En Avant Magazine March April 2023

Maya

Hello! Here is the ninth issue of En Avant. The theme this time is something that is all around us right now Summer This is a fun filled issue perfect for the hottest time of the year! We have an innovative new game, a story to act out, a bunch of delicious recipes to try out and three most interesting articles. Plus the usual fun stuff, inspiration for what to watch, jokes and more!

I had great fun designing the issue and creating the cover as well as getting the wonderful opportunity to interview Cats: The Musical cast member Lesli Wiesner on all things Cats!

Kenisha

I've curated this issue's jokes and fun facts, as well as creating a fun little game!

Aakanksha

For this issue of the magazine I wrote an article on Cats: The Musical where we explore the different characters and the musicals background.

This time's bonus feature is an interview with original Zurich and Euro Tour Cats: The Musical cast member Lesli Wiesner, who starred as the elegant cat: Cassandra.

Anagha

I wrote an article delving into the basics of the world of Dance Summer Intensives along with a list of some of the most exciting summer intensives around the world!

Aashaya

Hi! I’m Aashaya and this time, I wrote a summer-themed poem that emphasises the carefree nature of making and expressing art.

Neerja

I wrote a short story about Mia the deer ballerina. I also created the emoji guess the ballet game.

Hey! I'm Mia.

Your leaping guide for this issue. Follow me through the pages and you will even find a story that is all about me!

what's up?

IN THE BALLET WORLD

INTERNATIONAL DANCE

The International Day of Dance is a time to honour and The International Day of Dance is time to honour and celebrate beauty and joy of moving your body to music. celebrate beauty and joy of moving your body to music. Dance is universal - woven into virtually every civilisation Dance is universal - woven into virtually every civilisation on the planet. on the planet.

The Dance Committee of the International Theatre The Dance of the International Theatre Institute (ITI) established April 29 as International Dance Institute (ITI) established April 29 as International Dance Day in 1982 to highlight the amazing diversity and talent Day in 1982 to highlight the amazing diversity and talent of dancers all over the globe. This date was chosen of dancers all over the globe. This date was chosen because it marks the birthday of Jean-Georges Noverre because it marks the of Noverre (1727-1810), the creator of modern ballet (1727-1810), the creator of modern ballet

Dance brings love and togetherness no matter whether Dance brings love and togetherness no matter whether you are connecting on the dance floor or in the you are connecting on the dance floor or in the audience. audience.

So let's celebrate this day together. So let's celebrate this day together.

At HQ on the 29th of April

Click here to watch the video of our (online, yet spirited) International Day of Dance celebration 2020.

Choreography by TLFCB student, Naina Girish.

TheMusical

It first premiered in London's West End in 1981, where it was an immediate sensation and went on to become one of the longest-running musicals in West End history.

The story of "Cats" centres around a tribe of cats known as the Jellicles, who come together once a year for the Jellicle Ball. During the ball, one cat is chosen to ascend to the Heaviside Layer and be reborn into a new life. The musical features a wide variety of feline characters, each with their own unique personality and backstory, including Grizabella, the Glamour Cat, who sings the show's signature song "Memory."

"Cats" is a beloved musical that has captivated audiences around the world for decades. Based on T.S. In Eliot's book of poems "Old Possum's Book of Practical Cats," the musical follows a tribe of cats known as the Jellicles, who gather once a year for the Jellicle Ball.

The musical is known for its memorable score by Andrew Lloyd Webber, which includes hit songs like "Memory" and "Jellicle Songs for Jellicle Cats." The show also features impressive choreography by Gillian Lynne, which brings the feline characters to life through dance and movement.

Since its premiere in 1981, "Cats" has become one of the longest-running shows in West End and Broadway history, as well as a global phenomenon with productions in over 30 countries. Its unique blend of music, dance, and storytelling has enchanted audiences of all ages and continues to be a beloved classic of the musical theatre canon. The show was created by composer Andrew Lloyd Webber and director Trevor Nunn, with lyrics by T.S. Eliot and additional lyrics by Trevor Nunn and Richard Stilgoe.

One of the most unique aspects of "Cats" is its use of dance and movement to bring the feline characters to life. The choreography is highly stylized and incorporates a variety of dance styles, from ballet to jazz to tap. The costumes and makeup are also highly detailed and intricate, with each cat sporting a distinct look and personality.

Since its premiere, "Cats" has been produced in numerous countries and languages, and has become a cultural phenomenon, inspiring merchandise, parodies, and even a film adaptation. The musical has won numerous awards, including seven Tony Awards and an Olivier Award for Best Musical. Its enduring popularity and memorable music continue to captivate audiences around the world.

In "Cats," each of the feline characters belongs to a different breed or type of cat, and they each have their own distinct personality and backstory.

Mr. Mistoffelees

Click on each cat to listen to their signature song!

Old Deuteronomy

Thewiseandrespectedleaderofthe Jellicle tribe, who presides over the Jellicle Ball and ultimately chooses which cat will ascend to the HeavisideLayer.

Grizabella

The Glamour Cat, who was once a beautiful and famous cat but has fallen on hard times. She is shunned by the other cats but ultimately redeemed when she sings the show'ssignaturesong,"Memory."

Rum Tum Tugger

RumTumTugger:Therebelliousand charismatic rockstar cat, who loves to be the center of attention and oftencausestrouble.

