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Charlotte is in for a nasty surprise when Emmy makes a new friend, Tom. For Tom's big sister, Icky Nicky, is in Charlotte's ballet class - and they hate each other! But when their sisters' fighting starts to get in the way of Tom and Emmy's friendship, they must find a way of bringing their warring siblings together, and ballet could be just the thing they need. And to Charlotte and Nicky's surprise, they soon find they have a lot more in common than they had realised.
Emmy loves ballet but she isn't old enough to dance in her sister Charlotte's class. Then one day when she comes to watch the lesson she can't resist joining in. Before anyone realises, Emmy's doing pli-s at the barre - and she's doing them very well! Most of the class are thrilled by her dancing, but Charlotte isn't quite so comfortable about having a little sister who seems set to steal her limelight. When Emmy is given the coveted role of Spring in the annual show it seems the final straw for Charlotte, but then her teacher helps her to understand that although Emmy is very talented for her age, she can't dance as well as Charlotte, and Charlotte ought to feel proud that Emmy has learnt so much from watching her talented big sister.
Mia the kitten who loves ballet is back in another sweet I Can Read story perfect for fans of Tallulah books and aspiring ballerinas everywhere. When Mia grows up, she wants to be just like her big sister, Ava! Ava is a ballerina in a real show, and Mia's class is taking a trip to visit her. Mia and her friends watch Ava dance in the ballet, and then Ava shows them how to do some new moves. Mia tries to dance her best so that Ava will watch, but Ava is too busy helping Mia's friends to notice. How can Mia show her big sister what a great ballerina she is? Mia and the Big Sister Ballet is Mia's fourth My First I Can Read book, perfect for shared reading with a child.
Three orphan girls. A pair of pink slippers. A lifetime in the spotlight. Read the classic that has captivated generations! Pauline, Petrova, and Posy love their quiet life together. They are orphans who have been raised as sisters, and when their new family needs money, the girls want to help. They decide to join the Children's Academy of Dancing and Stage Training to earn their keep. Each girl works hard following her dream. Pauline is destined for the movies. Posy is a born dancer. And Petrova? She finds she'd rather be a pilot than perform a pirouette. This beautiful children's classic is perfect for girls who love to dream about ballet, friendship, and finding their own special talents. Adult readers may remember them as the "Shoes" books from You've Got Mail!
A distinguished dance critic offers an enchanting introduction to the art of ballet As much as we may enjoy Swan Lake or The Nutcracker, for many of us ballet is a foreign language. It communicates through movement, not words, and its history lies almost entirely abroad -- in Russia, Italy, and France. In Celestial Bodies, dance critic Laura Jacobs makes the foreign familiar, providing a lively, poetic, and uniquely accessible introduction to the world of classical dance. Combining history, interviews with dancers, technical definitions, descriptions of performances, and personal stories, Jacobs offers an intimate and passionate guide to watching ballet and understanding the central elements of choreography. Beautifully written and elegantly illustrated with original drawings, Celestial Bodies is essential reading for all lovers of this magnificent art form.
Ballerina Maria Tallchief describes her childhood on an Osage reservation, her love of dance, and her rise to success as a ballerina.
Dancing with someone is an act of trust. Elegant and intimate; you're close enough to kiss, close enough to feel your partner's heartbeat. But for Vanessa, dance is deadly - and she must be very careful who she trusts . . .Vanessa Adler attends an elite ballet school - the same one her older sister, Margaret, attended before she disappeared. Vanessa feels she can never live up to her sister's shining reputation. But Vanessa, with her glorious red hair and fair skin, has a kind of power when she dances - she loses herself in the music, breathes different air, and the world around her turns to flames . . . Soon she attracts the attention of three men: gorgeous Zep, mysterious Justin, and the great, enigmatic choreographer Josef Zhalkovsky. When Josef asks Vanessa to dance the lead in the Firebird, she has little idea of the danger that lies ahead - and the burning forces about to be unleashed . . .
“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.” In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations. He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”). We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky; and Pierre Vladimiroff, Pavlova’s partner. D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”). D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.
Clunking Heads on Campus: Tales of a Resident Advisor is a fun and thought- provoking account of the thought processes of an international student from a non- liberal background who becomes RA to thirty-six freshmen in a very liberal college setting. She shares snippets of her experiences as an RA and the not-so-mundane shocks of coed living. Her story is for internationals worldwide who are curious about life on US campuses, and for local Americans who are about to embark on their journeys to college. She shares tips, tricks, and ideas of being a freshman dorm RA, which can be applied in a variety of settings. Most importantly, she sheds light on the ways in which her faith allowed her to flourish in spite of mainstream hindrances. After growing up all over the world, Nana B. Brun came to the United States at eighteen to study mathematics and physics. She became an RA during her senior year in college, when she was twenty-one years old.