Thank you Francis ! What did you think about Elza Leimane?

Elza was lovely. When she entered, her profile and complexion reminded me of Cynthia Harvey! Her choice of repertoire was unique -- we had not seen a complete Giselle, Act II pas de deux -- and I thought she made a very strongly favorable impression. She gave a lovely adage with wonderful changements and her beats were very clear.

Tuesday, June 20 began with an IBC Luncheon at the Mississippi Art Museum next door to Thalia Mara Hall. The speaker was Claudia Folts of tutu.com. Claudia got her start making tutus while dancing with Maryland Ballet. They had a fire in the warehouse where their costumes were stored and she was able to salvage some costumes, study their construction, and make patterns from them. Shortly thereafter, she was offered a commission by another company director to make twelve costumes for his company at $50 per tutu. She noted that she would never try that again!

Tutus can last 40-50 years with proper care. As an example, she showed a costume worn by Margot Fonteyn in Ashton's "Birthday Offering" from 1956. She indicated that the particular costume was "high maintenance," having twelve separate pieces in the bodice and fitting like a corset.

Each tutu requires from 12 to 20 yards of netting or tulle. Originally muslin, most netting is now make of nylon. There are "fashions" in tutus: the Karinska "powder puff," popular in the 1960s, has given way to hooped creations that are higher, tighter, with fewer layers and flatter.

For bodices, the lining material of pateel is most important. There should be no more than half an inch of ease -- it needs to fit like skin to facilitate partnering.

The base is trickier -- if it is too loose, it will look like a diaper; if it is too tight, the tutu will ride up and flare out in the back.

In response to a question about hooks and eyes versus zippers, Claudia uses exclusively hooks and eyes.

Regarding lycra, she expressed her preference for textured fabric.

On display was a costume worn by Alicia Markova, probably from the late 1940s or early 1950s, loaned by Alan Jones of Louisville Ballet. Bruce Marks told a couple of Markova stories: the first, on refusing to prepare for a lift because it would make her look heavy; the second, about the tiny pointe shoes she kept on her dressing table to further the legend that she had tiny, delicate feet. Marks danced with her at the Metropolitan Opera in "Orfeo" and recalled having to lift her 100 pounds from ground zero.

Another costume displayed was from the vision scene in Sleeping Beauty at Royal Ballet, also on loan from Alan Jones, probably worn by Fonteyn.

Company quality performance tutus now cost in the region of $7,000 apiece.

Last, she spoke about tiara construction, using Sorovsky stones mounted on wire, with horse hair dyed to match the dancer's hair, allowing the tiara to be pinned to the dancer's hair through the horse hair.

We had a lively and engaging group of people at our table: Sherry Lucas of the Jackson Clarion-Ledger, juror Nina Novak, the mother and stepfather of one of her students from Venezuela, and Renee Renouf.

Like Andrew, I too am a big fan of Misa Kuranaga. I won't forget her gold medal performance in Moscow in 2001. If you've seen her, we'd love to hear more about her. Thanks.

Roster for Round I, Session 6 (Tuesday, June 20, 7:30 p.m.):

Kathryn Tosh (USA) -- Junior, Orlando (Coach: Samantha Dunster); Paquita variation; Flames of Paris variation

Kayo Sasabe (Japan) and noncompeting partner, Jacobs Wilfried -- Junior, Tsukamoto Yoko School (Coaches: Iwao and Yoko Tsukamoto); Coppelia, Act III variation (complete)

Youn Sik Kim (South Korea) -- Junior, National University of the Arts (Coach: Youn Jin Kim); Coppelia, Act III variation; Flames of Paris variation

April Giangeruso (USA) -- Junior, Universal/Dance Conservatory of NY (Coaches: Valentina Kozlova and Margo Sappington); Giselle, Peasant pas de deux; Paquita variation

Elena Kazakova (Russia); -- Junior, Moscow State Academy of Choreography (Coach: Nina Speranskaya); Coppelia, Act III variation; Paquita variation