Mungojerrie Rumpleteazer&

The Glamour Cat, who was once a beautiful and famous cat but has fallen on hard times. She is shunned by the other cats but ultimately redeemed when she sings the show'ssignaturesong,"Memory."

Skimbleshanks

The Railway Cat, who is in charge of keeping the trains running on time. He is known for his cheerful personality and impressive tapdancingskills.

The magical and mysterious cat, who is able to perform incredible feats of magic and illusion.

Old Gus

The Theatre Cat, who has spent his life in the theatre and has a wealth of knowledge about the performing arts.

Jennyanydots

The Old Gumbie Cat, who is a skilled teacher and loves to educate the younger cats about important life skills.

Published in 1939, "Old Possum's Book of Practical Cats" is a collection of whimsical poems about various types of cats. The poems are humorous and often satirical, with Eliot poking fun at human behaviour and society through the lens of feline behaviour.

The book features a variety of memorable cat characters, including the Jellicle Cats, who are the focus of the musical adaptation. Other notable cats from the book include Macavity, the Mystery Cat; Gus, the Theatre Cat; and Skimbleshanks, the Railway Cat.

Eliot, who was a renowned poet and literary critic, wrote the book as a lighthearted diversion from his more serious work. However, the book has since become a beloved classic in its own right, and is often cited as one of the best examples of Eliot's wit and creativity.

When Andrew Lloyd Webber set out to create the musical adaptation of "Old Possum's Book of Practical Cats," he drew inspiration from Eliot's poetry, incorporating many of the book's characters and themes into the show. The result was a unique and memorable musical that has captivated audiences around the world for decades.

on

cartwheels cartwheels cartwheels

By Aashaya Anand and tchaikovsky

Chocolate frozen yogurt stain on Chocolate frozen yogurt stain on pale pink stockings. Poetry that pale pink stockings. Poetry that doesn’t rhyme. Genre-bending, doesn’t rhyme. Genre-bending, seasons ending, arms extending seasons ending, arms extending out. Half-attentive sleepyheads, out. Half-attentive sleepyheads, sweat on marley floor. Teeth sweat on marley floor. Teeth colored peach & passionfruit, it’s colored peach & passionfruit, it’s summer and I’m dancing, see! One summer and I’m dancing, see! One hundred degree heat resting on my hundred degree heat resting on my skin and I’m dancing. Some strange skin and I’m dancing. Some strange pop-punk-indie-jazz music playing, pop-punk-indie-jazz music playing, movements not mellifluous for once, movements not mellifluous for once, but rather erratic and whimsical. but rather erratic and whimsical. I’m sorry if my arm collides with your I’m sorry if my arm collides with your shoulder, you see, I’m dancing and shoulder, you see, I’m dancing and it’s summer. I’m dancing and it’s it’s summer. I’m dancing and it’s summer. Back arching sideways summer. Back arching sideways like a cat, arms on floor, legs cutting like a cat, arms on floor, legs cutting through the air, I’m dancing and through the air, I’m dancing and it’s summer. Heads, shoulders, it’s summer. Heads, shoulders, knees and toes, I’m dancing and it’s knees and toes, I’m dancing and it’s summer. I’m sorry, Tchaikovsky’s summer. I’m sorry, Tchaikovsky’s getting boring. It’s the beginning of getting boring. It’s the beginning of beginnings and the end of endings. beginnings and the end of endings. Get up and throw your limbs for once Get up and throw your limbs for once in your life, ballerina, when was the in your life, ballerina, when was the last time you did something for last time you did something for yourself? Wake up. Summer wind is yourself? Wake up. Summer wind is knocking on the window. It’s time knocking on the window. It’s time to dance. Really, really dance. to dance. Really, really dance.

By Neerja Chandan

Here is a fun story and game for you to enjoy this Summer!

Note for Parents - You can read the story aloud to your children while the dance and act it out like they do in class. This is a great way to keep in touch with dancing and performing especially if you are on holiday and have to miss classes.

Once upon a time, in a forest nestled between the mountains, there lived a ballerina deer named Mia. She danced to the waltz of the river and practiced ballet every day. “1,2,3 1,2,3 1,2,3” she danced away. One sunny morning, Mia decided to venture beyond her usual practice spot and explore the forest. She put on her favorite tutu and ballet shoes and set off on her adventure.

As she wandered deeper into the forest, Mia began to notice other animals that seemed to share her love of dance. Mia felt a rush of excitement as she watched these other animals dance. She had always thought that she was the only one who loved to move this way, but now she realized that there was a whole world of creatures out there who shared her passion. She then saw bunnies practicing their pliés in a clearing, their furry bodies moving in perfect unison.

“That is some amazing coordination,” said Mia. “Why thank you” said all the little bunnies waving at Mia. "Hello, Mia! Would you like to join us?" asked one of the bunnies.

Mia nodded, and the bunnies welcomed her into their dance practice.

As the sun began to set, Mia knew it was time to return to her clearing. She hugged her new friends goodbye and thanked them for a wonderful day.

The next day Mia goes to the forest once again.

She sees squirrels leaping from tree to tree, performing stunning arabesques and pirouettes. She decides to go talk to them. A talented squirrel by the name of Mr. Simon greets Mia. “Good Morning” he said.

