always characterized by an individual approach to performers, by the ability to convey to them the will of the composer, as well as his own creative thought aimed at educating of high musical culture, by the ability to discover the artistry and creativity energy of the young musicians. Thus, the long-term conducting work by I. S. Shteiman played a huge positive role in the professional education of the brilliant constellation of the singersactors of the Kharkiv opera scene, in the formation of the tradition that opens wide creative prospects for graduates of the Kharkiv opera’s school also and in modern world music culture. The extraordinary personality of the talented conductor, who has educated more than one generation of singers-actors for work on the professional stage, will remain in the hearts of those who respected and loved him for a long time.

Background. Western Ukraine’s cultural musical life had its own paths of development. The fi rst musical school began working in this region in September 1903. The issue of creating a specialized musical educational institution with native-language teaching was repeatedly highlighted in Lviv newspapers in XIX and early XX centuries. Nevertheless, most musicians were forced to obtain knowledge either on their own or in Polish, German and Czech educational establishments. Composer S. Liudkevich was the most ardent fi ghter for foundation of a Ukrainian conservatory in Lviv. He became one of the fathers of professional musical education not only in Lviv, but in Western Ukraine as a whole. Yet, Lviv’s fi rst educational institution – the Higher Musical Institute – was created other than a standard conservatory of Russian Imperial Musical Society with quite a perfect educational system – it was closer to West European establishments on a parallel basis attended by secondary and higher school students, who studied only musical disciplines in the conservatory. A. Vakhnyanin (who taught theory and history of music) has become the fi rst Director of Lviv Higher Musical Institute with O. Bandrovs’ka and L. Ulukhanova teaching solo singing. In the year of 1912, after the death of M. Lysenko, the Higher Musical Institute was given his name. Lviv’s M. Lysenko Higher Musical Institute gained authority and prominence by constantly improving its educational system. Together with the conservatory of Polish Musical Society and K. Shimanovski conservatory, it became one of those educational establishments, on which basis M. Lysenko Lviv State Conservatory was created upon the reunion of West European lands. As of today, it is among our country’s leading musical universities. Vocals faculty exists since the day of Lviv conservatory’s foundation. In this period, they prepared numerous singers for opera and operetta theaters, philharmonic halls, teachers of secondary and higher schools. Having been founded in 1959, the opera studio functions as a training subdivision of the conservatory, being the source of professional growth for outstanding representatives of national vocal arts and opera conductors. The studio’s fi nancial position has been troubled for many years – there is no own premises and full-time soloists. And yet, teachers’ dedication has always allowed the studio to work so as to serve the basis for practical training of the vocals faculty students. The studio was offi cially opened on November 16, 1959 in M. Zan’kovetska Theater. A year later, on November 16, 1960, the premiere performance of “Zaporozhets za Dunayem” opera by S. Gulak-Artemovsky took place (conductor M. Lobaniv, director V. Shevchenko, assistant conductor – 4th year student S. Turchak). The entire faculty worked on the performance – vocals students enthusiastically participated in ballet scenes, their teachers sang leading parts together with students, teaching the mastery lesson to their mentees onstage. But it was emphasized in 1960 annual report by the Director of Lviv State Conservatory professor M. Kolesa that, with opera studio’s certain achievements, there also was a weak point, and namely the absence of creative and organizational contact between solo singing and opera training departments. In autumn 1963, Lviv opera studio performed in Kyiv at the Republican conference dedicated to education of actor singers, representing fragments from “Taras Bulba” (M. Lysenko) and “La traviata” (G. Verdi) performances. The conference stressed the necessity to alter the course of training – to educate actor singers, performer singers, rather than just “sound professional”. By the Order of the Ministry of Culture of Ukraine of January 25, 1966, opera training department was founded in Lviv State Conservatory. The functions of the Head of department were vested in the associate professor of solo singing department V. Kobrzhitsky. In this period, absence of creative contacts between the two departments of the vocals faculty continues to be felt, with their teachers exchanging accusations. They do not show aspiration to do the common cause – to educate actor singers. In the beginning of academic year 1971-72, the department was joined by Ukraine’s Honored Artist conductor O. Gritsak, who already in his fi rst year of work showed himself as a talented manager. It was stated in the department’s annual report that working stability, which is defi nitely a positive factor, is not always typical for the students. The number of performances for students’ practical training is insuffi cient. The repertoire must have at least three performances, so that students could be involved in several parts for a multifaceted disclosure of their creative abilities. The department made the resolution to improve its operation by fundamentally altering its organizational principles and the methodology, for which purpose to replace the department’s management.