Ezlimar Dortolina (Venezuela) and noncompeting partner Jose Edwin Gonzales -- Senior, Tulsa (Coach: Ruta Butviliene); Swan Lake, Act III pas de deux (complete)

Seongho Cha (South Korea) -- Senior, Sejong University (Coach: Peter Merz); Swan Lake, Act III pas de deux; Giselle, Act II variation

Zherlin Ndudi (Ukraine) -- Senior, Ballet Academy of Munich (Coach: Alexandre Prokofiev); Swan Lake, Act III variation; Don Quixote pas de deux variation

Lauren Strongin (USA) -- Senior, Sarasota (Coach: Kyoko Takeichi); Giselle, Act I variation; Don Quixote variation

Yosuke Mino (Japan) and noncompeting partner Amanda Green -- Senior, Royal Winnipeg (Coach: Stephane Leonard); Sleeping Beauty, Princess Florine and Blue Bird pas de deux (complete)

Misa Kuranaga (Japan) and Daniel Sarabia (Cuba) -- Senior, Boston (Coach: Ivonne Lemus); Swan Lake, Act III pas de deux (complete)

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Highlights of Round I, Session 6:

Kayo Sasabe and noncompeting partner Jacobs Wilfried in a most unusually choreographed "Coppelia" Act III pas de deux performed with remarkable control and facility; a pair of very pleasing variations (Giselle, Act I and Don Quixote) from Sarasota's Lauren Strongin, who reminded me at times of Susan Jaffe in her profile, who demonstrated a lovely arabesque penchee, beautifully controlled toe hops on the diagonal in Giselle, and a strong, solid finish in Don Quixote. The highlight of the evening was saved for the end, with the performance of Misa Kuranaga (representing Japan) and Daniel Sarabia (representing Cuba) in a brilliantly conceived and executed "Swan Lake" Act III pas de deux. Misa demonstrated lots of embellishments in her footwork and established a strong, credible characterization right from the beginning. In the opening duet, the lifts, spins and timing were exemplary. Sarabia partnered Misa very well, never pushing her off center and displaying good line and ending with a solid overhead press lift. In the male variation, Daniel showed good elevation, exciting cabrioles to the back with a high, open extension following the beats, and solidly grounded landings. Misa's variation was solidly done, but it was her work in the finale that brought down the house. The fouettes were as follows -- first 16: three singles and a double; second 16 -- alternating singles and doubles -- all without losing time and counting a full 32. All around, quite a triumph for these two.

In the Wednesday, June 21 edition of the Jackson Clarion-Ledger, Sherry Lucas interviews Garth Fagan whose company will appear under the auspices of the IBC at Thalia Mara Hall in Jackson on Thursday, June 22:

Clarion-Ledger

Wednesday, June 21 -- our last full day in Jackson -- began promptly with a 9:00 a.m. tour of the Eudora Welty House and Garden. The house has been open for tours only since the beginning of May, so everything about the enterprise is fresh and new. Tours are offered at 9 and 11 a.m., 1 and 3 p.m., Wednesday through Friday and reservations are required because each time slot is reserved for no more than twelve people. The house is located across the street from Belhaven College, site of the "dancers' village" for the IBC. Whether you are a devotee of Eudora Welty's short stories, novellas or novels, it is worth the 60-90 minutes required. I hope that many IBC attendees will take advantage of this new opportunity.

From the Welty House, we traveled to the Smith Robertson Museum and Cultural Center to see a traveling exhibit prepared by the New York Public Library, "Classic Black," a photographic history of African Americans in ballet and dance, with a particular emphasis on those who pursued careers in ballet. The museum is located in an 1894 school building, cited as Jackson's first public elementary school for African Americans and is located in the Farish Historical District at 528 Bloom Street. It is a quick taxi ride from the downtown IBC hotel and performance venue and the exhibit has been timed to coincide with the IBC. Hopefully more than a small few will make the effort to see this worthwhile exhibit. Of particular significance to me was a photo of Raven Wilkinson of the Ballets Russes in a work choreographed by current IBC juror Nina Novak. There are many other unexpected treasures here.