The next day, Mia came across a snake. She had always been a bit wary of snakes, but this one seemed harmless. She approached it cautiously, keeping a safe distance. To her surprise, the snake started to speak to her. It had a soft, hissing voice and seemed friendly. Mia was fascinated by the snake and they spent some time talking. She learned that the snake was a skilled dancer too, but it preferred to dance with its body instead of its feet.

“Hello sir, those are some beautiful turns” said Mia. “Thank you my dear” said Mr. Simon. “How do you turn so well? I've tried so hard but I feel so dizzy after it” asked Mia. “It's all about your eyes and spotting, come let me teach you” said Mr. Simon. Mia watched carefully, trying to memorize every movement. "Now you try," said Mr. Simon, stepping back to give her some space.

Mia took a deep breath and lifted one foot off the ground. She spun around, but her balance wavered and she stumbled. "Try again," Mr. Simon encouraged her.

.

She was fascinated by the snakes dance and learnt that their common love for dance brought them closer together, even tough they danced very differently. Mia then learnt to respect all dancers, no matter how different.

She planned to regularly go into the forest and learn, dance and play with her new friends. As the days passed, Mia continued to explore the forest and meet new friends. She danced with bunnies, squirrels, birds, butterflies and so many more!

Mia tried again and again, but each time she spun around, she couldn't seem to keep her balance. She was starting to feel frustrated and discouraged.

Mia started to improve. She was able to spin around on one foot for a few seconds at a time without stumbling. Her movements became smoother and more graceful.

“Practise makes perfect” said Mr. Simon. Mia thanks him.

She then decided to go home for the day, feeling tired and fulfilled.

Mia realized how much these animals meant to her. She had found a sense of belonging in the forest that she had never known before, and she knew that she would cherish these friendships for the rest of her life.

And so, Mia continued to explore the forest and dance with her new friends. She knew that there would be challenges and obstacles along the way, but she also knew that she had found a sense of purpose and joy in her love of dance. She owed it all to her determination and the help of her friends.

Ballet Emoji

guessing game

Swan lake 2. The Nutcracker 3. Romeo and Juliet 4. Giselle 5. Sleeping Beauty 6.

Beauty and the Beast 7. Peter Pan 8. Don

Quixote 9. Coppélia

1.

Lesli Wiesner, who played the role of Cassandra in Cats the Musical (original Zurich and Euro Tour casts) talks all things Cats!

Please share a brief summary of your dance education and career.

I’ve danced ballet my whole life. I was dancing with the Los Angeles Ballet, and then I came to Europe and was with the Ballet de Monte Carlo and Zurich Ballet. After Zurich Ballet was my first musical experience - I did Phantom of the Opera in Hamburg. I was one of the ballet girls and assistant Dance Captain. It was a very good job and it was a great stepping stone because Phantom is all ballet for the dancers. I loved musicals, but I just had never followed that line because of my classical career.

When Cats was coming to Zurich, I was already missing the city. I thought if I get the job, I'll go back there and do Cats. I got the job as Cassandra and as Dance Captain click to find out more about this job!

I had never seen Cats, but what I had heard was a lot of horror stories about how badly dancers could get injured. I always laugh to this day, because in the beginning I said, ‘I will never, ever, ever, ever do Cats’. Then the opportunity came and I thought, ‘well, for six months I can manage’ and I finally ended up doing the show for 4 years!I fell in love with it because I realised I would do things on stage in Cats as an animal that I would never have done in pointe shoes.

What was the audition process like?

We did a lot of choreographies and after that we had to sing. I got a call back and they told me that the next day they wanted me to come ‘looking very elegant’ because they were going to see me for the role of Cassandra click to find out more about this character.

I don't remember the first song I sang for the audition for Cats. They wanted us to sing the same song in different styles and because we weren't singers, they weren't asking us to bring different songs. They asked us to sing something simple like Happy Birthday (but not actually that song). They would say sing the song like a ballad, then sing it upbeat, sing it dramatic, that kind of thing. They wanted to see different qualities of your acting.

Once you started rehearsals, what was that process like, learning to be like a cat?

For the first six weeks we rehearsed in a town outside Zurich and every day, we would do half an hour of just improvisation of being a cat. At first we did it with our eyes closed, and the director would give different instructions, like you're waking up, you're going to eat or something like that. We did it with our eyes closed so that we weren't nervous or feeling silly. Once we got used to that, then we opened our eyes, and we started moving around the space. You had to stand up and still create the same feelings.

We had dance rehearsals where we just danced and we had singing rehearsals where we just sang. At one point we put them together and I always laugh because that first time the dancers couldn't dance and the singers couldn't sing. There was such confusion, but very quickly it all fell into place.

What were the rest of the cast members like and where were they from?

We had the most fantastic opening cast ever. There were 22 cats in the show and 17 of those 22 cats had done the show already - some of them had done it two or three times with our director. Then there were 10 covers plus me. There were about four of us who had never done the show before.

We were all coming from all over the worldEngland, the United States, Sweden… we also had a few Swiss in the beginning. At that time the musical scene in Europe was not as strong as it is now. They had to bring in more foreigners for the shows. It was great. We had such a high quality cast of lovely people.

In rehearsal, the people that had done the show never once gave you the feeling that they already knew it. Do you know what I mean? We all learned it together. It was so cool. They were just able to help make the show go faster. It was a great experience with people. Really, really nice, very supportive.