<p class="western" align="justify">Considered as one of the possibilities of performing arts, the classical ballet can be understood as a way in which stories depend on characters who, without the use of words, enact stories which are typical of the traditional repertoire. This text aims to discuss issues related to the body of the scene, the scenic body of the artist in classical ballet. In order to do so, we conducted a qualitative investigation and used the observation of ballet shows and ten semistructured interviews with Brazilian professional dancers as investigation techniques. The testimonies of the classical professional dancers were the material that allowed the analyzes of the speeches. Based on the analyzes, we highlight the following results: the existence of a prestigious imitation among the dancers who were interviewed; the existence of an “extracotidiano 1” body in classical ballet; the existence of explicit and implicit techniques in ballet. The study is based upon a theoretical perspective that takes not only the body of classical ballet and its techniques, but the human body itself and its techniques as sociocultural reality, produced in culture, according to rules and values defined by this reality and the social field that builds them.</p>

Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.

Every year in Russia there is a growing number of people who want to devote themselves to stage professions. Pop and academic singer, actor of musical and dramatic theater, ballet dancer – here is an incomplete list of specialties that can be obtained in educational institutions of culture and art. The main task of these educational institutions is the professional formation of future stage masters, the formation of competencies that allow students to carry out further acting activities. The basis for the preparation of the future artist is the formation of stage skills, since this complex concept includes the internal (psychological) and external (physical) data of the actor, the possession of the art of reincarnation in the process of creating a stage image, the possession of stage freedom. The professional training of a musical theater artist in college becomes a multifaceted process, where the combination of vocals, dance, acting is aimed at solving the dramatic problems of a musical performance. The purpose of the article is to theoretically justify and identify empirically the specifics of the formation of professional skills of musical theater artists in college.

The subject of this research is the first stage of creation of Beijing Ballet School, while the object is the pedagogue of the Moscow State Academy of Choreography O. A. Ilyina. The author underlines her contribution to the creation of the first professional system of education in China. The role of Soviet ballet masters and pedagogues, who carefully examines the peculiarities of Chinese teaching technique is highlighted. The Russian system of choreographic education with its accumulated valuable theoretical and pedagogical experience laid the foundation for establishment of the system of preparing ballet dancers in China, creating a strong basis for the development of Chinese professional classical ballet. The novelty of this work consist in the analysis of Olga Ilyina’s impact upon the early stage of development of Chinese ballet. The author explores and assesses her versatile activity in China – initially, in creation of Beijing Ballet School, and later, as a pedagogy who made a significant contribution to preparation of national ballet dancers. The scientific novelty is substantiated by the fact that the activity of Olga Ilyina in China has not been previously a subject of a separate research, although she played a significant role, along with other pedagogues of the Moscow State Academy of Choreography under the Bolshoi Theatre, in creation of the first professional ballet school in Beijing.

Šiame darbe yra nagrinėjama baleto pedagogo, siekiančio išugdyti profesionalų baleto artistą, kompetencijų raiška. Pastebima, kad tik nedidelė dalis baleto mokyklas baigusių mokinių yra puikūs vedantieji balete, sugebantys savo šokiu perteikti dvasines vertybes ir taip įprasminti šokį kaip meno kūrinį. Pagrindiniu tikslu mokymo procese dažniausiai tampa geras pačios išraiškos priemonės pažinimas (šiuo atveju šokio technika), pamirštant, koks svarbus yra ir asmenybės meninės brandos puoselėjimas, skatinantis kūrinio visumos, jo turinio, dvasinių vertybių sistemos suvokimą bei pajautimą, kurio dėka kūryba tampa menu, veikiančiu ir prusinančiu žiūrovą. Baleto pedagogo kompetencijų raiškos ugdymo procese klausimas, kuris iškelia ir problemą, ar iš tikrųjų baleto pedagogai savo kompetencijas panaudoja taip, kad ugdymo proceso metu mokiniai turėtų visas sąlygas šokio pagalba kurti save kaip pilnaverčius savo srities specialistus – baleto atlikėjus – gebančius kurti meną, įgauna esminę reikšmę? Siekiant išsiaiškinti tai, tyrimo objektu yra pasirinkta baleto pedagogo kompetencijų raiška. Tyrimo tikslas – nustatyti baleto pedagogo kompetencijų raiškos ypatumus baleto artistų ugdymo procese. Tyrimo uždaviniai: 1. išanalizuoti mokytojo kompetencijas šiuolaikiniame ugdymo kontekste, 2. nustatyti baleto pedagogo kompetencijas, 3. atskleisti baleto šokėjo kompetencijas, 4. išsiaiškinti profesionalių baleto artistų rengimo specifiškumą, 5. nustatyti baleto pedagogų kompetencijų raiškos... [toliau žr. visą tekstą]<br>Expression competencies of ballet teacher seeking to prepare a professional ballet artist are analyzed in this work. It is noticeable that, in the ballet, there is only a small part of ballet school graduates who are excellent teachers capable of conveying spiritual values through their dance and so giving meaning to dance as a piece of art. The main goal usually becomes the good knowledge of the expression means (dance technique in this case) forgetting about the importance of fostering individual’s artistic maturity that stimulates the perception of the whole of the art work, its content, comprehension and feeling of spiritual value system, owing to this, creation becomes art that influences and educates the viewer. A question that also raises the problem, if ballet teachers use their competencies in the way that students would have all conditions to create themselves as valuable specialists of their field- ballet artists- who are able to create art in the process of education gains the essential meaning. The object of the research is competence expression of the ballet artist. The aim of the research is to determine the peculiarities of ballet teacher’s competence expression in the process of ballet artist education. The objectives of the research: 1. to analyze teacher’s competencies in the context of modern education; 2. to determine the competencies of the ballet teacher; 3. to reveal competencies of the ballet artist; 4. to find out the specificity of professional... [to full text]

