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  • Happy Chinese New Year

    Happy Chinese New Year

    Happy Chinese New Year! The year of Rooster. OIBA students shined on stage again at both The 2017 Portland Chinese New Year and Vancouver Chinese New Year events. OIBA Beginning Ballet, Level I and Level II students performing opening dance. OIBA Level III student Daphne Wu performing contemporary Ballet "Presto", Choreography by Ye Li. Portland Chinese Time report Portland Chinese Network report
  • OIBA 2017 Annual Exam

    OIBA 2017 Annual Exam

    Last Sunday OIBA had our 2017 Annual Exam.

    We were very thrilled to have Oregon Ballet Theatre Ballet Master and Rehearsal Director Lisa Kipp, Principle Dancer Chauncey Parsons, Company Artist Makino Hildestad, Thomas Baker and Jessica Lind join us as the panel and master classes teachers for the exam.

    Everyone did a great job during the Exam. The guest teachers and panel judges had many good things to say about our students. We are very proud of each of them.  

    The exam comprehensively evaluates the students ability after a year of study. It also helps us have an idea what to focus on for the next phase of work. Most of all, the students get to enjoy a great class. 

  • Weather Update

    Weather Update: All class have been canceled at OIBA for JAN 7th Saturday, due to Weather.

About Ballet

  • The Story of the Tutu

    The Story of the Tutu

    The Story of the Tutu

    By Victoria Looseleaf Fashion may be fickle, but tutu chic is bigger than ever these days. While singing star Björk caused a sensation draped in a white tulle dress with a swan’s head wrapped around her neck at the Academy Awards in 2001, French designer Christian Lacroix continues to churn out haute couture balletic frocks of organza and tulle (matching ballet flats are also de rigueur). And some may recall the astonishing sum of $94,800 that a collector paid for the Leslie Hurry­–designed tutu Margot Fonteyn wore in Swan Lake.   Indeed, the tutu has a storied past. With a name probably derived from the French children’s word “tu-tu”—meaning “bottom”—the costume is a product of evolution that made its debut in 1832, an instant classic, so to speak, that’s been swathed in magic ever since. Marie Taglioni, performing on pointe (also a novel development then) and wearing a costume sometimes credited to Eugène Lami, danced the title role in the Paris Opera Ballet’s production of her father Filippo’s La Sylphide.   Mesmerizing audiences in what was later dubbed a Romantic tutu, Taglioni’s costume consisted of a tight-fitting bodice that left the neck and shoulders bare, and a diaphanous, bell-shaped skirt. Falling halfway between the knees and ankles, it was made of layers of stiffened tarlatan, or highly starched, sheer cotton muslin that gave the illusion of fullness without being weighty. Voila! A new tradition—and fashion statement—was born.   While the dreamy appeal of a Romantic tutu is a joy to behold, romance can take a wrong turn. The first known tutu tragedy occurred in 1862, when 21-year-old Emma Livry, rehearsing for the Paris Opera Ballet, brushed her Romantic tutu skirt against an exposed gaslight, setting it on fire and causing her death eight months later from the burns she’d suffered.   Undeterred, the evolution of the tutu marched on. By 1870 other Italian ballerinas, bent on perfecting pointe work, had begun wearing tutus cut above the knee, allowing them to showcase a bit more of their gams and increasingly complicated footwork, with ruffled underpants attached to the skirt. Known later as classical tutus and made famous by ballets like Swan Lake, these freer garments climbed farther north, becoming even shorter when ballet entered the 20th century, the added tarlatan layers creating a flared-from-the-body effect.   Diaghilev’s Ballets Russes experimented with different lines and looks. In 1927 the Russian constructivists Naum Gabo and Antoine Pevsner designed an ultra-modern tutu for Balanchine’s La Chatte, which had a transparent overskirt made of a plastic-like material.   In the 1940s, wire hoops were inserted to enable the skirt to stand out from the hips. Tulle, a stiffened silk, nylon, or rayon fabric, soon replaced tarlatan, making the hoop an option, rather than a necessity. Still, there’s a lot more to the tutu than, well, tulle. Its exterior splendor is made possible by an interior that supports the dancer (the bodice allows give, enabling the ballerina to move freely) and at the same time absorbs perspiration, while the voluptuousness of the skirt ingeniously conceals the trunks.   With up to nine supportive layers, each cut progressively wider, and a 10th decorative top layer, the finished classical tutu is often ornamented with sequins, beads, or faux jewels. All done by hand, the costume can easily cost $5,000, with less fancy ones available from $1,500.   A Romantic tutu, on the other hand, comprises five layers of tulle, each layer cut to about a 36-inch width. According to Jeanne Nolden, a tutu-maker who designs and builds costumes for Southern California’s Inland Pacific Ballet studio, between 25 and 30 yards of fabric are required per garment. Nolden says that it takes about 60 hours to make a basic tutu. “It can be tedious, time-consuming, frustrating, and difficult. You vow, ‘Never again!’