Can you tell us about being Dance Captain?

Dance Captain, for me, is a dream job because Dance Captain is like a ballet mistress or ballet master. You are teaching the show to new people. You are teaching people if they have to cover a role. You’re watching the show, you're taking notes, you have rehearsals to clean the show. You're taking care of the show. Dance Captain in Cats is quite challenging because you've got everything to take care of. In Phantom, the Dance Captain is part of the show. You have a separate resident director who takes care of a lot of the details. The Dance Captain takes care of just the dance part. In Cats, on the other hand, you're doing everything. I loved it.

In the beginning I was just Dance Captain and covering, but then after six months, I was Dance Captain and Cassandra. I would always dance 5 shows a week and watch 3. There were 8 shows every week. This was the absolute dream job because I got to do everything I love. I love to teach, I love to know the show inside out and I love to perform.

A bit about finding your character: how did you get into Cassandra?

This was so cool. One: you would just think about being a cat. Two: you would watch cats. I had two cats at the time. I had brought them with me from California, they were sisters and they were part Siamese.

One of the cats, she was like a Rumple Teaser - she was a tough little cookie and her name was Glitter. Her sister Sparkle was my example for both Cassandra and Victoria. She had sides where she could be terribly elegant and then also very playful - like Victoria.

Normally Victoria is played by a small girl because Victoria is supposed to be a kitten. As I'm tall, I couldn't be a kitten, so my director made my character more of a young woman. So I was able to take both my characters off my cat Sparkle.

We'd find we all had stories of funny cat things happening outside the show. I'd be sitting on the tram and all of a sudden I would do a cat movement, scratch my ear or sniff! And then I'd look around and go, ‘oh my goodness, I'm in public’. It was so funny. You just kept searching for different things that you saw cats do, and try to do them. That was what made the show so fun - you would constantly do these things on stage too. Once you had your part in place, you never stopped. You were always searching for more, trying new things out every day.

What was it like to learn to dance like a cat and where did your ballet and other training support or constrict you?

Ballet did not constrict at all. You use every ounce of your ballet or jazz or contemporary techniqueyou just are doing it as an animal. You still have to do the steps properly. It was all of the in-between things that you could improvise and change. Your intention was not that you were in a jazz piece or a ballet. You didn't dance anything strictly classical. Victoria has a very classical solo in the beginning, but it has a lot of cat things as well, so you just used every ounce of technique to make it work. There was no dancing en pointe though.

Had you learned singing before you got into musical theatre?

No, I was not a singer. I don't think I had any singing lessons, even as a kid. I could carry a tune. In the musicals, when you're in a dancing role, they are not usually looking for a strong singer. All you need to be able to do generally is fit in with the rest of the ensemble.

In Cats we had a vocal warmup every day, and we had a ballet warmup every day. For example, on the first day I would give half an hour ballet, and then another colleague gave a 45 minute mini jazz class, and then another colleague would give a 15 minute vocal warmup. The next day I would do a 45 minute mini class, and my colleague would do a half hour jazz warmup, and then we did the 15 minute vocal warm up. In the vocal warmup, he was always giving us a mini class, so he was giving us useful information along the way.

Doing the show every night started to strengthen my voice. Being Dance Captain, I had to sing all the time. By not being afraid to sing, my voice has gotten stronger and stronger. After my performing career I also took private singing lessons, just for my own enjoyment, when I was teaching and not dancing anymore.

Moments from Lesli's prestigious ballet career.

Tell me about the first time you went on stage? How did that happen?

The first time I got called on stage as a cover, I never actually got to the stage. I was in the audience watching and they came and got me and they said, ‘Lesli, you might have to go on’. Laura, the girl who was Cassandra at the time, had hurt her foot. So I go back and I start to put my makeup on. My hand is shaking like crazy. They come back and they say to me, 'how long do you think it'll take you to be ready?' And I said, 'your guess is this good mine!' The last time I had done my makeup, it had taken me an hour and a half, but I was ready and dressed in 20 minutes. I could have gone on, but I didn't have to that day because she was okay.

The next time I was called, I was pulled out of rehearsal and I had to go. By now I had practised all my makeup - I still wasn't really quick, but quick enough to run on at the very last minute. So the first time that I performed Cats was unexpected. As I was out there, not one word came out except my first line, because it had to - I was so nervous. I was shocked because I had done all the preparation! There was a part in the Jellicle Ball that's called the jitters, where you've got four different groups doing little bits of choreography. The group in the middle would roll up and shake, shake, shake, shake, roll up and shake, shake, shake, shake - there were four sets of that. I was so nervous that I went out and started doing it double time! There are only four and I'm getting to five and I thought 'Shoot. I'm going too fast.' I must have looked like a crazy woman out there. I think I was centre stage, so maybe it worked…

I was nervous that first time, but it was also really fun. It was exciting. The first few times were nerve wracking though, I must say.

What's your favourite song?

Oh, I don't have a favourite. I love them all. I really love them all because they each bring a different memory. Oh! I love Memory, of course! Every time you sing one of them, it brings back such memories of the show. If I had to pick a favourite it might be Macavity the Mystery Cat.

What was it like dancing in the costume, wig and everything?