Roster for Round I, Session 7 (Wednesday, 6/21/06, 2:00 p.m.):

Sasha De Sola and Mathias Dingman (USA) -- Junior, Universal (Coach: Anatoli Kucheruk); Flames of Paris pas de deux (complete)

Beatriz Hack (Brazil) and noncompeting partner Hebeert Caetano -- Junior, Cia Brasileira de Cancas Classicas (Coach: Andre Valadao); Flames of Paris pas de deux (complete)

Kim Ji A (South Korea) -- Junior, Donetsk Opera and Ballet Theatre; two Paquita variations

Hiroya Fukuda (Japan) -- Junior, K Ballet (Coach: Kurumi Yagami); Coppelia, Act III variation; Paquita variation

Connor Walsh (USA) -- Senior, Houston (Coach: Lazaro Carreno); Swan Lake, Act III pas de deux variation; Giselle, Act II variation

Doszhan Tabyldy (Kazakhstan) -- Senior, State Opera & Ballet Theatre of Kazakhstan (Coach: Ulan Mirseidov); Giselle, Act II variation; Don Quixote pas de deux variation

Saneyuki Kawashima (Japan) -- Senior, Sarasota (Coach: Kyoko Takeichi); Swan Lake, Act III pas de deux variation; Don Quixote pas de deux variation

Mateo Klemmayer (Germany) -- Senior, Birmingham Royal Ballet (no coach); Swan Lake, Act III pas de deux variation; Flower Festival of Genzano variation

Melody Mennite Herrera (USA) and Randy Herrera (Mexico) -- Senior, Houston (Coach: Lazaro Carreno); Don Quixote pas de deux (complete)

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Of the two complete pas de deux from "Flames of Paris" on the program, the palm must be given to 16 year old Sasha De Sola and 18 year olf Mathias Dingman for their very bright and energetic performance. This is not a ballet that I have previously seen, but after now seeing many performances, I can see why the IBC jury placed it on the repertoire list for the Juniors. It takes advantage of the special qualities of freshness and boundless energy that only this age bracket can attain; further, it does not have an abundance of strenuous or technically difficult lifts that should probably not be performed by the men at this stage of their development. Kim Ji A of South Korea gave two flawless performances of variations from "Paquita" -- displaying lovely extension, well controlled flic-flac, clean battu, excellent center on her pirouettes and amazingly secure balances. Hiroya Fukuda's performance featured nice jumps, soft landings, clean phrase endings, well centered pirouettes and good overall alignment. The program closed with a performance of the complete Don Quixote pas de deux by Melody Mennite Herrera and Randy Herrera of Houston Ballet. The opening presentation was very nice, replete with a pair of one handed lifts. Melody quickly demonstrated some very nice balances and a clear and unforced 6:00 extension, a pair of fish dives, one of which was preceded by a surprising leap. Randy was a strong and assured partner, never pushing Melody off center. The male variation included some very interesting embellishments and a strong, clear finish. The female variation displayed good timing, secure balances and a charming characterization. I am sure that Melody had reason to be disappointed with the 32 fouette sequence -- she finished only the first half, then switched to piques for the second. Overally, a strongly characterized performance that made a lasting visual impression.

Roster for Round I, Session 8 (Wednesday, 6/21/06, 7:30 p.m.):

Toshiro Muraoka-Abbley (USA) -- Junior, Ballet Pacifica and Lauridsen Ballet Center (Coach: Antonio Mark Lopez); Flames of Paris variation; Giselle, Peasant pas de deux variation

Denys Cherevychko (Ukraine) -- Junior, Ballet Academy of Munich (Coach: Alexandre Prokofiev); Paquita variation; Flames of Paris variation

Nathalie Fernandez (Belgium) -- Junior, Royal Ballet School of Antwerp (Coach: Ria Theuws); Flames of Paris variation; Paquita variation