—until the next time,” says Nolden. “It is truly a labor of love, but if tutus are properly cared for, they can last up to 20 years.”   A tutu frames a dancer’s movements, its construction supporting the physicality of ballet. Wearing a tutu generally marks a mature stage in a classical dancer’s career, since nothing exposes the precision of classical technique as does the brief, jutting skirt with the snug-fitting bodice. Each tutu has its own history, with clues about its stage life and its relationship to the body buried deep within its seams.   New York City Ballet’s Maria Kowroski recently wore a tutu that had been worn by Suzanne Farrell. She never saw Farrell dance, but the sense of abandon that Farrell projected is the stuff of legend. “It’s a weird feeling to think that she sweat in that costume,” says Kowroski. “I thought maybe it would give me more freedom just to know that I’m wearing her costume.” Then, only partly joking, she adds, “You never know what’s gonna come out. You don’t know if it has magic powers.”   American Ballet Theatre’s Gillian Murphy, who performed the role of Aurora in the company’s new Sleeping Beauty, says, “I love dancing in a tutu. It’s light and beautiful and creates part of the magic.” Murphy, whose mother began making tutus for her when she was 11, says that they are sometimes a problem for men. “A partner has to get used to the distance a stiff tutu creates between two people. He has to know where the ballerina needs to be by the feel of it, because the tutu limits his vision of her supporting leg.”   Occasionally the tutu does not fully cooperate. Vladimir Malakhov, ABT luminary and artistic director of the Staatsballett Berlin, describes an incident when he was partnering Amanda McKerrow in ABT’s Coppélia. “At the end of the adagio, a hook from my sleeve stuck in her dress,” recalls Malakhov. “I twisted my arm while lifting her behind my back, and when I put her down, I couldn’t lift my arm because I was stuck to her costume. It didn’t matter what position I took, we were stuck to each other. So I ripped open my sleeve and we did the variation.”   Ballerinas often have strong opinions about the style of tutu they prefer. When Baryshnikov was director of ABT, he created a Swan Lake that harked back to the 19th century when all the swans wore long tutus. However, Martine van Hamel wanted to wear short tutus as Odette and Odile for her 20th-anniversary performance. She preferred the way they “show the whole line” and she liked the more familiar tradition of short tutus for the Swan Queen. “I was going to hide them in my dressing room and wear them,” she admits. Instead, she called up Baryshnikov, who by then was no longer artistic director, and asked his permission. “He said absolutely, that’ll be fine.”   The gold standard of tutu design, Barbara Karinska, was a Russian-born émigré who built spectacular costumes for dance, film, theater, and opera. Although her Broadway and Hollywood career flourished, her heart belonged to dance, especially to the New York City Ballet and Balanchine. She dressed more than 75 Balanchine productions, and originated the “powder puff” tutu in 1950 for his Symphony in C. Its soft skirt distinguished it from the flat, horizontal “pancake” tutu (which is still favored by Russian dancers). Now housed in the basement of Lincoln Center in the wardrobe department of NYCB, Karinska’s surviving handiwork totals about 9,000 costumes.   “To help them stay stiff when they’re not being worn,” explains Holly Hynes, the designer who serves as consultant to NYCB’s costume shop, “short tutus are hung upside down.” Millinery spray starch can also help a tutu retain its shape, and layers of tulle are often replaced when a skirt loses stiffness. To keep the garments fresh, many are dry-cleaned after every three or four wearings (more ornate ones are dry-cleaned only before being returned to storage), while some are hand-washed after each performance.   Willa Kim has designed costumes for opera, television, theater, and more than 125 ballets, including ABT’s new production of Sleeping Beauty. Although Kim’s dance costumes are not usually traditional tutu-wear, she appreciates the garment. “The tutu is an invention that belongs to ballet,” says Kim, “and although it has been copied and has influenced designers and ready-to-wear, it is still an invention for the ballet and a remnant of the Romantic age. There are a lot of us who yearn for that kind of romanticism.”   Variations on a tutu theme have been rampant, with William Forsythe using a new design for his The Vertiginous Thrill of Exactitude, created in 1996 for Ballett Frankfurt. They are flat circles made of stretch material, not tulle, but still recognizable as a tutu.   Oscar Wilde has said that fashion was “a form of ugliness so intolerable that we have to alter it every six months.” But it seems unlikely that the tutu, with its fabled history and beautiful complexities, will go that route any time soon. “It has persisted as a beloved silhouette for more than a hundred years,” Willa Kim says. “In the torso of the costume, you can include modern or stretch fabrics, but the silhouette has been set, is appreciated, and serves dance wonderfully.” Victoria Looseleaf contributes to the Los Angeles Times and hosts a cable-access TV show on the arts. - See more at: http://www.dancemagazine.com/issues/October-2007/The-Story-of-the-Tutu#sthash.NmqFoUOQ.dpuf Source: Dance Magazine