It was great. It was really fun having the tail and being in the costume and the makeup. You could hide behind being a cat. You went out into the audience and you could get right up close to people.

The idea was that we were supposed to make them uncomfortable. You could do anything as a cat because you were covered by this mask of the makeup, even though it was still you inside. It was fantastic.

And what was the opening night like?

Exciting. I didn't dance on the opening night because I didn't do the first cast for the first six months, but I was there watching of course, as Dance Captain. It was great.

In Zurich, we did the show in English and in German. So we rehearsed for six weeks in German and we opened the show in German. Then when we had started the show, we rehearsed every day in English. After about six weeks, we started to do the show in different languages every other day. So the odd days were German, the first, the third, the fifth, and the even days were English.

The hardest part was when you came up to the 31st and 1st of the month and had to sing twice in German. Then it was so nerve-wracking. In fact, there were songs that started with the same word, no matter the language, like Gus! the Theatre Cat, or Gus! der Theater-Katze. We had to make sure we were in the right language, so every day we would sing the opening number together in the dressing room in the language we were performing in. In the beginning it was quite stressful for us to change languages and we had a couple of instances of confusion. Once I was on stage as Cassandra and Munkustrap came in and he started singing and everyone around me started getting kind of giggly and I was getting so annoyed as Dance Captain, I was like, ‘what is going on!?’. Switching languages was so normal to me at this point, I didn't even hear that he had started in the wrong language and he was singing the first verse in German! Tugger came in and took it back into English. It was so funny.

We were in Zurich for two and a half years, and then we went on a Euro tour. When we were in Strasbourg in France, the show was sold in English, but Strasbourg is right on the border between France and Germany. We started the show in English and all of a sudden the French house people came running back and said the show's been sold in German. You have to sing in German. As I was Dance Captain, I went around to everybody - ‘next entrance is German, we sing German!’ The next entrance, everyone changed language, it was like turning the record over. Our director was in the audience and didn’t know anything about it, and he said, 'oh dear, something’s happened!' But it was the coolest feeling and nobody was stressed. We just simply changed languages.

Where did you perform on the tour?

After Zurich we went to Basel for three months, and then we went on a Euro tour. We went to Geneva, Graz, Lausanne, Bregenz, Bern, Milan, Strasbourg, Klagenfurt. When I had left the show for Phantom in Basel, they also went to Vienna.

Having actually been in Cats, what do you think makes it such a phenomenal and well loved show?

You're seeing people on stage trying to be an animals! And when the cast is very good, as in very good at remaining cats not just when they were in the spotlight, but on the side as well.

Also because Andrew Lloyd Webber had the band backstage because he didn't want the public to be able to see people next to the cats. In fact, the band never even came on stage for a bow in the original versions. It was fantasy and fun and everybody always brought their own personality to the choreography, and that's what made the show really come alive.

And finally, could you please give us a few tips for our students who are taking part in the CATS summer school? For how they can get the most out of the experience.

It is a great opportunity for kids to have fun and explore. If you're going to try to be a cat, the most important thing to get the best experience is to be willing, willing, willing, willing to explore and to really try. Watch a lot of cats to prepare, and don’t just do typical cat things. You can't just go Meow! It’s more than that. There was only one place in the show where we were allowed to make a cat noise. A Meow or a Rawr! The rest, it had to be done with energy in movement.

What was the funniest thing that happened during the run of the show?

Oh my God. There were thousands of funny things. I can't think now what the very funniest thing was… Oh, oh, oh, oh! I do have the funniest thing.

So we had a few people that were called ‘super swings’, and they covered about six roles. We had one guy, Nick Boland, and he was the best. Sometimes he could only remember what part he was playing by looking at his costume! Well, in the pirate scene, we were the Siamese cats. In the choreography, we all went shuffling fast to stage right, but he went to the left. Then he realised, he looked over and came running back to us, but we were already moving to the next position! It went on and on. It was like a Pacman show! I think this was one of the funniest big things that happened. There were always small little things that could happen that maybe nobody really saw. But this was a big one!

A little vocal preparation can help, too. Even just la la la la la la la la la or humming. Humming is very good. Warm up dance wise a lot, because you're putting yourself into very, very strange positions as a cat.

Just have fun and be magical. Be magical.

Lesli now teaches dance and conducts workshops like the one pictured above, where she taught portions of Cats to students at an ice skating school. Click here to read the full interview with 6 bonus questions!

to beat the heat this summer! to beat the heat this summer!

Summer is the perfect time to indulge in fresh and healthy snacks that will help you stay energized and cool throughout the day. The season offers an abundance of fruits and vegetables that can be used to create light and flavorful snacks and drinks! Get ready to add some new recipes to your cooking repertoire with these four tasty options! We hope these recipes delight your taste buds!

By Kenisha Rao

Watermelon Popsickle

Equipment:

> Blender

> Popsickle mold

Ingredients :

> 4 cups seedless watermelon chunks

> 1tbsp fresh lemon juice

Instructions :

1. Cut up the watermelon into chunks and then put the watermelon and fresh lime juice into a high-powered blender and blend until you have a very smooth puree.

2. Pour the watermelon juice into six popsicle molds. Leave a ¾ inch gap between the liquid and the lid to allow for expansion. Add the lid to each popsicle mold and then freeze it for 2-3 hours or until fully frozen.