This is a qualitative, mixed-methods study that focuses on the experiences of pre-service teachers in an art methods for non-majors class. The purpose of this study is to describe the process of transforming pre-service elementary teachers’ apprehensive feelings and experiences about creating art. An examination of play, Thirdspace pedagogy, and contextual exploration within a humanistic approach all inform this study. The dataset exposed themes of apprehension and reluctance to art-making, community building, preconceptions about art and art-making, exploration, non-prescribed outcomes, learning from mistakes, and identity. The results of this study show evidence that explorative methods can alter the conceptions and approaches to art of pre-service teachers in an art methods for non-majors course. As a researcher, it is my hope that this study will impact art educators’ views of teaching art methods courses to non-majors.

This project was undertaken to accomplish the following objectives: firstly, to develop, present and evaluate a nutrition education program for the female students at the Royal Winnipeg Ballet School (RWB), Professional Division, and secondly to investigate factors which may potentially affect the relationship of nutrition knowledge and dietary quality for these students. Twenty three female RWB students between the ages of 13 and 17 years agreed to take part. Prior to the nutrition education program, each of the 23 students completed a nutrition knowledge test, an eating practices questionnaire (EPQ) and the Jackson Personality Research Form AA. Body size dissatisfaction was measured using somatotype diagrams within the EPQ. Twenty-one students recorded food intake for 2 weekdays and one weekend day. Intakes of energy, protein, calcium and iron were calculated from these records, and a dietary quality score based on the Canada Food Guide was applied to all records. Nutrition knowledge was low for this group: 17.9 +- 4.9 (SD) out of 34 points, as were dietary quality scores: 9.1 +- 2.18 (SD) out of 16 points. Intakes of energy were low with 65% of the students consuming less than 1500 kcal. Nutrient intakes analyzed in terms of estimates of true deficients showed a large percentage of students deficient for iron (23,1%) and smaller percentages deficient for calcium (16.9% without supplements) and protein (7.8). No effect of place of residence was observed for dietary quality score, or for nutrient intakes. The mean EPQ score was 111.8 +- 29.2 points. Thirteen of the students scored in excess of 100 points, the score considered to be indicative of unstable eating patterns. This group of adolescents scored within the norms for all personality characteristics. Affiliation, dominance, play and desirability were significantly and negatively correlated with EPQ score (p < 0.05). Body size dissatisfaction was widespread with 69.6% selecting as ideal, body somatotype diagrams which were at least 10% smaller than the indicated current perceived body size. Body size dissatisfaction scores were significantly lower (p = 0.042) for the younger group (13-15 years of age) as were EPQ scores (p = 0.006). Body size dissatisfaction was significantly correlated with EPQ score (r = 0.74, p = 0.0001). Fourteen of the students completed a posttest nutrition knowledge test and three day food record. Nutrition knowledge scores increased with attendance of the program but not significantly (p < 0.025). Increase in nutrition knowledge was correlated with the trait 'order' (p = 0.008). No significant change in dietary quality score was observed over the program period, however change in dietary score was correlated with the traits 'harmavoidance' and 'nurturance' (p < 0.05). Results indicate that body size dissatisfaction is a factor which affects the dietary practices of the students leading to unstable eating patterns. Intakes of energy and iron are of concern for this group of girls. There is a need and desire for nutrition education at the RWB, Professional Division.