    External links

    The Australian Ballet "First glimpse: The Lilac Fairy" Tutu (Wikipedia)
  • Who invented pointe shoes?

    Who invented pointe shoes?

    History of pointe shoes

    Women began to dance ballet in 1681, twenty years after King Louis XIV of France ordered the founding of the Académie Royale de Danse. At that time, the standard women's ballet shoe had heels. Mid-18th century dancer Marie Camargo of the Paris Opéra Ballet was the first to wear a non-heeled shoe, enabling her to perform leaps that would have been difficult, if not impossible, in the more conventional shoes of the age. After the French Revolution, heels were completely eliminated from standard ballet shoes. These flat-bottomed predecessors of the modern pointe shoe were secured to the feet by ribbons and incorporated pleats under the toes to enable dancers to leap, execute turns, and fully extend their feet. The first dancers to rise up on their toes did so with the help of an invention by Charles Didelot in 1795. His "flying machine" lifted dancers upward, allowing them to stand on their toes before leaving the ground. This lightness and ethereal quality was well received by audiences and, as a result, choreographers began to look for ways to incorporate more pointe work into their pieces. As dance progressed into the 19th century, the emphasis on technical skill increased, as did the desire to dance en pointe without the aid of wires. When Marie Taglioni first danced La Sylphide en pointe, her shoes were nothing more than modified satin slippers; the soles were made of leather and the sides and toes were darned to help the shoes hold their shapes. Because the shoes of this period offered no support, dancers would pad their toes for comfort and rely on the strength of their feet and ankles for support. The next substantially different form of pointe shoe appeared in Italy in the late 19th century. Dancers like Pierina Legnani wore shoes with a sturdy, flat platform at the front end of the shoe, rather than the more sharply pointed toe of earlier models. These shoes also included a box—made of layers of fabric—for containing the toes, and a stiffer, stronger sole. They were constructed without nails and the soles were only stiffened at the toes, making them nearly silent. The birth of the modern pointe shoe is often attributed to the early 20th-century Russian ballerina Anna Pavlova, who was one of the most famous and influential dancers of her time. Pavlova had particularly high, arched insteps, which left her vulnerable to injury when dancing en pointe. She also had slender, tapered feet, which resulted in excessive pressure on her big toes. To compensate for this, she inserted toughened leather soles into her shoes for extra support and flattened and hardened the toe area to form a box. Source: Wikipedia
  • History of ballet