Natalia Vorontsova (Russia) -- Junior, Moscow State Ballet Academy (Coach: Alexandre Prokofiev); Sleeping Beauty, Lilac Fairy variation; Flames of Paris variation

Mi Hee Park (South Korea) -- Junior, Kazakhstan Almaty Ballet School (Coach: Maila Kadelova); Paquita variation; Coppelia, Act III pas de deux variation

Romina Marisi (Argentina) -- Junior, Luxemburg (Coaches: Monica Panadev and Olga Smoak); Flames of Paris variation; Paquita variation

Brooklyn Mack (USA) -- Senior, ABT Studio Company (Coach: Radenko Pavlovich); Don Quixote pas de deux variation; Esmeralda and Frollo pas de deux variation

Daniil Simkin (Germany) -- Senior, Olga Aleksandrova studio (Coach: Olga Aleksandrova); Giselle, Act II variation; Don Quixote pas de deux variation

Marija Kicevska (Macedonia) -- Senior, Hessen State Theatre of Wiesbaden (Coach: Olga Aleksandrova); Esmeralda pas de deux variation; Sleeping Beauty, Princess Florine variation

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This evening, the last of eight sessions of Round I, was dominated by Juniors. Denys Cherevychko turned in a near flawless performance in both of his variations, displaying nice line, good alignment and center, excellent finish to his phrases and, along with spectacular leaps and solid turns, excellent landings. Nathalie Fernandez, representing Belgium, gave a performance of considerable charm, nicely filigreed footwork, good toe hops, smoothly executed flic-flac, and nice extension and attitude. Mi Hee Park of South Korea also excelled at her flic-flac, grand battement, and strong control in balances and pirouettes. Romina Marisi (Argentina, dancing in Luxemburg) had some of the most beautiful and original costumes for both of her variations; she displayed nice control on her pirouettes, nice toe hops and a fresh charm to her characterizations, along with a beautiful arabesque penchee. Brooklyn Mack (ABT Studio Co.) gave us fearless aerial work, good alignment and solid landings and phrase endings. From Wiesbaden, Germany, Daniil Simkin gave a very appropriate characterization to Albrecht in his "Giselle" Act II variation, along with cat-like landings and a beautiful cambre back; his line and extension are excellent and his jumps demonstrated great control on landing.

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This will be my last first hand report from Jackson. Round I results will be posted after noon on Thursday, June 22.

Great ! Once again, thank you!

Thank you so much for the reports! They are so fun to read.

Any news on the results yet? I hope sometime this morning someone will post a 'complete' list of who will move on to Round 2 as I know the list was up in Jackson at 12 midnight! It's so hard not being there but thanks to Francis and Dean I've gotten a nice glimpse into all the exciting happenings! Anxiously waiting to here, Joika

There is an information embargo on the results until at least midday today. I spoke with a competitor (about another matter) at 12:30 a.m., and they had been told that they would need to wait until 1:00 a.m.

In any event, the results will be posted on the IBC website later today. Please check in there:

Jackson IBC website

Regrettably, we will be unable to attend the press conference at 10:00 a.m. due to prior commitments with interviewees. (We already had an interview at 7:45 a.m.!) For the competitors, keep in mind the mantra: the process is the prize!

Thanks Francis! Yes I recieved a call last night abit after 1AM from a contestant (one hour difference here on the east coast) so the posting went up in Jackson at 12 midnight as promised. I was told of several competitors who have advanced and also have been eliminated but I will watch for that complete list hopefully posted by noon today on the IBC site.

Thanks again,

Joika

The list has been posted:

http://www.usaibc.com/releases/semifinalistslist.htm

A real surprise in that Daniel Sarabia has not made the semi-final.

Also, it does appear that Melody Herrera's fouettes did not help, as she has not progressed. Her partner and husband, Randy Herrera, however has progressed to the semi-finals.

In this competition do partners not selected for the next round still dance if their partners are selected, albeit not in contention for a medal/prize?

Kate