Several studies have reported various challenges ballet dancers experience in their performance careers. However, to date, very little research has been done to understand how professional ballet dancers persevere in their performance careers in the face of the demanding nature and various challenges associated with their career. The purpose of this study was to explore perseverance of professional ballet dancers in their performance career from the perspectives of retired professional ballet dancers. Using a social constructivist lens, the research question addressed in this study was: How can professional ballet dancers persevere in a performance career? Narrative interviews were conducted with participants (N = 9) who had danced at one or more professional ballet companies for at least one year and had been involved in the ballet world since their retirement from their performance careers. A thematic analysis was used to analyze the data and 4 themes were identified about persevering as a professional ballet dancer in a performance career: (a) Building and Looking After Your Healthy Sense of Self and Mental Attitude; (b) Navigating Your Career Journey With Intelligence and Courage Within and Beyond One Ballet Company; (c) Growing as an Artist to Have More Than Technique and Raw Physicality to Capture an Audience; and (d) Balancing Your Performance Career by Having a Life Outside the Dance World. Implications of the findings for research, practice, and counselling are discussed.<br>Graduate<br>2020-04-26

Early dance programs and departments at colleges and universities tended to focus on modern dance rather than ballet, but ballet has been more central to dance in higher education since the 1960s. Many college dance programs started in physical education departments, signaling the early twentieth-century concern with women’s bodies and appropriate physical activity for women, but they eventually moved into performing arts divisions. This change reflected the shift from a more holistic approach to an emphasis on performance. Dance programs in higher education today are more likely to focus on producing professionals than on training dance teachers or educating those who see dance as a liberal art. As a result, a small but growing number of professional ballet dancers have graduated from college, which was rare until very recently. There is also a growing field of dance studies with roots in history, philosophy, art, and culture as well as performance.

In this chapter, the authors explore the concept of excellence in teaching by considering both what has been published in the literature as well as case examples of learner-centered, art-based approaches to medical education. Five issues that relate to using art in medical education discussed include: (1) Learning to Look: visual literacy and its role in developing diagnostic abilities; (2) Building Bridges: the role of art in encouraging inter-disciplinarity; (3) To Cope or Not to Cope: the role of art as a stress-reduction strategy;(4) Death by PowerPoint: transmediation for learning the science of medicine; and (5) Doctor as Artist: the role of art and art-making during professional (medical) identity formation. The authors utilize three case studies to demonstrate 2, 4, and 5.

The article is aimed at analyzing a number of original polyphonic works for bandura in various genres, belonging to a leading composer of the Dnieper region, Honored Artist of Ukraine Valentina Martyniuk. Published in the form of a textbook composer «Ukrainian song in polyphonic works for bandura», these works are in great demand among performers, pupils, students and teachers of all levels of education. They are often heard in concert programs, competitions and festivals. This fact is due to the appeal to polyphonic bandura works as self-sufficient original compositions, which organically combined many ways of counterpoint technique and the latest compositional techniques with authentic folklore material or national song melody. This organic synthesis was achieved thanks to the high professional level of the master in collaboration with the famous representative of the bandura school Svitlana Ovcharova. It was such a creative union that contributed to the most comfortable, natural sound of the bandura; Deprived of the vocal voice of her performer, she absorbs the vocals from the song as the foundation of each play. Thus, the instrument seems to replace the words of the song with a purely instrumental sound. But the words are read in every polyphonic play by V. Martyniuk. It is noteworthy that the composer expands the «range» of polyphonic genres and combines technically simple, more traditional inventions with cyclical works, which do not follow certain canons and uses a wide range of possible genre combinations – chorale and fugue, fantasy, fugue and epilogue, fugue and kolomyyka, etc. Such compositions deploy a contrasting material that requires both greater alignment and the achievement of a true concert performance style. The performer has a difficult task – to convey the content of the song, to get into its features and, using polyphonic techniques and appropriate technical capabilities, to create a three-dimensional image that is significant and bring it to the listener. So, the analysis of stylistic and constructive-logical regularities of the structure of polyphonic works for bandura-solo by modern composer V. Martyniuk is made to help a young musician who learns the science of performing polyphony and seeks not only to improve his professional skills, but also to preserve and promote his national culture. The combination of the timbre of the bandura, as a symbol of the soul of the Ukrainian people, with folk songs and pan-European polyphonic traditions can further contribute to the realization of a truly national identity. The project of creating a self-sufficient, artistically original, nationally original polyphonic repertoire for the bandura is unfolding; next year it is planned to republish the collection «Ukrainian song in polyphonic works for bandura» (second edition) with the addition of new polyphonic works by V. Martyniuk and their performance-theoretical analysis.

We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus &amp; Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.