Notes :

When you pour the watermelon puree into the popsicle molds, leave a 34-inch gap at the top of the popsicle (above the liquid) to allow for expansion.

> Store the popsicles in the freezer for 2-3 months.

Mango smoothie with banana and figs

Equipment :

> Blender

Serves: 2 people

Ingredients :

> 1 cup chopped mangoes or 2 medium-sized alphonso mangoes.

> 2 bananas - medium sized

> 1/2 cup milk (sub nut/oat milk if vegan)

> 3 to 4 cubes - optional

Instructions :

1. Peel and chop the mangoes and bananas.

2. Add the chopped fruits and dried figs to a powerful blender. If the figs are hard or chewy, soak them in hot water for 30 to 45 minutes prior to blending.

3. Pour the milk in the blender and blend till smooth.

4. Pour the mango banana smoothie in tall glasses and serve immediately.

Oats with fruits and chocolate

Servings : 1 person

Ingredients :

> 1/2 cup oats

> 1 cup of milk (sub nut/oat milk if vegan)

> 2 tsps of honey (sub maple syrup if vegan and adjust according to taste)

> 1 tsp Cocoa powder

> Chopped fruits of choice

> Chopped dry fruits

Instructions :

To prepare the oats -

> Boil milk on the stove in a vessel

> Stir in oats

Cook for about 5 minutes over medium heat. Stir occasionally. Add the cocoa powder to the oats and mix.

Add the fruits and the dry fruits. Keep in the refrigerator for improved flavor.

Salty porridge is also known as Ragi Ambli.

Ingredients :

> 3 tbsp finger millet flour (Ragi flour)

> 1 cup Buttermilk (sub watered down peanut curd if vegan)

> Salt as per your taste

> 1/2 onion finely chopped

> 4 - 5 Curry leaves

> Coriander leaves, finely chopped.

> 2 cups water

Instructions :

1. Pour the finger millet flour in a bowl

2. Add 1/2 cup of water and mix well. Make sure there are no lumps.

3. Keep remaining 1.5 cups of water for boiling

4. When the water starts boiling, add the finger millet flour mixture in.

5. Bring it to boil and continue boiling under low flame for 5 minutes by stirring continuously

6. Switch the stove off and wait until it is completely cool.

7. Add the salt, the buttermilk, onions, curry leaves and coriander

8. Mix well and serve!

SUMMER PROGRAMMES

Worldwide

By Anagha Madhan

As temperatures rise and cotton clothes come out to play, summer intensives are what immediately come to mind to any dancer. Ballet summer intensives are demanding training courses that give aspiring dancers a rare chance to fully submerge themselves in the ballet world. These courses, which are typically offered in the summer, give students the opportunity to learn from top instructors and choreographers while also giving them the chance to perform in front of audiences. Young dancers' technique, stamina, and passion for ballet can all be honed by the intense training and concentration needed during summer intensives. Dancers have the opportunity to experience different cultures, make new friends, and learn from the best in the business thanks to the numerous renowned schools and companies that offer summer intensives all over the world.

For younger dancers between the ages of 8-11, some ballet programs offer junior intensives. While these programs have the same goals as regular summer intensives, they are typically half-day sessions rather than full-day classes. Junior intensives provide young dancers with the opportunity to receive high-quality instruction from experienced teachers, develop their skills, and build a foundation for future success in the world of ballet.

It's critical to understand your objectives, degree of commitment, and desired investment before considering a summer ballet or dance intensive. There are many options for dance intensives that include different combinations of dance forms; character dancing, musical theatre and even body conditioning. Typically, there will be a jazz or a contemporary lesson in a ballet-focused intensive, but the majority of classes will concentrate on improving ballet technique and knowledge. Professional dance companies, colleges, universities, and some neighbourhood dance studios may give dance intensives, which are accessible in or close to major cities. The majority of college dance programmes' intensives also include housing for the dancers for the length of the programme.

While looking for summer intensives to take part in, there are a variety of programmes available to aid with skill development, learning new methods, and expanding knowledge of the art form. However, in order to select the programme that best suits your needs, it is crucial to comprehend the distinctions between the different types of programmes. Here is a basic rundown on what the different types of summer programmes available:

A dance intensive is an all-encompassing summer program designed to provide dancers with a highly immersive experience. These programs may culminate in a performance to showcase the skills and techniques learned during the program, or a platform for dancers to present their studentchoreographed pieces to their home studio. Typically, there are various classes and instructors available, and the program may require an audition due to their selectivity.On the other hand, dance camps are typically offered as day camps or overnight camps, providing a mix of traditional summer camp activities and dance classes. These programs usually end with a performance to showcase the skills learned, and are typically designed for younger dancers under the age of 15. Dance camps are open to all dancers and can offer an excellent opportunity for students to not only enhance their dance skills but also make longlasting friendships and develop valuable life skills.

Summer intensives can vary in duration from two to three days up to seven weeks, although the average length is typically one to two weeks. Programs that extend beyond two weeks often provide housing options for dancers during their stay. For dancers, multi-week programs that include housing provide an opportunity to experience the responsibility and discipline required for a potential future in dance on a more full-time basis. Additionally, these programs may offer evening performances for dancers to watch, featuring the professionals who teach them during the day.