    History of ballet

    Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of the 15th and 16th centuries.[1]Ballet spread from Italy to France with the help of Catherine de' Medici, where ballet developed even further under her aristocratic influence. An early example of Catherine's development of ballet is through 'Le Paradis d' Amour', a piece of work presented at her daughter's wedding, Marguerite de Valois to Henry of Navarre. Aristocratic money was responsible for the initial stages of development in 'court ballet', as it was royal money that dictated the ideas, literature and music used in ballets that were created to primarily entertain the aristocrats of the time. The first formal 'court ballet' ever recognized was staged in 1573, 'Ballet des Polonais'. In true form of royal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to honor the Polish Ambassadors who were visiting Paris upon the accession of Henry of Anjou to the throne of Poland. In 1581, Catherine de' Medici commissioned another court ballet, Ballet Comique de la Reine, however it was her compatriot, Balthasar de Beaujoyeulx, whom organized the ballet. Catherine de' Medici and Balthasar de Beaujoyeulx were responsible for presenting the first court ballet ever to apply the principles of Baif's Academie, by integrating poetry, dance, music and set design to convey a unified dramatic storyline. Moreover, the early organization and development of 'court ballet' was funded by, influenced by and produced by the Aristocrats of the time, fulfilling both their personal entertainment and political propaganda needs. ("Ballet and Modern Dance", Second Edition, Susan Au). In the late 17th century Louis XIV founded the Académie Royale de Musique (the Paris Opera) within which emerged the first professional theatrical ballet company, the Paris Opera Ballet. The predominance of French in the vocabulary of ballet reflects this history. Theatrical ballet soon became an independent form of art, although still frequently maintaining a close association with opera, and spread from the heart of Europe to other nations. The Royal Danish Ballet and the Imperial Ballet of the Russian Empirewere founded in the 1740s and began to flourish, especially after about 1850. In 1907 the Russian ballet in turn moved back to France, where the Ballets Russes of Sergei Diaghilev and its successors were particularly influential. Soon ballet spread around the world with the formation of new companies, including London's The Royal Ballet(1931), the San Francisco Ballet (1933), American Ballet Theatre (1937), The Royal Winnipeg Ballet (1939), The Australian Ballet (1940), the New York City Ballet (1948), theNational Ballet of Canada (1951), and the Delhi Ballet (2002).[2] In the 20th century styles of ballet continued to develop and strongly influence broader concert dance, for example, in the United States choreographer George Balanchine developed what is now known as neoclassical ballet, subsequent developments have included contemporary ballet and post-structural ballet, for example seen in the work of William Forsythe in Germany. The etymology of the word "ballet" reflects its history. The word ballet comes from French and was borrowed into English around the 17th century. The French word in turn has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Italian ballare, meaning "to dance".[3] Source: Wikipedia

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  • Xuan Cheng

    Xuan Cheng

    Artistic Director

  • Ye Li

    Ye Li

    Executive Director

Testimonial

  • During the summer intensive camp, Daphne came home everyday with happy smile, same time complain the muscle sore, and next day excited to go. I never saw her like this, she had great time and learned a lot. Thank you so much Xuan! You are the best!!!

    Wenwen
  • The intensive was great and Zonya really enjoyed the goal oriented, rigorous, and fun program Xuan designed. Truly unique insights and experience for happy memories and building confidence.

    Tony
  • That was really fun, but Im tired. But really, that was FREAKIN AWESOME Kay thanks, Bye!

    Vivian
  • OIBA is the best place around to send your child for dance lessons. They are friendly, well organized, very professional, and most important – my daughter has a ton of fun!.

    Frances Z
  • I have had 2 daughters, 4 and 8 years old, dance at OIBA!  I believe the teachers and classes have helped them build self-confidence and self-esteem. The atmosphere has always been positive.

    David B
  • My daughter has been dancing at OIBA for a while.  Dance has now become her passion. Impact has instilled her with valuable qualities- teamwork, responsibility and hard work. The teachers have encouraged her to learn and grow as a CONFIDENT dancer. BEST DANCE STUDIO!!!!!

    Bei H