When it comes to summer intensives, the application process can vary depending on the program. More prestigious intensives, such as the Joffrey Ballet Intensive, require an audition as part of their application process, whereas others like the Australian Ballet Summer School may only require an application. If you plan to attend a dance intensive at a local dance studio, there may not be an audition required.

The audition process usually involves submitting letter(s) of recommendation from dance teachers and an audition video or attending an in-person audition that showcases the dancer's technique, improvisation skills, and ability to learn a short combination. Alternatively, the program may require the dancer to submit a video of themselves performing a choreographed piece. Regardless of the specific requirements, the audition process plays a critical role in determining whether a dancer is accepted into the summer intensive program.

Dancers of all abilities can gain many advantages from taking a ballet summer intensive. Here are a few benefits of enrolling in a summer intensive:

Intensive training: Summer intensives provide focused instruction over a period of time, enabling dancers to make rapid development. Technique, physical fitness, and general performance capacity can all be improved through this immersive experience. Introduction to new styles: Dancers frequently have the chance to work with new teachers and encounter new dance forms during summer intensives. Their experience may increase their understanding of dance and increase their adaptability as performers.

Networking: Summer intensives bring together dancers from all locations and backgrounds, giving them the chance to interact with peers and business leaders. Future partnerships and job possibilities may result from these contacts. Opportunities for performances: A lot of summer intensives provide possibilities for performances, which may give dancers significant exposure and experience. Industry professionals may attend these performances, providing prospective job opportunities.

Preparation for the next dance season: Building endurance, strength, and technique during summer intensives may help dancers get ready for the new dance season. Students who want to audition for dance schools or companies in the year may find this to be of special use.

While many of the mentioned intensives focus on ballet and musical theatre they will give you exposure to a variety of other styles. Flamenco for example, or Chinese Dance, that you wouldn't have the opportunity to learn otherwise!

Overall, participating in a ballet summer intensive can offer dancers who want to advance their abilities, broaden their knowledge, and interact with others in the dance community a distinctive and beneficial experience.

some of the most ballet summer intensives available

THE AMERICAN BALLET THEATRE (ABT) SUMMER INTENSIVE USA

For dancers aged 12 to 22, the American Ballet Theatre (ABT) five week Summer Intensive provides instruction in classical ballet technique as well as modern, character, and repertory programmes.

Applications: An audition video or a participation in the in person audition tour is required. Applications for the 2023 Intensive closed in February, so aspirants can look forward and prepare for the 2024 Intensive.

Cost: Rs. 31,300

Dancers ages 10 to 18 are welcome to enroll in this programme, which is the New York City Ballet's official five week summer programme. Classes in variations, partnering, and character dance are also included in the curriculum, which emphasises on classical ballet technique.

Applications: An audition video or a participation in the in person audition tour is required. Applications for the 2023 Intensive closed in February, so aspirants can look forward and prepare for the 2024 Intensive.

Cost: Rs. 2,74,083 (Options for housing, etc. available at extra costs)

For dancers ages 10 to 20, the Bolshoi Ballet Academy Summer Intensive is a programme offered in Moscow, Russia. Classes in character dance, variations, and classical ballet technique are all part of the programme, along with Russian language and cultural lessons.

Applications: An audition video or a participation in the in person audition tour is required. The seats for all female groups have been filled up, but applicants may choose to join a waitlist. There are limited seats for male dancers

Cost: Rs. 2,19,535 - 4,16,501 (Options for housing, etc. availableatextracosts)

For dancers aged 10 to 18, the Paris Opera Ballet School Summer School provides instruction in classical ballet technique, modern dance, and repertory. Classes in character dance, partnering, and pointe work are also part of the programme.

Applications: An audition video or a participation in the in person audition tour is required. Applications for the 2023 Intensive closed in February, so aspirants can look forward and prepare for the 2024 Intensive.

Cost: Rs. 71,012 - Rs. 1,80,222 (Options for housing, etc. available at extra costs)

Dancers ages 11 to 20 can enrol in the Royal Ballet School Summer Intensive, which provides instruction in both classical ballet technique and modern dance. Pointe work, pas de deux, and variations lessons are also part of the programme. The applicant can choose from either the two, three, or five week intensives.

Applications: An audition video or a participation in the in person audition tour is required. Applications for the 2023 Intensive closed in February, so aspirants can look forward and prepare for the 2024 Intensive.

Cost: Rs.1,22,295 - Rs. 1,81,404 (Options for housing, etc. available at extra costs)

For dancers ages 8 to 25, the Joffrey Ballet Academy Summer Intensive is a programme that is available in several US cities. Classes in jazz, hip hop, modern dance, and classical ballet technique are all part of the programme. Workshops in nutrition, injury prevention, and choreography are also available through the curriculum.

Applications: Applications are still open and will be open till 7 days before the start of the programme. An inperson or a video audition is required.

Cost: Rs. 57,380 - 65,589 (Options for housing, etc. available at extra costs)

JOFFREY BALLET ACADEMY SUMMER INTENSIVE USA

PARIS OPERA BALLET SCHOOL SUMMER SCHOOL FRANCE

ROYAL BALLET SCHOOL SUMMER INTENSIVE UK

SUMMER COURSE AT THE SCHOOL OF AMERICAN BALLET (SAB) USA

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some of the most performing arts intensives available

JUILLIARD SUMMER DANCE INTENSIVE USA

The Juilliard School in New York City runs the Juilliard Summer Dance Intensive, which offers instruction in ballet, improvisation, and contemporary dance. Students get the chance to collaborate with teachers and visiting artists of international repute.

Applications: Applications for the 2023 Intensive have closed. Dancers are encouraged to apply for the 2024 summer dance intensive. The application for the 2024 program will be available starting September 1, 2023.

Cost: Rs. 1,76,492 (Options for housing, etc. available at extra costs

performing arts disciplines that are covered in the Tisch School of the Arts Summer High School Program, which is run by New York University. Students have the chance to collaborate with Tisch School instructors and see performances in New York City.

Applications: Applications for the 2023 Intensive have closed. Dancers can look forward to and apply for the 2024 Intensive.

Cost: Rs. 1,38,558 (Options for housing, etc. available at extra costs

BROADWAY ARTISTS ALLIANCE SUMMER INTENSIVE USA

The Broadway Artists Alliance Summer Intensive is a musical theatre acting, singing, and dancing training programme that is headquartered in New York City. Also, students have the chance to see Broadway performances and network with experts in the pitch.

Applications: The applications are open and aspirants can pick from a number of available courses. An audition is required.

Cost: Rs. 1,22,716 (Options for housing, etc. available at extra costs)

great intesives that are close to BEIJING DANCE ACADEMY SUMMER SCHOOL CHINA

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This program offers intensive training in ballet technique, Chinese dance, and other dance styles. It is open to students ages 12-22 and is held in July and August.

Cost: Rs. 2,33,940

(Inclusive of housing, meals, and transportation)

HONG KONG BALLET SCHOOL SUMMER INTENSIVE SAR, CHINA

This program offers training in classical ballet, contemporary dance, and Chinese dance. It is open to students ages 10-18 and is held in July and August.

Cost: Rs. 1,18,201 - 1,83,869

This program offers intensive training in classical ballet, Chinese dance, and contemporary dance. It is open to students ages 10-25 and is held in July and August.

Cost: Rs. 1,69,487 (Accommodation included)

TISCH SCHOOL OF THE ARTS SUMMER HIGH SCHOOL PROGRAM USA

SHANGHAI DANCE SCHOOL SUMMER INTENSIVE CHINA

Choosing a summer intensive ballet programme that is reasonably priced may need some preparation and research, but it is feasible. Here are some pointers to assist:

Start early: Begin early in order to benefit from early bird discounts and scholarships, do your research and make your plans well in advance.

Check for regional offerings: To save money on travel and lodging, think about enrolling in a summer ballet intensive programme close to home.

Look into financial aid and scholarships: Search for scholarships that could be offered for the programme you are interested in while researching financial aid. For students who show financial need or talent, several schools provide financial aid. Most of the programmes mentioned above offer good financial aid plans.

Consider shorter programmes: If a lengthier programme is too expensive, take into account attending a shorter programme to save costs.

Request payment options: To assist in making the expense more affordable, certain programmes may offer payment plans.

Research: Compare programmes to identify the one that offers the greatest value for your money by doing some research on the costs and advantages of various summer intensive ballet programmes.

Network: Speak to other dancers and dance instructors to find out about reasonably priced ballet intensive summer programmes.

Ultimately, ballet summer intensives provide dancers a priceless chance to refine their art and enhance their abilities in a focused and concentrated atmosphere. These courses provide indepth instruction from top-notch teachers, exposure to fresh movements and methods, and the opportunity to collaborate with other gifted dancers from across the globe. Although summer intensives can be intellectually and physically demanding, they provide an unmatched experience that can help dancers advance their skills. A ballet summer intensive can be an enormously gratifying experience for dancers of all levels and can put you on the road to realising your ambition of becoming a professional danc

Jokes & fun facts

By Kenisha Rao

Why didn't the dancer take the lift? Because she didn't want to miss the steps.

The very first academy of ballet was opened in 1661 in France, thanks to King Louis XIV, and was called the Académie Royale de Danse.

Why did the hip hop dancing girl wear mens' shoes? Because she wanted to b-boy.

The first actual dance movie film projected to an audience was Swan Lake Ballet in 1895 in St. Petersburg, Russia, choreographed by Marius Petipa and Lev Ivanov.

What's the mystery writer's favorite dance?

The twist!

One of the first ballet dance masters was Domenico da Piacenza. The first ballet, Ballet de Polonaise, was performed in 1573.

Inspiration

Click to watch these clips from ballets all about the seasons and summer!

THE FOUR SEASONS

Vivaldi’s The Four Seasons, dynamically recomposed by Max Richter, forms the musical foundation for choreographer Jenna Lee’s bold, stylish, contemporary ballet.

Excerpts, danced by the New English Ballet Theatre

THE SEASON FAIRIES

Watch each season come to life with its own magical variation. From Frederick Ashton's Cinderella.

Danced by The Royal Ballet

SUMMER FAIRY

Now watch the same Summer Fairy variation from Rudolf Nureyev's Cinderella, which is transposed to a film set. In a series of references to the heroes of the American cinema, Rudolf Nureyev propels his Cinderella under the spotlights of Hollywood. With a producer for fairy godmother and a star actor as Prince Charming this is a novel take on a classic tale.

Danced by Dorothee Gilbert

The New English Ballet Theatre in The Four Seasons